By the end of 1965, Bo was making a conscious effort to recapture both the Black listenership who had deserted him, and the white audience that was buying all of those soul records. Unfortunately, neither he nor Chess knew exactly how to go about it, and the result was another good album largely unheard by the public. The title track marks Bo's return to the Muddy Waters beat that he appropriated for "I'm a Man" (and that Muddy took back in "Mannish Boy") a decade earlier, and is one of Bo's greatest '60s sides. "Greasy Spoon" mentions Muddy amid its comical description of the offerings of a particularly unclean eatery (it's amazing when you think of it -- ten years recording in Chicago, and longer than that living there, and Bo was still nearly as much a country blues artist as he was when he started). "Let Me Pass" is a hot number with an infectious beat and some very funny lyrics, with Bo playing some delectable guitar. "Stop My Monkey," featuring Bo backed by the singing group the Cookies, has him again trying for a commercial soul-sound in a Motown vein, and "Tonight Is Ours" is one of Bo's most heartfelt romantic numbers, with the Cookies singing their hearts out while Bo tries his hand at a song that might've fit well on either of the first two albums by the Miracles, while "Hey, Red Riding Hood" brought back the Bo Diddley beat for another go around, this time with delightfully raunchy lyrics amid crisper textures, and a much finer sound than ever before. "Hey's So Mad" is pretty lackluster except for the guitar break, but "Root Hoot" should've been more widely heard than it was, being one of Bo's more infectious chant-based songs. "Corn Bread" has a neatly stinging, Slim Harpo-type lead guitar sound, and is overall an okay instrumental. And then there's "Soul Food," another great Bo Diddley rocker lost in the middle of the '60s soul boom -- Bo is so smooth, impassioned, sexy, and raw, and the Cookies sound so good backing him on one of his best instrumental tracks ever, that the fact this song was never a hit is a crime. By 1965, however, nobody in America was buying his records, even ones like this filled to bursting with good music and good humor, and even the British were beginning to lose interest in Bo's latest records. This was among Bo's last sessions with the Duchess, and the group he's using is more or less the studio equivalent of the band he's seen with in The Big TNT Show (aka That Was Rock).