Recording opportunities were scarce for Arnold stateside in 1984. But over in France, Black & Blue welcomed the harpist into their studios to cut this set, backed by guitarist Jimmy Johnson's professional outfit. Only a handful of originals here; the set is predominated by hoary standards such as "My Babe," "Just a Little Bit," "Last Night," and "I Done Got Over It" (but at least they're played with a bit more panache than usual). ~ Bill Dahl, All Music Guide

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Over half a decade away from the studio didn't hinder Billy Boy Arnold one bit on this 1963 session. His still-youthful vocals, strong harp, and imaginative songs are very effectively spotlighted, backed by a mean little Chicago combo anchored by guitarist Mighty Joe Young and pianist Lafayette Leake. The CD reissue adds a previously unreleased instrumental, "Playing with the Blues." ~ Bill Dahl, All Music Guide

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At this point in his career, harmonica legend Billy Boy Arnold could just coast on his Chicago blues laurels, rehashing his old tunes and tricks whenever he decides to cut a new album. But fortunately, Arnold doesn't buy into shortcuts, and neither does his producer for this session, Duke Robillard. On Boogie 'n' Shuffle, Arnold really lets it rip -- not only in the John Lee Williamson tradition he's well-known for, but also in the R&B traditions of Ray Charles and {$Jimmy McCrack   [ read more ]

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Indeed he is. Recorded in Los Angeles with a crew of young acolytes offering spot-on backing (guitarists Zach Zunis and Rick Holmstrom acquit themselves well), Arnold eases back into harness with a remake of "I Wish You Would" before exposing some fine new originals (the Chuck Berry-styled rocker "Move on Down the Road" is a stomping standout) and an homage to his old mentor Sonny Boy (a romping "Shake the Boogie"). ~ Bill Dahl, All Music Guide

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Uneven but intriguing 1966 collection, most of it previously unreleased. The first half-dozen sides are the best, full of ringing West Side-styled guitar licks by Mighty Joe Young and Jody Williams and Arnold's insinuating vocals (he rocks "Baby Jane" with a Chuck Berry-inspired fury). An odd drumless trio backs Arnold on the next seven selections, which get a little sloppy at times but retain period interest nonetheless. ~ Bill Dahl, All Music Guide

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Harmonica player Billy Boy Arnold is more than just a master of the vintage late 1940s, early 1950s classic Chicago blues harp style, he's also a natural singer, with a warmth and joy in his vocals that just gets bigger and better as his career goes on. This wonderful (and generous) 17-track set (there's also an unlisted 18th track) finds Arnold paying tribute to his mentor John Lee "Sonny Boy" Williamson, whose electric harp style in the mid 1940s is where the whole modern Chicago blues soun   [ read more ]

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Billy Boy Arnold, a fluent blues harmonica player and an expressive singer, made his initial impact in the 1950s/early '60s, but then went three decades between American records. The second recording from his comeback, Eldorado Cadillac, finds Arnold (who worked many yeas earlier with Bo Diddley) in enthusiastic form while utilizing a top-notch group that includes guitarists Bob Margolin and James Wheeler, pianist Sonny Leyland, bassist Steve Hunt, drummer Chuck Cotton, and (fo   [ read more ]

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Recorded in San Francisco in 1992 with producer/harpist Mark Hummel's band of the time, but not released until 2005 for reasons that are not explained in the liner notes, this is better than average traditional Chicago blues from one of the genre's creators. All 14 tracks were cut in a single eight-hour session with no time for overdubs at the end of one of Arnold's tours, which adds a more edgy but still professional tone to the album. Hummel's tight band included a young Rusty Zinn on gu   [ read more ]

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