A1 	I Was Fooled 	
A2 	Hi Heel Sneakers 	
A3 	Back Door Friend 	
A4 	Tomorrow Night 	
A5 	Annie Lee 	
B1 	Ooh Wee 	
B2 	Blues In A Natural 	
B3 	I'm Gonna Move 	
B4 	Sinner's Prayer

Billy Boy Arnold – harmonica, vocals
Louis Myers – lead guitar (tracks: A1 to A5, B1 to B3)
Sammy Lawhorn – lead guitar ( B4), wah wah guitar (A1 to A4, B2, B3),Rhythm Guitar (A5, B1) 
John "Big Moose" Walker – piano
Odell Campbell – bass
Chris Moss - drums

Billy Boy Arnold firmly established himself as one of the foremost practitioners of classic Chicago blues. His wailing harmonica playing and soulful vocals are a perfect match for his streetwise songwriting. The combination of Delta- influenced blues with a more urban sophistication not only defines Arnold's sound, but was also a significant contribution in the early, formative days of rock and roll. His early work with Bo Diddley and his highly influential singles in the late 1950s, brought him some local attention, but he never received the recognition he rightly deserved.

There are many harmonica players to come out the Chicago blues scene. Many, like Little Walter, Big Walter, Sonny Boy Williamson, Jr. Wells and James Cotton, have made blues history. Billy Boy Arnold was also there during this great movement.

Born in Chicago in 1935, Arnold grew up in an environment teeming with blues legends from Muddy Waters to Howlin' Wolf. Actually upon hearing the records of John Lee Williamson, Arnold decided to pursue the harmonica and by age 17 he was performing with Big Bill Broonzy, Memphis Minnie and the great Johnny Temple. It was also at the age of 17 that he recorded his first record. Chicago, in the early '50s, was a time when a blues band couldn't get work unless it featured a harmonica player. Arnold, who got his nickname “Billy Boy” from a record executive commenting on his youth, met Bo Diddley performing on a Chicago street corner in 1953 and soon teamed up with the great guitarist. Arnold's unique beat helped develop the Diddley sound and in 1955 they recorded a huge hit for Chess Records, “Bo Diddley” b/w “I'm A Man.”

Chess was quite taken with Arnold but a mis-communication forced Arnold to sign with Vee Jay, where he cut the hit record, “I Wish You Would.” Arnold was very popular at this time, and was a main feature in such clubs as Sylvio's, Ricky's, the 708 Club and Kid Riviera's. Arnold shared billings with such notables as Elmore James, Robert Nighthawk, Jr. Wells, and Howlin' Wolf. His Vee Jay release “I Wish You Would” was covered by the Yardbirds, who turned it into a hit in the 1960s.

His Vee Jay recordings have since been re-issued on CD and he has released over a dozen albums, among them acclaimed releases on Alligator Records as: “Back Where I Belong,” (’93) and “El Dorado Cadillac,” from ’95. In 2001 he released “Boogie 'n' Shuffle,” on Stony Plain. He did “Consolidated Mojo,” in 2005, “Dirty Mother,” (2007) and “Billy Boy Sings Sonny Boy,” in 2008, quite a busy man of lately.

Rolling Stone Magazine recently lauded the Chicago harp legend for his “meaty, undiminished attack.” Billy Boy Arnold is among the very last of the Chicago blues harmonica kings. --- James Nadal, musicians.allaboutjazz.com

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1.  DirtyMotherFuyer
2.  Don't Stay Out All Night
3.  1-2-99
4.  Riding The El
5.  Just Got To Know
6.  Christmas Time
7.  I Wish You Would
8.  Ah'W Baby
9.  Sweet Miss Bea
10.  Blues and Lonesome
11.  Eldorado Cadillac
12.  Mary Bernice
13.  It's Great To Be Rich
14.  Just A Dream
15.  Catfish

Billy Boy Arnold - harmoncia, vocals
Tony S. McPhee - guitar
Alan Fish - bass
Wilgur Campbell - drums

An integral part of Chicago's Blues history, Billy Boy Arnold is one of the first Windy City Blues singers actually born in Chicago. Arnold learned to play his “Mississippi Saxophone” from the original Sonny Boy Williamson in the late 1940s.

By the early 1960s, he was performing with Bo Diddley. A stint as a solo artist on Vee-Jay in the 1950s yielded some of his finest sides, especially "I Wish You Would" and "I Ain't Got You," later both covered by Eric Clapton and the Yardbirds. A deal with Alligator Records in the 1990s boosted his visibility to its highest level in forty years.

Recorded in London, Arnold and the Groundhogs tear through this album with a rawness and energy previously unheard of on recordings by white Rock bands backing African-American Blues musicians. Though essentially a Billy Boy Arnold album, Tony McPhee's influence is not to be underestimated.

Whenever he plays one of his scorching solos the album rockets into overdrive. This album represents one of the finest fusions of authentic electric Chicago Blues and the London Rock-infused variety of the genre. Justly, at the time of it’s original release in 1977, the then influential magazine Black Echoes voted the record “Blues LP of the Year”. ---worldofharmonica.blogspot.com

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01 – Sweet Miss Bea
02 – Goin’ Back To Arkansas
03 – Water Coast Blues aka Girl In The Valley
04 – Key To The Highway
05 – Looking Up At Down
06 – Rider, Rider
07 – Willie Mae Blues
08 – Cell #13
09 – I Want You By My Side
10 – San Antonio Blues
11 – Easy Street
12 – When I Get To Thinking
13 – I Love My Whiskey
14 – Just A Dream
15 – Just Got To Hold You Tight

William "Billy Boy" Arnold (vocals, harmonica); 
Eric Noden (acoustic guitar); 
Billy Flynn (electric guitar, mandolin); 
Rick Sherry (clarinet, washboard, percussion); 
Beau Sample (acoustic bass).

As a young Blues artist in early 1950's Chicago, Billy Boy Arnold was befriended and inspired by Big Bill Broonzy, one of the 20th century's greatest musical icons. Now, 60 years later, Billy Boy has gathered together this generation of Chicago's best acoustic Blues players (Billy Flynn, Eric Noden) for the recording of Billy Boy Sings Big Bill a wonderful exploration of the pure Blues Treasure to be found in Big Bill's timeless Songbook. A Blues Legend in his own right, Billy Boy was a key figure on the incendiary Chicago Blues scene of the 1950's and a major influence on the British Blues scene of the 1960's. ---Editorial Reviews

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CD1
1. How Long Can This Go On ?
2. Love Me Baby
3. I Was Fooled
4. Decoration Day
5. Night Before Last
6. Dirty Mother Fuyer
7. Don’t Stay Out All Night
8. Whiskey Beer and Reefer
9. I Hear My Name Ringing
10. I Done Got Over It
11. Sweet Miss Bea			play
12. Two Drinks Of Wine
13. Goin’ By The River
14. Hello Baby
15. Left My Happy Home
16. Move On Down The Road
17. Greenville
18. Greenback
19. Sunny Road
20. Evalina
21. I Ain’t GotYou

CD2
1. Shake Your Hips
2. Sunny Boy’s Jump
3. Somebody Help Me
4. Here’s My Picture
5. $1,000 Dollar Bill
6. I Wish You Would
7. Ten Million Dollars
8. I’ll Forget About You
9. Riding The El
10. Blues In A Natural
11. Annie Lee			play
12. Trust My Baby
13. Billy Boy’s Jump
14. I Love Only You
15. 1-2-99
16. Shake The Boogie
17. Billy Boy’s Blues
18. Playing With The Blues
19. I’m Gonna Move
20. Cryin’ And Pleadin’
21 Catfish
22. Get Out Of Here
23. No No No No No

Personnel: 
Billy Boy Arnold (vocals, harp, harmonica); 
Mighty Joe Young, Chris Faulk, Mike Flanagan, Zach Zunis, Rick Holmstrom (guitar); 
Lester Butler, Randy Chortkoff (harp, harmonica); 
Hook Herrera (harp); 
Lafayette Leake, Rob Rio, Andy Kaulkin (piano); 
Lee Jackson (bass);
Junior Blackman, Lee Smith, Jimi Bott (drums).

Billy Boy Arnold received his first harmonica lessons in Chicago with the original Sonny Boy Williamson. He had a crucial part in Bo Diddley's early band, was a star on VeeJay records in the late Fifties, and his compositions were covered by British blues bands like The Yardbirds and The Animals. One day in 1948, he was on his way home from the movies and decided to knock on John Lee Williamson's door and ask for a lesson. Sonny Boy was happy to help the 12 year old, but was murdered before Arnold could come back for a third visit. In 1954 Billy Boy began playing in Bo Diddley's street band. They developed the Bo Diddley beat together and Arnold wrote the tune that became Diddley Daddy. By the Sixties he had settled into a life of playing Chicago blues clubs and recording an occasional album. He rarely travelled and because he did not tour Europe until 1974, he missed out on the blues boom that propelled so many bluesmen's careers. Billy Boy still lives in Chicago and his most recent album came out in 2008. This compilation was difficult to put together. The artist repeats many songs across many albums and each version had to be compared to find the best. The problem was complicated by the fact that songs appeared under several different names. One album has been released under three different names and there may be others.

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1.	I Wish You Would
2.	Move on Down the Road   play
3.	Fine Young Girl         play
4.	You Got Me Wrong
5.	Fool for You
6.	Wandering Eye
7.	Shake Your Hips
8.	Whiskey, Beer and Reefer
9.	Prisoner's Plea
10.	High Fashion Woman
11.	Young and Evil
12.	Shake the Boogie
13.	Worried Life Blues  
14.	Streetwise Advisors

Personnel:
Billy Boy Arnold (vocals, harp, harmonica); 
Chris Faulk, Mike Flanagan, Zach Zunis, Rick Holmstrom (guitar); 
Lester Butler, Randy Chortkoff (harp, harmonica); 
Hook Herrera (harp); 
Rob Rio, Andy Kaulkin (piano); 
Lee Smith, Jimi Bott (drums).

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-

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   1. Dirty Mother Fuyer
   2. Don't Stay Out All Night
   3. 1-2-99
   4. Riding The El
   5. Just Got To Know
   6. Christmas Time
   7. I Wish You Would
   8. Ah'w Baby
   9. Sweet Miss Bea
  10. Blue And Lonesome
  11. Mary Bernice
  12. It's Great To Be Rich
  13. Just A Dream
  14. Catfish
  15. I Wish You Would

Billy Boy Arnold was born in Chicago on September 16, 1935. Unlike the many blues artists who migrated to Chicago from the South, Arnold is among the first generation of bluesmen actually born and raised in the city. He fell in love with the blues at an early age and was especially moved by the records of the first Sonny Boy Williamson. In 1948, young Billy found out that Williamson lived nearby, and he set out to find him. "To me, this was a burning desire-I wanted to be like Sonny Boy," recalls Billy. Williamson took a liking to the young fan and revealed his trademark style of "choking" the harp to Billy. Shortly after their third visit together, Williamson met his untimely death. But the few visits were enough to make Billy determined to become a bluesman. In the ensuing years, Arnold befriended many of the local blues legends, and he began to learn everything he could about the blues. Blind John Davis, Big Bill Broonzy, Memphis Minnie, Muddy Waters, Johnny Jones, Johnny Shines, Otis Rush, Little Walter, and Earl Hooker all played a part in Arnold's musical education.

In 1952, the teenaged Billy landed his first recording contract with Chicago's Cool label. It wasn't until his first record came out (I Ain't Got No Money b/w Hello Stranger ) under the name "Billy Boy Arnold" that he realized he had a nickname. "I didn't like it at first," recalls Billy Boy. "I was 17 and looked 15 but told people I was 19, so I didn't want to be known as a boy. I wanted to be a man." Though the recording was admittedly immature, the name stuck, and Billy Boy Arnold was on his way.

While still a teenager, Arnold hooked up with a young street musician/electronics buff named Ellis McDaniel (Bo Diddley) who fashioned an amplifier for Billy Boy out of an orange crate. Billy Boy eventually talked Diddley into auditioning for Chess Records. In 1955, with Billy Boy playing his signature "stop time" harmonica, Diddley scored the first of his many hits for Chess with Bo Diddley/I'm A Man . The future looked very bright, but Billy Boy didn't want to be a sideman. He wanted to make records under his own name.

After a misunderstanding with Leonard Chess (Bo Diddley told Arnold that Leonard didn't like him), Arnold crossed the street to the offices of VeeJay Records, where he was promptly signed. He recorded I Wish You Would (reportedly the first blues session to feature an electric bass), and it quickly became a regional hit. He was playing across the South Side of Chicago with stars like Little Walter and Junior Wells, and local radio airplay for his song was heavy. Even the great Muddy Waters took a liking to the young bluesman. "You made a good record," Waters said of I Wish You Would. "You keep on making those good records." And that's just what Billy Boy did: I Ain't Got You, She's Fine, She's Mine and Prisoner's Plea followed. Although only 20 years old, Billy Boy Arnold had arrived.

Arnold continued to play the Chicago clubs and record 45s throughout the late 1950s. His debut album, 1963's MORE BLUES FROM THE SOUTH SIDE for the Prestige label, remains a classic. But the gigs began to dry up, and the difficulty of raising a family and keeping a band together led Arnold to pursue a career as a Chicago bus driver and truant officer and later as a parole officer for the State of Illinois. By the middle of the 1960s, the first generation of British blues bands were taking notice of Arnold's talent-his VeeJay singles became valued collectors' items among the musicians. The Yardbirds and The Animals each had hits with Billy Boy's songs. Later, The Blasters and David Bowie both covered his material. All of this interest led Billy Boy to tour and record in Europe (and play the occasional U.S. festival gig) during the 1970s, 1980s and into the 1990s.

With the release of BACK WHERE I BELONG in 1992, Billy Boy Arnold enjoyed the greatest success of his career. "Billy Boy Arnold delivers the goods," exclaimed the Los Angeles Daily News. "Highly recommended," agreed Jazz Times. "Triumphant," added Billboard. Features and reviews ran in magazines and newspapers from coast to coast and in Europe, including Rolling Stone, Audio, CD Review, Living Blues, Blues & Rhythm, The Chicago Tribune, and The Washington Post . Everyone agreed. Billy Boy Arnold had created an album of songs that not only equaled the strength of his early hits, but indeed surpassed them in their maturity and execution. --- alligator.com

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01. Ten Million Dollars 7:16
02. I Wish You Would 3:10
03. Trust My Baby 6:35
04. My Babe 3:12
05. Just a Little Bit 3:42
06. Going Home 3:49
07. Yellow Roses from Texas (Just Love Won't Do) 4:14
08. Last Night 7:09
09. I Done Got over It 4:11
10. Sugar Mama 4:17

Billy Boy Arnold- (Harmonica, Vocals);
James Bryant- (Piano);
Larry Exum- (Bass);
Fred Grady- (Drums);
Jimmy Johnson- (Guitar);
John Watkins- (Guitar).

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, allmusic.com

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01.Left My Happy Home (2:34) 
02.Billy Boy's Jump (2:31) 
03.Cryin' and Pleadin' (2:34) 
04.Left My Happy Home [Alternate Take] (2:34) 
05.Baby Jane (2:43) 
06.Rock & Roll (2:33) 
07.Baby Left Me With a Mule to Ride (3:40) 
08.Hello Baby (1:57) 
09.I Love Only You (2:39) 
10.Evalina (2:10) 
11.Come See Me Early in the Morning [Take 1] (2:50) 
12.Why Is Everybody Down on Me (2:28) 
13.Come See Me Early in the Morning [Take 2] (1:57) 
14.Somebody Help Me With These Blues [Live] (7:26)

Billy Boy Arnold- Harmonica,Vocals 
Jody Williams- Guitar 
Jerome Arnold- Bass
Clifton James- Drums
Mighty Joe Young- Guitar 
Johnny Turner- Guitar 
Mickey Boss-  Tenor Sax 
Robert Sinclair Wilson- Bass

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, Rovi

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