BILLY BOY ARNOLD

Billy Boy Arnold Sings Big Bill Broonzy

Eletro-Fi Records

By Greg Freeksen

To call Billy Boy Arnold a veteran bluesman is an understatement.  Born in Chicago in 1935 and recording with Bo Diddley in the early 1950s, Billy Boy is one of the few masters remaining from the Chess period of blues history. On Billy Boy Arnold Sings Big Bill Broonzy, Billy Boy serves up fifteen classic country blues numbers on his new disc released by Electro-Fi Records. It’s classic Chicago acoustic blues reminiscent of the pre-World War II Bluebird period of the 1930s and 1940s. There is not a bad track on this disc.

 Not since Muddy Waters recorded Muddy Waters Sings Big Bill in 1959 has a Chicago blues legend paid this sort of tribute to guitar wizard Bill Broonzy.  Billy Boy’s disc compares favorably to Muddy’s recordings of over fifty years ago. Ably supported by Eric Noden on guitar and Rick Sherry on washboard, Billy’s poignant and confident harmonica and commanding vocals stand as homage to the legendary Big Bill Broonzy.  For extra delight, Billy Flynn contributes his electric guitar and mandolin on several cuts. Beau Sample lays down acoustic bass lines lending an overall antique feel to the effort.

Much of the authenticity of this disc should be credited to Rick Sherry, a washboard specialist.  We must recall that many of Broonzy’s greatest recordings were together with Washboard Sam who Bill often called his half-brother.  Sherry’s mastery of the washboard reminds us that washboard is a legitimate percussion musical instrument with its own classical blues heritage.

Any review of a Broonzy tribute must study the artist’s rendition of “Key to the Highway”.  Broonzy originally recorded the number with harmonica player Jazz Gillum for Bluebird Records in 1940.  The chord structure of the guitar on “Key to the Highway” is pure Broonzy and on this recording Eric Noden faithfully captures Big Bill’s essence.  Billy Boy’s harmonica is reminiscent of Jazz Gillum’s and lends an overall vintage treatment to this blues chestnut. The song has been recorded hundreds of times by artists ranging from Little Walter to Eric Clapton, but rarely has a recording of “Key to the Highway” so captured the spirit of Broonzy’s and Gillum’s original effort.

While Bill Boy and the band stick closely to the original Big Bill rendition of “Key to the Highway”, the same cannot be said of most of the selections.  That is not a complaint, but a compliment, since no good purpose is served by slavish imitation, even of a legend.  The leading cut “Sweet Honey Bee” is a prime example where Billy’s rendition shows off his own unique harmonica and vocal style as well as reflecting Eric Noden’s handsome acoustic guitar which is distinct from Big Bill’s treatment in the original.

The arrangement of “Just a Dream” is also unique to Billy Boy’s ensemble.  Broonzy’s original featured piano, while Billy Boy’s group, of course, centers on Billy’s harmonica. Billy Flynn adds a mighty touch to this song with his artful mandolin work.  Of course, there is the timeless message about a man who dreams of a perfect life where he serves as the president’s consultant and has an angel for a lover and a faithful wife, but upon awakening is shocked that his real life is in disarray.

In “Cell No. 13 Blues,” Billy Boy has the Broonzy vocal inflections down pat.  However, the arrangement is completely different.  Where Broonzy had a band complete with horns, Billy Boy trots out a more traditional guitar, harp and bass treatment.

While this might be heretical, Billy Boy’s rendition of “When I Get to Thinking” is generally superior to the Muddy Water’s version of this same selection.   Muddy had James Cotton helping him on the number and Pat Hare on guitar.  But Billy’s voice is superior, his harmonica dominates and Eric Noden’s guitar reigns triumphant.

On “Just Got to Hold You Tight”, Billy Boy is faithful to Broonzy’s original boldness, but Billy’s crew lends a completely different touch and feel.  Billy Flynn’s electric guitar contributes a delightful bouncy country texture to the number.

Each of the fifteen cuts showcases the patina of the acoustic age before blues had electricity. I say this despite Billy Flynn’s generous contributions with his electric guitar. In this day and age, it is rare to have traditional blues rise to such heights.

About the Author: Greg Freeksen is the co-host, along with Leslie Keros, of the “Blues Edition” radio show on WDCB 90.9 FM. The show airs Saturdays from 7 – 9 p.m.