Billy Boy Arnold (born William Arnold, 16 September 1935, Chicago, Illinois… Read Full Bio ↴Billy Boy Arnold (born William Arnold, 16 September 1935, Chicago, Illinois) is a leading American blues harmonica player, singer and songwriter.
Billy Boy Arnold is back. With his 1992 Alligator Records debut, BACK WHERE I BELONG (AL 4815), Arnold firmly reestablished 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 (including I Wish You Would and I Ain't Got You), brought him some local attention, but he never received the recognition he rightly deserved. Now, with his new release, ELDORADO CADILLAC (AL 4836), he shows that he is not only back where he belongs, he is back to stay.
ELDORADO CADILLAC's 13 songs, including nine Arnold originals, feature his "wah wah" harmonica style, smooth vocals and colorful lyrics. The album kicks off with a hard-edged reinvention of Arnold's VeeJay hit, I Ain't Got You. He moves effortlessly from the warnings of Don't Stay Out All Night to the sound advice of My Mama Told Me to the braggadocio of Man Of Considerable Taste to the smooth, sophisticated vocals on It Should Have Been Me and Sunny Road . Along with a tough backing band (featuring fellow Alligator recording artist Steady Rollin' Bob Margolin on guitar), Arnold is in the driver's seat, and he's riding his Eldorado Cadillac right into blues stardom. 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.
The strength of BACK WHERE I BELONG brought Arnold back into the public eye. Since the album's release, he's played clubs and major festivals in the United States and Europe, including England's Burnley Blues Fest; Germany's Breminale Blues Fest; the Montreal Jazz Fest; Norway's Notodden Blues Fest; Toledo's Rock, Rhythm and Blues Fest; the Chicago Blues Fest; the Poconos Blues Fest; and the Long Island Blues Fest. Performance after performance, Arnold has delighted old fans and made scores of new ones. Eagerly, everyone waited for Arnold's next move.
With ELDORADO CADILLAC, the wait is over, and Arnold's fans will not be disappointed. His singular harmonica playing and silky vocals - not to mention his songwriting talents - place him at the forefront of classic Chicago blues artists. Finally back where he belongs, this bluesman is prepared to take his music to more people than ever before. So sit back and enjoy the ride-and leave the driving to Billy Boy Arnold.
Quotes:
"A blues legend is back...The grand Chicago blues sound of the 1950s presented with authenticity and vitality by an underappreciated harmonica great."
-- CHICAGO TRIBUNE
"Arnold blows fine in the old Chicago style with a meaty, undiminished attack."
-Rolling Stone
"Arnold is singing and playing harp as well as ever...he remains a creative musician rather than a mere caricature of his former self."
-Living Blues
"Triumphant..."
-Billboard
"A fully realized, wide ranging blues workout, as authentic as it is joyous...."
-CD Review
"Contrasting melodic hooks and rhythms...boundless energy and original blend of elements...Arnold excels in rhumba-boogies, quick shuffles, and deliberately mid-tempo drags; he gives his stories entertaining, close-up details, and his harp is recorded with glorious in-your-face presence."
-Audio
"Arnold hasn't lost anything to the years. He still blows his mouth-harp in the wah-wah riff style of his mentor Sonny Boy Williamson, and his vocals have grown deeper, darker and fuller with age... implying a hard-earned experience the teenaged Arnold could only guess at."
-Washington Post
"Veteran Chicago blues singer/harpist Arnold can swing from suave to raunchy in a heartbeat."
-New Review Of Records
"Chicago blues harpist and singer Billy Boy Arnold delivers the goods...distinctive."
-Los Angeles Daily News
"A gritty, expressive vocalist and harmonicat...jagged harmonica playing in the country-rooted style of Sonny Boy Williamson."
-Request
"Arnold is smoother and more powerful than ever. Highly recommended."
-Jazz Times
"In the hands of Billy Boy Arnold, the blues can sound as lively as a razor fight in a Mississippi juke joint. Matching the lilting drive of Chuck Berry with the ominous power of Muddy Waters, Arnold earns much respect for keeping the blues alive and well."
-Option
"Arnold is a powerful purveyor, innovator, and certified master of the Chicago blues sound created by Muddy Waters and Little Walter. Combining his soulful vocals with poignant harp riffs and crafty songwriting, Arnold's musicianship authenticates his place among the great blues harmonica players in history."
-Blues Revue
Source: Alligator Records - Billy Boy Arnold
Billy Boy Arnold is back. With his 1992 Alligator Records debut, BACK WHERE I BELONG (AL 4815), Arnold firmly reestablished 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 (including I Wish You Would and I Ain't Got You), brought him some local attention, but he never received the recognition he rightly deserved. Now, with his new release, ELDORADO CADILLAC (AL 4836), he shows that he is not only back where he belongs, he is back to stay.
ELDORADO CADILLAC's 13 songs, including nine Arnold originals, feature his "wah wah" harmonica style, smooth vocals and colorful lyrics. The album kicks off with a hard-edged reinvention of Arnold's VeeJay hit, I Ain't Got You. He moves effortlessly from the warnings of Don't Stay Out All Night to the sound advice of My Mama Told Me to the braggadocio of Man Of Considerable Taste to the smooth, sophisticated vocals on It Should Have Been Me and Sunny Road . Along with a tough backing band (featuring fellow Alligator recording artist Steady Rollin' Bob Margolin on guitar), Arnold is in the driver's seat, and he's riding his Eldorado Cadillac right into blues stardom. 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.
The strength of BACK WHERE I BELONG brought Arnold back into the public eye. Since the album's release, he's played clubs and major festivals in the United States and Europe, including England's Burnley Blues Fest; Germany's Breminale Blues Fest; the Montreal Jazz Fest; Norway's Notodden Blues Fest; Toledo's Rock, Rhythm and Blues Fest; the Chicago Blues Fest; the Poconos Blues Fest; and the Long Island Blues Fest. Performance after performance, Arnold has delighted old fans and made scores of new ones. Eagerly, everyone waited for Arnold's next move.
With ELDORADO CADILLAC, the wait is over, and Arnold's fans will not be disappointed. His singular harmonica playing and silky vocals - not to mention his songwriting talents - place him at the forefront of classic Chicago blues artists. Finally back where he belongs, this bluesman is prepared to take his music to more people than ever before. So sit back and enjoy the ride-and leave the driving to Billy Boy Arnold.
Quotes:
"A blues legend is back...The grand Chicago blues sound of the 1950s presented with authenticity and vitality by an underappreciated harmonica great."
-- CHICAGO TRIBUNE
"Arnold blows fine in the old Chicago style with a meaty, undiminished attack."
-Rolling Stone
"Arnold is singing and playing harp as well as ever...he remains a creative musician rather than a mere caricature of his former self."
-Living Blues
"Triumphant..."
-Billboard
"A fully realized, wide ranging blues workout, as authentic as it is joyous...."
-CD Review
"Contrasting melodic hooks and rhythms...boundless energy and original blend of elements...Arnold excels in rhumba-boogies, quick shuffles, and deliberately mid-tempo drags; he gives his stories entertaining, close-up details, and his harp is recorded with glorious in-your-face presence."
-Audio
"Arnold hasn't lost anything to the years. He still blows his mouth-harp in the wah-wah riff style of his mentor Sonny Boy Williamson, and his vocals have grown deeper, darker and fuller with age... implying a hard-earned experience the teenaged Arnold could only guess at."
-Washington Post
"Veteran Chicago blues singer/harpist Arnold can swing from suave to raunchy in a heartbeat."
-New Review Of Records
"Chicago blues harpist and singer Billy Boy Arnold delivers the goods...distinctive."
-Los Angeles Daily News
"A gritty, expressive vocalist and harmonicat...jagged harmonica playing in the country-rooted style of Sonny Boy Williamson."
-Request
"Arnold is smoother and more powerful than ever. Highly recommended."
-Jazz Times
"In the hands of Billy Boy Arnold, the blues can sound as lively as a razor fight in a Mississippi juke joint. Matching the lilting drive of Chuck Berry with the ominous power of Muddy Waters, Arnold earns much respect for keeping the blues alive and well."
-Option
"Arnold is a powerful purveyor, innovator, and certified master of the Chicago blues sound created by Muddy Waters and Little Walter. Combining his soulful vocals with poignant harp riffs and crafty songwriting, Arnold's musicianship authenticates his place among the great blues harmonica players in history."
-Blues Revue
Source: Alligator Records - Billy Boy Arnold
Just a Little Bit
Billy Boy Arnold Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I don′t want much, I just want a little bit
Well I don't want it all, just give me a little bit
Just a eeny weeny bit, just a teeny weeny bit
Turn your lamp down low, honey slip me a kiss
Turn your lamp down low, I just can′t resist
Just a eeny weeny bit, just a teeny weeny bit of your love
Please love me forever, until the end of time
Please say you'll never leave me, that you'll always be mine
Just a eeny weeny bit, just a teeny weeny bit of your love
Turn your lamp down low, honey slip me a kiss
Please say you′ll never leave me, I just can′t resist
Just a eeny weeny bit, just a teeny weeny bit of your love
I don't want much, I just want a little bit
Well I don′t want it all, just give me a little bit
Just a eeny weeny bit, just a teeny weeny bit of your love
Just a eeny weeny bit, just a teeny weeny bit of your love
Just a eeny weeny bit, just a tenny weeny bit of your love
Well I don't want it all, just give me a little bit
Just a eeny weeny bit, just a teeny weeny bit
Turn your lamp down low, honey slip me a kiss
Turn your lamp down low, I just can′t resist
Just a eeny weeny bit, just a teeny weeny bit of your love
Please say you'll never leave me, that you'll always be mine
Just a eeny weeny bit, just a teeny weeny bit of your love
Turn your lamp down low, honey slip me a kiss
Please say you′ll never leave me, I just can′t resist
Just a eeny weeny bit, just a teeny weeny bit of your love
I don't want much, I just want a little bit
Well I don′t want it all, just give me a little bit
Just a eeny weeny bit, just a teeny weeny bit of your love
Just a eeny weeny bit, just a teeny weeny bit of your love
Just a eeny weeny bit, just a tenny weeny bit of your love
"Just a Little Bit" is a classic blues song first recorded by American harmonica player and singer Billy Boy Arnold in 1955. The song expresses a simple desire for love and affection from a partner, with the lyrics emphasizing the idea of getting just a little bit of their love. The opening lines of the song set the tone for this desire, with Billy Boy Arnold expressing that he doesn't want much, but just a little bit of love from his partner. He repeats this sentiment throughout the song, emphasizing that he doesn't want everything, just a teeny weeny bit of love that he can't resist.
The lyrics continue to express the singer's desire for his partner's love and affection, with him asking her to turn her lamp down low and slip him a kiss. He pleads with her to love him forever and say that she'll never leave him. The phrasing of these lines and the repetition of the chorus reflect the simplicity of the singer's desires, which are rooted in basic human needs for love and connection.
The song's simple but powerful message of love and desire has made it a blues classic, with numerous artists covering the song over the years. Many of these covers have added their own unique twist to the song, incorporating different instruments and styles to give it a fresh sound.
Line by Line Meaning
I don't want much, I just want a little bit
I am not asking for a lot, just a small amount.
Well I don't want it all, just give me a little bit
I do not desire everything, just a portion will do.
Just a eeny weeny bit, just a teeny weeny bit
Just a tiny amount is sufficient.
Turn your lamp down low, honey slip me a kiss
Lower the light, and share a romantic moment with me.
Turn your lamp down low, I just can′t resist
Dim the light, I can't control myself.
Just a eeny weeny bit, just a teeny weeny bit of your love
I am yearning for just a little bit of affection from you.
Please love me forever, until the end of time
Please promise to love me indefinitely, forever and ever.
Please say you'll never leave me, that you'll always be mine
Reassure me that you will always remain by my side.
Just a eeny weeny bit, just a teeny weeny bit of your love
All I need is a small amount of your affection.
I don't want much, I just want a little bit
I am not asking for a lot, just a small amount.
Just a eeny weeny bit, just a teeny weeny bit of your love
All I want is a small portion of your affection.
Just a eeny weeny bit, just a tenny weeny bit of your love
I am desiring only a minuscule fraction of your love.
Contributed by Charlotte D. Suggest a correction in the comments below.
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