The sixteen albums I´ll review are:

• Fast Fingers (Delmark DS-623, 1969)
• Jimmy Dawkins (Vogue LDM 301.49, 1971)
• All for business (Delmark DS-634, 1971)
• Tribute to Orange (Black & Blue 33.556, 1972)
• Transatlantic 770 (Excello 8024, 1972)
• I want to know (MCM 900.290, 1975)
• Blisterstring (Delmark DS-641, 1976)
• Come back baby (MCM 900.295, 1976)
• Hot wire 81 (Isabel 900.508, 1981)
• American Livin´ Blues Festival (Three tracks) (EPM FDC 5513, 1982)
• Feel the Blues (JSP 1093, 1985)
• Blue Ice (Platonic 001, 1991)
• Kant sheck dees bluze (Earwig 4920, 1991)
• Blues and pain (Wild Dog 9108-2, 1994)
• B Phur Real (Wild Dog 9110-2, 1995)
• Me, my guitar and the Blues (Ichiban D2-24909-2, 1997)

If you don´t want to read my comments on every song, check out my ranking of these thirteen albums. There´s also The ultimate Jimmy Dawkins album compilation.

Fast Fingers Fast Fingers is Jimmy Dawkins first solo album. He´d played on some other Delmark releases, but now he headed his own group. This is a good album, but it kind of feels like its´s a Sixties folk blues album, e.g. the market for the album is not the black community but the students at Chicago University. But there are moments of pure enjoyment here! It´s Dawkins first solo album,  it´s a solid blues album and it might be the most West Side Jimmy ever recorded.

• It serves me right to suffer (4.10)

First time I heard this song it knocked me out! I had heard Hot Wire 81 and heard Dawkins play second guitar on a Luther Allison album and Dawkins didn´t exactly make an impression as a fiery guitar player. I must say I don´t think Dawkins backup jobs at Delmark shows the best sides of his ability. Anyway, on this track Dawkins singing is very cool and the whole track is laid-back. Jimmy is at his best when he has a solid West Side rhythm to play and the guitar pattern here is very delicate. Very West Side and very cool.
• I wonder why (3.07)

If the first track was laid-back this one is a hard driving shuffle. Jimmy Dawkins shows why he got the nickname Fast Fingers.
• I´m good for nothing (5.14)

Whoa! That guitar intro! Jimmy Dawkins had full control of his instrument already in 1969. Stinging notes, those special "choking" notes and fat chords. Again that West side feeling. The backup band with Mighty Joe Young and Eddie Shaw riffs in the back. Solid blues. It´s been a long time since I listened to Fastfingers. This is good!
• Triple trebles (2.45)

An instrumental and what an instrumental. Rapid-fire licks, mean ugly chords and again a West Side riff makes this one of the best instrumentals Jimmy have recorded.
• I finally learned a lesson (3.44)

A slow blues with a long, long guitar intro. A perfect example for the typical Dawkins heartbroken guitar notes.
• You got to keep on trying (4.13)

The B-side of the LP is not as strong as the a-side. It´s hard to tell why, but the songs don´t have the same feeling. Anyway, the first song is a standard Chicago slowblues with text lines as "Love don´t love nobody..." etc. Eddie Shaw makes some nice background fills. After listening to the song some more times I´ve slightly changed my mind. The guitar sounds real heartbroken and the lyrics are stronger than I thought before.
• Night rock (3.23) ()

Well, well. I had forgot how tight this instrumental was. Jimmy's guitar sounds really sharp and electric. Concentrated guitar and it´s all very very West Side. Great track!
• Little angel child (4.00)

A semi-paced shuffle with a boogie woogie  bass figure. This tracks have a kind of swampy feeling. Relaxed and sharp at the same time.
• I don´t know what love is (5.57)

A version of "Don´t throw your love on me so strong". Jimmy sings "Hey baby... " and I´m caught in the blues web of Jimmy Dawkins. The guitar intro is a killer where Jimmy mixes anguished notes with blistering runs high up on the fretboard. But of the four slow songs on the LP this is the least interesting.
• Breaking down (5.32)

A long instrumental. Mighty Joe Young plays some nice backup guitar. Again very West Side. But the song is too long!

Jimmy Dawkins 1971 Jimmy Dawkins went to Europe and when he was in Paris he took the time to record this album. The band is 2/3 French, the only American player is Mickey Baker on guitar (The Mickey Baker?). The liner notes tells it all: "Even the less informed listener will understand, in hearing this collection, the extent that this music, so charged with emotion and contained violence, corresponds to the mixed feelings of frustration and hope of the black population of the great American cities." Well, well. Anyway I kind of like this album, in my opinion it´s one of the best of Dawkins European albums. (Which might say more of the other albums than this...)

• The way she walks

The album kicks of with a version of "It serves me right to suffer". The take here is not as good as the one on "Fast Fingers".
• Lick for licks

The opening notes reminds a lot of a Magic Sam song from one his Delmark albums. Dawkins turns this song to an instrumental. There´s no real attack from Dawkins and then his guitar playing gets quite boring. When Dawkins is close to let loose the organ takes a solo. Too bad.
• Don´t bring me your troubles, baby

It´s time to slow things down. Mickey Baker throws off fat chords and Jimmy plucks his patented notes in the back. The lyrics are depressing, "Don´t bring me your troubles, baby. I got enough of them myself". The bad thing is Jimmy doesn´t seem to get in groove. On the bad side also is that the band is a bit too stiff to really move me.
• I wonder why you do things you do to me

Baker plays some kind of Magic Sam "All your love" riff and Dawkins grunts some lines from time to time. Not worth listening at.
• Let me have my way

A "Dust my broom" intro and then the song turns into a standard blues shuffle. Really boring
• Chicago on my mind

Another slow blues. This time with the familiar "On tour in Europe longing home to Chicago" lyrics. Some typical Dawkins licks, especially in the last solo but the song is too long and I can´t even stand to hear the song through.
• I´ve been walking all night long

Jimmy Baker have found a Magic Slim kind of rhythm pattern and Jimmy hits the strings a little harder than before. It might not be the greatest song in the Dawkins catalogue but at least it swings.
• Blues in the Ghetto

Back to the West Side. If this track had been on "Fast Fingers" I´d write it down, but on this album it´s the best song yet. Very much Magic Sam in this instrumental.
• Out of Business ()

Jimmy have recorded several versions of "All for business". They´re always fascinating in some ways, and this take is no exception. By far the best track on the album, Jimmy's guitar is for the first time mixed so you really can enjoy it. This track alone is worth the price of the album. For the first time on this album I´m moved. That guitar! Shit.
• Low down dirty dog

This is the best up tempo song on the album. Nothing fancy, just low down and thumping. The best tracks are the last ones on the album. The French producers never did know how to put together an album

All for business This is one of the classic albums in blues history. Recorded October 27 and November 1 in 1971 you can feel the dark and cold autumn weather when you listen to the album. The band is hard-core Chicago and Jimmy Dawkins gives ample proof of why he was considered as on of the best guitar players in Chicago at the time. Jimmy plays in his concentrated, yet fluid, style. He hadn´t yet started to break up his playing as he did a couple of years later. This is the Fast Fingers who´s playing.

• All for business (4.41)

The album opens with the best and the most original of Dawkins own compositions. There´s no need to say that much. This is a classic blues song. Big Voice Odom´s singing is the only drawback. I´d preferred Jimmy Dawkins at the microphone.
• Cotton Country (8.10)

One of the real highlights on this album are the long instrumentals Jimmy shares with Otis Rush. The songs might be long but I wouldn´t want to be without a single note. I have never heard Otis Rush stretch out and play with such ease as he does here. The two instrumentals, three on the CD, could be used to define modern Chicago blues. Listen to Otis Rush! Jeesus.
• Moon Man (4.58)

"Moon Man" is more of a filler. An up tempo song and it´s not really a bad song, but the competition is tough. The lyrics are fun and at the time up to date. Jim Conley on sax riffs nicely and his solo has a jazzy edge and Dawkins fill-ins are perfect. But anyway, more of a filler.
• Down so long (3.58)

Now we´re talking! This is swampy shuffle with a real cool feeling. Chucka-chucka-chucka. Otis Rush have found a tight groove and Jimmy Dawkins laid-back singing is just right!
• Welfare Blues (4.29)

A slow blues with a wonderful guitar intro by Otis Rush. But somehow this songs sounds a bit stylized, too thought out, to move me.
• Having such a hard time (3.40)

An upbeat song with a slightly funky feeling. Jimmy plays cool guitar, but I don´t think Big Voice Odom´s voice works here.
• Sweet home Chicago (7.20)

Not the Magic Sam/Robert Johnson standard. This is a long instrumental where Jimmy Dawkins and Otis Rush take turns and build up an incredibly intensity.
• Born in Poverty (7.25)

A minor-key blues. This is as blue it could get in Chicago around 1970. Big Voice Odom looses his voice at the end and Jimmy plays his monotone phrases over and over again and Jim Conley's saxophone wails sadly in the back. When I first started to listen at blues, this was the kind of songs I searched and longed for. Turn up the volume, kneel down on the floor and let the music hit you.
• Jammin´ with Otis (8.45)

The CD contains three bonus tracks. The first one is hot instrumental. Dawkins grunts at the start: "Otis, will you kick of something in G. Up tempo, like 'Everyday I have the blues'?" Otis does that and the loose swinging shuffle shuffles on around 9 minutes. This is more Otis Rush than Dawkins. Stunning guitar from Otis though.
• Hippies Playground (3.18) ()

Jimmy recorded this with Wild Child Butler in the sixties. This take is much more bareboned and Dawkins plays some of his best guitar on the whole album! Real tight rhythm guitar and the solo is an outstanding example of everything Dawkins had learned before. The solo is not even 30 seconds long, but every aspect of the Dawkins´ style is there - The metallic tone, the insane attack, the concentrated notes. This track and this solo is reason enough to buy the CD if you already have the LP.
• Moon Man (4.15)

Dawkins guitar sounds more and better than on the LP take. A better version maybe, but it´s still the weakest song on the album.

Tribute to Orange Jimmy won an award for "Fast Fingers", an award he got in the French town Orange. This album, recorded during an European tour in November 1971, is Dawkins tribute to the town. When I bought this very ugly looking LP, I had high expectations. After listening to the album for the first time I was very very disappointed and I still am! I almost can´t stand to listen to this album. Let me state that Jimmy Dawkins is great on the album. He plays excellent fluent guitar with a nasty sound and his singing is also among his best. It´s the band that gets to me. They are the worst band, by far, I heard back Jimmy Dawkins. Especially Gatemouth Brown on rhythm guitar and Cousin Joe on piano manage to destroy every good intention Jimmy Dawkins has. This could have been such a good album! Buy it for Jimmy's sake. Listen to the guitar. Try to forget the band. I can´t and that´s why I can´t listen to the album.

• Off Business (5.54) (called All for business on the CD ?)

The typical "All for business" chord changes are missing here, which makes this version the least interesting of the versions there is. Jimmy Dawkins plays some very intense guitar, but when Cousin Joe excels in stiff handed piano clinks, the song never gets a groove.
• You´ve got to keep on trying (6.08) ()

Jimmy Dawkins plays complex and stunning guitar and when he throws in those fat fat chords I give up. Jimmy Dawkins wins the fight against the band on knockout!
• Ain´t never had nothing (3.11)

I have to turn up the stereo and yes! The band is still there somewhere in the studio. Too bad. A slow shuffle with not as intense guitar from Jimmy Dawkins as on the first two tracks and that make this the weakest track so far.
• Born in Poverty (4.36)

Cousin Joe plays the riff which is supposed to drive the song forward. Jimmy's voice sounds too weak and my God, Gatemouth Brown is making some kind of noise in the back. Next song...
• Marcelle Morgantini´s cassoulet (6.00)

A John Lee Hooker stylish boogie that won´t make nobody happy. These kind of songs needs a good band or at least a heavy-handed band. Here it´s plain boring. It´s fun for a moment to here Jimmy play a boogie riff, but just for a moment.
• Your love (3.25)

If the song above sounded as Hooker "Your love" reminds of Otis Rush´s "All your love". If think this is the best band effort on the album. Even Cousin Joe and Gatemouth Brown manages to find a groove. Unfortunately Jimmy´s guitar is a bit to deep down in the mix and it´s clear Jimmy is no Otis Rush on vocals.
• Tribute to Orange (4.21)

An up tempo Texas kind of instrumental shuffle where Jimmy and Gatemouth Brown swaps solos. Jimmy is no T-Bone Walker on rhythm guitar! And who gave Ted Harvey his toykit drums?
• Mississippi Bound (6.30)

Again the band and Jimmy Dawkins fights it out, but on the last track the band gets even and knocks Jimmy Dawkins out cold in the first round. Isn´t there some sound technician out there who could isolate Jimmy's guitar and voice and then record a new rhythm section?

Transatlantic 770 The Excello record deal proved to be a big disappointment in Jimmy's career. This album is recorded in London with around twenty musicians, producers and others involved. I guess Excello had a plan for Dawkins, but that Jimmy never fitted in to them. "Transatlantic 770" is overproduced and after Delmark´s solid blues albums this one feels experimental and "freaked out". Too bad. The signs of something good is there. Jimmy´s guitar are at times brilliant and his voice is really good.

• Thing I used to do (3.07) ()

Guitar Slims classic is here turned into a funky shuffle and it works! When I heard this for the first time I didn´t like it at all, but as I grew older and wiser I started to like the groove here. And listen to Jimmy's guitar! Listen to it loud. He had never before hit the strings so hard. That first lick he plays. Wham.
• Make my way in this world (4.30)

The funky and soulful feeling from the first track continues. Not really a bad song, I guess it´s contemporary, and the guitar still is tough and mean. But Jimmy Dawkins and "popsoul"? No, I prefer Jimmy when he plays the blues.
• Think twice before you speak (3.20)

Pete Wingfield´s piano sets the mood and overall this slowblues is rather OK, but nothing happens.
• 1011 Woodland (3.44)

Hmm. If you always dreamt of hearing Dawkins play through some kind of a fuz box, your dreams come true. I´ll change songs. This one stinks.
• The mighty hawk (4.58)

It starts as a slowblues but turns into a soulblues kind of song. Some rather dreadful choir parts, luckily they´re rather discreet, and an uninspired guitar solo makes me just say no to this one too.
• All for business (5.40)

As usual the "All for business" version is exciting. This is actually the first version I heard of the song. First I hated it, but now this is my favorite take. Jimmy Dawkins plays intense and forceful guitar and when first the horns and then the strings come in I´m down on my knees, I think this song is actually made better the more produced it is. This is a weird song, listen to it. You either like it or hate it.
• High cost of living (2.32)

Didn´t Albert King include this one on "I´ll play the blues", the last track on side 1? Oh, well, I have to check it out. Jimmy Dawkins don´t have Albert Kings ease and the band here can´t match the Stax houseband.
• Stoned Dead (4.18)

A tough guitar riff and some intense singing from Jimmy Dawkins makes this one of the toughest songs Jimmy ever recorded. No dynamics, there´s just that grinding guitar all the time.
• Love and Understanding (4.30)

A traditional slowblues with some nice lyrics and with good solos from both the saxophone player and Jimmy Dawkins. But I promise you won´t remember the song ten minutes after you listened to it.
• No more trouble (3.16)

If "Stoned Dead" was tough this is even tougher. The difference is that on "Stoned Dead" Jimmy seemed in control, here the band just does their own thing. Some aggressive guitar though.

I want to know Jimmy Dawkins was among the first who Marcelle Morgantini recorded during her Chicago visits. Jimmy´s band at this time, featuring Jimmy Johnson on guitar, Sylvester Boines on base and Tyrone Smith (prob. Centuray) oin drums, was the toughest and meanest and funkiest bluesband at the time. In fact, these musicians backed several other artists on Marcelle´s recordings. Listen too Hip Linkchain´s album (reissued on Storyville) where Tyrone Centuray plays old time Chicago blues with an amazing intensity and force. With Jimmy Dawkins the music seldom was the old time blues, Jimmy excelled in funky workouts and blue minor key masterpieces. This album was recorded October 16th 1975 at Ma Bea´s and it´s better than the other MCM album Jimmy recorded one year later, mostly because Jimmy and the band works together and because the music is more varied. But, I wouldn´t be without the almost bizarre guitar tone in "Come back, baby".

• I want to know (8,58)

I love the the opening to this song. Jimmy plays heavy distorted chords and Jimmy Johnson and the band sneaks in as Jimmy´s guitar gets more and more dramatic. I think the band is better here than on the highly acclaimed Otis Rush Japan live. I want to know is one of Jimmy´s very best songs, kind of a seventies version of That´s alright. Jimmy´s voice is sensitive and more as on Fast Fingers than on Blisterstring. The guitar is not as experimental yet as it would be on Blisterstring, but I love love love when the guitar wails out comments to the lyrics. And the fat chords Jimmy throws in at times! I want to know is nothing but the blues. I couldn´t think of a better song to listen at when the fall starts to creep in to your living room.
• Rock me baby (5,00)

After the lesson in blues Jimmy gave in I want to know he continues with this deep in the mud version of Rock me. The tempo is slow and Sylvester Boines and Jimmy Johnson lays a solid foundation to Jimmy´s growls and whining guitar. Jimmy really is in great shape this evening.
• I wonder why (4,39)

The first two songs on the albums is also the best songs. On this standard Jimmy and the band have nothing new to give. It´s in no way a bad performance, but after the first steaming 14 minutes this feels like a filler, a time to let the audience rest from the blues. Jimmy Johnson and Tyrone Centuray swings hard though and Jimmy´s guitar sings.
• Cold sweet blues (7,10)

The b-side on the LP kicks of with a long funky workout. James Browns contribution to the canon of black music can´t be overestimated. The song is 7,10 and that´s atleast 4 minutes too much...
• Driving wheel (5,30)

After the looong intro track Jimmy steps in to blues country. A standard blues where nothing sticks in your mind, not even the guitar is overwhelming.
• Will my baby be home tonight (5,38)

The b-side of the LP ends in style with the other two songs - a solid song but nothing special and if you compare Dawkins´ version with Otis Rush, the song is almost mediocre. Otis plays the intro with a fluent elegancy Jimmy´s not even close to achieve.

Blisterstring In 1976 Jimmy Dawkins returned to the Delmark label. The credits for this must go to the albums producer Steve Tomashefsky. He even was ready to pay for the sessions if Bob Koester didn´t like the recordings. The goal with the recordings was to capture how the Jimmy Dawkins band sounded live at the time. If you compare this album with the actual live recordings available from the same time I can´t say the goal is achieved - luckily enough! The live recordings are full of lengthy guitar solos over slow shuffles. Not too inspiring... Blisterstring on the other hand showcases the whole band, not just Jimmy´s guitar. Jimmy Johnson plays excellent rhythm guitar, Sonny Thompson´s piano fits surprisingly well and Sylvester Boines and Tyrone Centuray is a driving solid funky blues rhythm section. I think this is the best band Jimmy Dawkins ever had.  This is a complex album. The first time I heard it, on the ugly yellow and gray vinyl, I didn´t like it. The wahwah effects, the at first hand sloppy backup and Jimmy´s hoarse voice - it all seemed as a big disappointment. Today I think this is the most interesting and most exciting and actually the best album Jimmy Dawkins ever made. Take a look at Blue Dog News 9 for further discussion of Blisterstring.

• Feel so bad (7.34)

"I feel so bad". In my opinion Otis Rush have made the best version of this classic song (On the "Mourning in the morning" album). Jimmy Dawkins cut is not less interesting because of that. Jimmy Johnson is fond of his wahwah pedal and Jimmy Dawkins have found a real fat tone on his guitar. Very typical Dawkins guitar, I love those blistering runs he plays in the last solo. This is not everybody's cup of tea, the song is too long and too strange to be loved by everyone. Some of us though will love it.
• Blue Monday (4.15)

"Blue Monday"! Definitively the coolest song Dawkins ever recorded. A great tribute to the New Orleans sound. Listen especially to the credit Jimmy gives to Smiley Lewis! Sonny Thompson´s piano is, of course, great here. Okedoke from N.O!
• Chitlins con Carne (3.48)

Junior Wells 1965. Listen to "Hoodoo Man Blues" for the most beautiful take of this standard. This one here is OK but never takes off, the song is faded out after 3.48 - a sign that nothing really happened in the studio.
• She got the blues too (6.55) (CD bonus track)

A slowblues with some nice guitar from Dawkins, especially in the last solo where he plays his trademark tremolo notes. This song is bit too stylized to fit my taste, I guess some might find this song to be the best on the album. If this track had appeared on almost any other of Dawkins 70's album I had ranked it very high.
• If you´re ready (5.05)

I copy what I said in Blue Dog News 9:
"I recently bought the CD reissue of Blisterstring (Delmark DE-641) and I found myself listening to the same tune again and again. And it was a tune which I never paid any attention to when I played the LP! "If you are ready" is the tune. It´s not a straight blues. Dawkins and the tight band churns a relentless soul/funk beat in a Chicago soul mode. Dawkins starts the song with fat ugly chords and then the band lurks in. First a little bit laid-back, but when Jimmy Johnson's perfect driving Chicago soul backup guitar comes in the band really swings. Dawkins singing is hard, grunting and ugly, almost as ugly as his guitar tone. Listen carefully to his solo guitar. Often just a single note, a note which Dawkins hits hard and then holds. Incredibly aggressive. Dawkins in the seventies have always made me nervous. His guitar playing is irregular. First he seems totally uninterested, playing some random notes and, suddenly. Wham! Rapid-fire licks and an almost insane attack. You can never be sure of what Dawkins is going to do."

(In Marty Spaulding´s Real Audio show Sunday Blues , June 13'99 show 2h 50 min, Marty plays this very song

• Blues with a feeling (5.51)

I just say three keywords to describe this song: Fat chords (West Side touch), Wahwah and tough singing. Straight blues.
• Ode to Billie Joe (4.32) ()

My favorite track! This country standard was very popular among the Chicago blues bands in the 70´s, the Dawkins band turns it into a driving soulblues funk workout. Jimmy plays his best and most aggressive guitar on the album and the band rocks! This is as good as blues could get in the 70´s, using soul/funk/rock elements and blending them into the blues without losing the blue feeling.
• Welfare Line (7.53)

An archetypical blues. Everything from the lyrics to the guitar fills makes this song to a timeless piece of music. Note that is the same song as on "Hot Wire 81", this take is more aggressive.
• Shufflin´ the blues (4.45) (CD bonus track)

I thought the first CD bonus track, "She got the blues too", was a bit too traditional, this the second bonus track gives me a thrill. The song is a kind of soulfunk blues workout similar to "If you´re ready" In the middle of the song there´s a nice break and then the groove continues. I like this mix between a funk/soul beat and fat blues guitar!
• Peeple will talk (6.10) (CD bonus rack)

Again a slowblues. Though this is also kind of traditional, I somehow like it better than "She got the blues too". Why I prefer this one I can´t say! A quite typical Jimmy Dawkins slowblues, e.g. it doesn´t get much better than this.
• Sea of love (3.42) (CD bonus track)

A bouncy shuffle! Sonny Thompson´s piano is in the forefront. Dawkins song style in the 70´s doesn´t fit these kind of songs.

Come back baby November 10th. 1976. Out from the studio - in to "Big Duke´s". Richard Kirch on guitar. Sylvester Boines on bass and Tyrone Centuray on drums - and Jimmy Dawkins on guitar and vocals. This could have been great. This could have been an epic album! If there had been some people other than the recording engineers in the club... if the band had talked over which songs they´re going to play... What´s left is Jimmy Dawkins´ Guitar - and this takes the album a long way. I wouldn´t be without this album, but I haven´t bought the CD-reisssues on Storyville. If you´re a Dawkins fan(atic) you should have at east one of his 70´s live recordings. The best bet is Storyville´s reissues on CD or try to find the old vinyl "I want to know". The interested buyer should also note that the CD reissue of this album has four extra tracks.

• Come back baby (5.49) ()

The first seconds of the song makes you gasp - That Guitar - That Sound, so typical Jimmy Dawkins. After awhile you realize nothing more happens. The only thing there is, is the sound and tone. Anyway, "Come back baby" is a very good start to this album and at least I look forward to listening to the next song.
• I got wise (8.35)

A slowblues again, this time a regular 12 bar blues. Again the guitar is what you notice. And again, nothing really happens. Next song!
• Cross Road Blues (5.54)

A slowblues... The same tempo an sound as before. Oh well...
• Hard road to travel (6.48)

A slowblues... As on the other tracks there´s some intense guitar.
• Blue shadows falling (5.23)

A medium fast shuffle. It could have been great if you could hear the band...
• Ode to Billie Joe (8.06)

I loved this song on "Blisterstring", here I can´t stand to listen through the song. Awful take! The first minutes are quite promising, but the last five minutes are a pain!

Hot Wire 81 After "Come back baby" Jimmy Dawkins stopped recording and cut down on his touring. It´d take five years before he returned to a recording studio. The odds that this should be a good album where not high. It´s done during an European tour with very little time in the studio. One fact that turns it into such a good album is the band, Richard Kirch and Sylvester Boines, both who had played with him for years and Jimi Schutte on drums. They make a great band! Around 1980 Isabel recorded several very interesting albums, the one that comes immediately to my mind is Buddy Guys "Blues Giant" album where Buddy for the first time ever managed to play in the studio what he had done on the road for years. It´s interesting to compare Buddy Guys and Jimmy Dawkins Isabel albums - Buddy Guy works up a frenzy and intense climax, Dawkins plays more soft and laid-back than he ever had done before. The fastfinger guitar with a killer tone is gone. Now Jimmy plucks the strings with his bare hands and the tone is relatively soft. Instead it´s his voice which is the important factor. Never before or after have I enjoyed Jimmy's singing more than on this album. The liner notes by Armand Meignan tells it all: "Dawkins has no wish whatsoever to dazzle, he possesses the highest degree of the art of eloquence and relevance." This is actually the first Jimmy Dawkins album I bought, in the summer of 1987 I think, and since then it´s been one of my favorite LP´s. (I still prefer to play my LP collection!)

• You just a baby child (6.00)

The LP gets a killer start, this song is intense without being heavy. No screaming guitars, no heavy drums, no grunting and moaning from Jimmy. Just a plain West Side guitar riff and Jimmy's thoughtful guitar and for the first time ever, Jimmy's Voice. If you just have heard the intense 90's Dawkins you might not like it, but please, give it a try!
• Ruff Times (5.40)

Ruff times gives a glimpse of the political side of Dawkins. Over a semi-quick shuffle Jimmy comments the bad times in the states. Interesting lyrics and overall a great song.
• Welfare Line (8.30)

All the aggressiveness from the version on "Blisterstring" is gone. Instead Jimmy and the band turns the song into a long meditative piece without flashy solos. A masterpiece!
• Kold Actions (7.25) ()

The tempo from "Welfare line" is slowed down... This is sloooowblues. Jimmy plucks the strings one by one, creating a "doomy" feeling. This track is almost absurd in its slowness - but it works. Meditation in Blues.
• Roc-kin-sole (5.10)

Well, this is a kind of dance tune, but the lazy drums, soft guitar and the sad singing gives the tune a weird feeling. You either get intensely bored or you´ll fall into a trance.
• Peepers Music (4.50)

Another up-tempo number with some nice rhythm guitar from Richard Kirch. Now the concept of the album starts to get a little boring. Jimmy plays even softer guitar than he have done before on the album.
• My Way (5.15)

The weakest track on the LP also ends it. Jimmy welcomes the listener to see him in Chicago and the band churns out a funky soulbeat. Nothing to get too excited about.

American Livin´ Blues Festival Not much to say of these tracks. They are recorded during an European tour in 1982. Richard Kirch, Larry Martin, g, Sylvester Boines, b, Abb Locke, sax, and Jimmie Schutte drums backs Jimmy Dawkins. These tracks shows Jimmy Dawkins still could play raw and hot guitar. The sound is not as tough as it could be, although Jimmy's attack is powerful.

• Don´t ch´a wanna know (4.28)

A great riff kicks off the start and Jimmy's guitar is sharp and aggressive. Short notes and "chuggy" chords. Great! Abb Locke riffs nicely in the back and he even takes a solo. Jimmy seems to be in a great mood. This is very Chicago! The band keeps up the groove
• Sound of the West Side (5.26)

This is very very West Side A Magic Sam type of riff carries the song and as the minutes ticks away the intensity builds. Jimmy plays some nasty guitar. The sound could have been tougher though. The opening solo from Jimmy is masterful. This is the Blues player Dawkins. A very tough song with gritty singing and guitar.
• Paris Jam (9.35)

All the artists who performed in the festival shares the stage during the last number. The song is rework of "My Way" from "Hot Wire 81", although played in a faster tempo. It wasn´t a very good song on "Hot Wire 81" and it isn´t a very good song here either.

Feel the Blues In 1984 Jimmy got a contract with John Stedman, owner of the English JSP label. JSP, just as Black & Blue in the Seventies, have been accused of recording some pretty bad stuff. JSP should though have credit for recording several artists who shamefully enough didn´t have record contracts elsewhere, e.g. Buddy Guy, Jimmy Dawkins, Lefty Dizz, Carey Bell and many more. JSP also was one of the first blues labels which foresighted the CD-revolution. Jimmy Dawkins JSP album is unfortunately not one of the strongest albums on JSP, and it´s definitely not one of Jimmy Dawkins strongest albums. Staffan Solding have written the liner notes and his name makes me feel sad and blue. He was the DJ on the Swedish radio program "Mera Blues" for many years. Today there´s no blues programs whatsoever on Swedish Radio. It´s a shame!

• Feel the blues (4.46)

Popsoul! I liked when Jimmy Dawkins churned out the heavy funk on "Blisterstring", here the band is not as funky and Jimmy's guitar is thin and uninteresting. But I can´t help liking Richard Kirch´s rhythm guitar! the CD has a better mix and the sound is tougher - Go for the cd.
• Highway Man Blues (7.52)

A very traditional slowblues which just goes on and on and on and on without nothing happening. J.T Burks plays harmonica on this one, but he could just as well stayed home. Jimmy continues the style of guitar he developed on "Hot Wire 81". It worked on that album, here the guitar never moves you.
• Last Days (8.20)

Another traditional slowblues. A little better than "Highway Man Blues", Jimmy Dawkins at least sounds interested when he sings. Uninteresting guitar and "ungrooving" band efforts makes this a nice sleepingpill...
• (If you got to) love somebody (6.10)

This is one of the best songs Jimmy Dawkins have written. A soulblues kind of thing, and this is the best song on the album. Richard Kirch have found a hypnotic riff and even Professor Eddie Lusk´s organ is OK.
• Christmas Time Blues (5.19)

Nora Jean Wallace, who later sang on "Kant sheck dees bluze", wishes the listener a Merry Christmas. An up tempo rollicking shuffle which doesn´t swing! It´s nice to hear that Nora Jean Wallace has developed as a singer since 1984...
• Have a little Mercy (8.12) Another slowblues and it´s the best one of the three on the album. Richard Kirch plays wonderful Eighties slowblues rhythm guitar!

Blue Ice Jimmy´s comeback! Recorded during an Icelandic tour this is Jimmy´s first recorded tracks in a long time. The most interesting thing about this album is that Jimmy have found his guitar again. After ten years of thumbplucking Jimmy attacked the guitar as in his younger days. The songs reflects a typical Jimmy Dawkins show, some classics and an original or two in between. The band is a local icelandic one and they do a good job, their leadguitarist is inspired of the white english guitar heroes.

• Feel so bad

After Chicago Beau have played 4 songs Jimmy steps in and the temperature rises several degrees. Jimmy´s guitar tone is compressed and ugly and his voice is mixed up high. I´d preferred the guitar more up front and an overall tougher sound. Jimmy live likes to jam and Feel so bad is a good warm up.
• Welfare line

Jimmy plays a long intro, I don´t really like his sound, but he plays typical Jimmy Dawkins guitar. When compared to the other two Welfare lines, on Hotwire 81 and Blisterstring, this take don´t have the same intensity. Jimmy´s voice is, as I said before, high in the mix, and it´s clear Jimmy is no great blues singer. Where is the reverb? I heard Jimmy sing much better both on albums and live. The band tries to build a climax but the drums are a bit too stiff and Jimmy´s guitar never takes off.
• That´s alright

This could have been much better! That´s alright has always been one of my favourite songs and Jimmy Dawkins plays some great guitar here. His opening runs are pure Jimmy Dawkins, but the band manages to transform this intense masterpiece to a jaunty blues song, which isn´t my cup of tea. That´s alright should be played deep down and dirty! In the end the second guitarist, Gudmundur Petursson, gets a chance to play an intense solo in the english tradition.
• You don´t love me
  This song fits the band much better than the more intense hardcore Chicago material. All I have to say is Shake your booty, brother. No funk, but a great dance tune.
• Nightlife

One of the very first songs I heard with Jimmy Dawkins was this one. Jimmy was in Sweden (in 1985 i think) and played with the great local band Mr Bo´s Blusesband. The Swedish Broadcasting Company recorded one show and the last song was Nightlife. Jimmy hadn´t played much guitar, but suddenly he exploded, and attacked the guitar like a maniac, holding notes forever and playing blistering runs high up on the neck. Jimmy doesn´t get that intense here, this version is still by far the best song on the CD, the band lurks in the back and I can almost see Jimmy close his eyes and wander around on the stage hitting notes he thought of the whole evening. Not a bad ending!

Kant sheck dees bluze Jimmy Dawkins recorded a couple of more albums, on the English JSP label, in the eighties. I haven´t heard the live album, but the studio album was for me a big disappointment. After the JSP sessions Jimmy stopped recording and concentrated instead on his newly formed record label, Leric. The first signs of his return to the living (well, at least his return to recording) was the live recordings he cut during an Iceland tour in 1991. The same year Jimmy went into a studio in Chicago with Eddie Lusk on organ, Johnny B. Gayden on bass, Billy Flynn on guitar and Ray Scott on drums, and the result is what I´m going to review. It´s all recorded on one day, June 18, 1991, and as a listener you can notice that. There don´t seem to be no time for rehearsing, second takes or talking the session over. It´s a "get into the studio and play your ass off" feeling. I read this is how Jimmy Dawkins likes to record, get in the studio and blast off. The band works, but they´re not very exciting. Well, well, enough complaining, the songs:

• I ain´t got it (4.14)

A straight hard driving shuffle opens the album. Both Jimmy's guitar and Eddie Lusk´s piano gives nods to Elmore James. Jimmy's guitar sound is uglier than ever, but in my opinion it sounds to "compressed" to be really enjoyable. Jimmy haven´t played this much guitar as he does on this album ever! If you love Jimmy's guitar you won´t be disappointed with this track or this album.
• Rockin D. Blues (5.51)

The tempo slows down and Jimmy's guitar wails and sings comments all through the song. It´s interesting to notice how Jimmy's voice have matured. He´s still no great singer, but he found a way to use his voice so it blends in nicely with the style of blues he plays today.
• Made the hard way (5.51)

A medium paced shuffle with good lyrics. Jimmy sings how fame and fortune always evaded him, but he bears the pain. There´s a talked part in the latter half of the song where Jimmy comments the political situation at the time. The trouble is the song is too long!
• A love like that (4.08)

Nora Jean Wallace, a Leric artist, steps in and gives a soulful touch to the album, but I don´t like her voice. Johnny B. Gayden shines on bass. He´s a great funk/soul baseman, I don´t think he is as good in straight blues shuffle Eddie Lusk plays a nice solo here too.
• Kant sheck dee bluze (9.09)

The best song on the CD. Minor key. Good guitar from Flynn and Gayden´s bass gives a doomy feeling. Eddie Lusk´s piano lurks in the back and nicely fill in the spaces with all from thundering base chords to rapid-fire licks way up the keyboard. Jimmy Dawkins then? Strong lyrics, strong voice and great guitar. 9.09 feels a little too long though.
• Gittar rapp (4.55)

Billy Flynn and Dawkins fights it out in this great hard rocking instrumental.
• Too bad baby (4.30)

A shuffle. Eddie Lusk´s piano sets the groove. Jimmy's guitar sound is getting boring. Billy Flynn have found a nice riff. Do you get the picture?
• My man loves me (4.13)

Nora Jean Wallace again. I can´t say why (well, it´s her voice actually), but I don't like this song. A kind of slowblues with full throated vocals from Nora Jean.
• Get on the ball (5.10)

A Johnny B. Gayden kind of bluesfunk song. In my opinion this is not Jimmy's cup of tea.
• Wes Cide Bluze (4.57) ()

I like the start of this song. I like it very much. An "All your love" kind of riff sets the mood. I love when Jimmy plays against these kind of riffs! Unfortunately Eddie Lusk plays an organ solo. His sound here is to meek and weak to fit on this song.
• Beetin nockin ringin (7.08)

A slowblues where Dawkins guitar sound after seven minutes gets to you - in a bad way.
• Luv sumbody (4.02)

I think these kind of soulblues fits Jimmy. This version is marred though by too funky bass and too boring guitar sound
• Gotta hold on (6.10)

On the last song on the CD Jimmy Dawkins performs a gospel tune. In his later albums Jimmy's macho style is pronounced. More lyrics like this Mr Dawkins! The world needs hope.

Blues and Pain When I saw this album I immediately fell in love! Jimmy Dawkins is standing against a brick wall, looking mean and bitter at the same time. It´d take three year for Jimmy to record again after the Earwig deal. This time he did it on the small Atlanta based label Wild Dog. I was afraid this was going to be another "I got hair on my chest I´d like to show it" album like "Kant sheck dees bluze". Luckily enough this is not the case here. In fact this is not only a good album, it´s in my opinion one of the best albums Jimmy Dawkins made!

• Right to quit you (3.54)

The album stomps off with a fast paced shuffle. The band backing Jimmy Dawkins is very good. The organ player has the right sound, the base player plays the right lines and the rhythm guitarist throws in his chords perfectly. Jimmy's guitar is not as upfront as on "Kant sheck dees bluze" and the tone is not as compressed. I like the guitar here much better. Overall, a great opening track which clocks in just under four minutes.
• No pain (5.45)

Listen to this one! The echo on the song, the piercing guitar, the unison wail and guitar in the last bars and then the band! This is how Jimmy Dawkins should be backed. A fat organ, elegant rhythm guitar and solid, yet light, drums. One of the best songs Jimmy Dawkins ever recorded - not because the song in itself is so special - it´s a standard slowblues - but because everything comes together. And the song is not too long either!
• Blues and soul (3.31) A re-recording which rocks more than the absurd take Jimmy cut on "Hot Wire 81". A great straightforward rocking dance tune.
• Lonely Guitar Man (5.17)

A perfect song. A slow and blue blues with great horns, great organ, wonderful baselines and terrific vocals and guitar from Jimmy Dawkins. The little touch of soul sets this in a class by itself when compared to the other "slowblueses" from this period. This is Jimmy Dawkins at his very very best. Not just his guitar - The guitar, voice, band works together. Jimmy Dawkins is not a oneman show. When he got the right backing he is the Master.
• Fool in heah (5.38) ()

Something new! The song starts with a semi country blues guitar and then there´s two guitars and drums. Very very typical Jimmy Dawkins guitar. The combination of "She Moves Me" drums, a simple country blues stylish guitar and Jimmy´s blasting solo guitar is almost weird. No one plays guitar like Mr Dawkins!
• Gitar Jive (4.20)

A killer instrumental with a killer tremolo riff at the start. One of the toughest instrumentals Jimmy recorded. The rhythm guitar is great right trough the track and the song gets more and more intense the longer it continues.
• Know your lover (4.38)

The first boring track on the album. A standard shuffle with some raw soloing from Dawkins.
• Driftin´ Sand (3.52)

This is in the same mold as "You got to love somebody". Compare this track with the one on "Kant sheck dees bluze". This one is much tighter and better.
• Down with the blues (6.44)

The weakest slowblues on the album without being bad. The competition is awfully hard!
• Who done it (3.53)

A bouncing shuffle that doesn´t make a lasting impression.

B phur Real Only a year after "Blues and Pain" was released Jimmy had a new album out. I bought the album with the last nickels deep down in my pocket, I was totally broke. Was it worth living on water and bread for two weeks? No! I could had saved my money and bought food instead. "B phur Real" is not as good as "Blues and Pain". The songs are generally too long and the organ is often replaced with a piano. The production of the album is at the same time tougher and lighter. Jimmy's guitar is higher mixed and the drums are a little heavier, but at the same time the piano gives the production more air.

• Two timin´ lover (5.20)

A straight shuffle opens the albums and Jimmy Dawkins plays very typical "Dawkins in the ´90´s" guitar. I preferred the guitar on "Blues and Pain" where it was deeper in the mix, making it part of the whole sound, here it´s a more traditional lead guitar.
• Lonesome Blues (6.03)

An updated West Side sound gives this track a fresh feeling. After 6.03 the freshness is gone. No doubt though Jimmy Dawkins tries his very best. The magic is just not there.
• If it ain´t love (6.14)

A nice piano intro and a heavy-handed horn arrangement sets the mood on this a bit lazy tune. The horns reminds me of some of the arrangements Son Seals used to have on his Eighties Alligator albums. I had welcomed a saxophone solo, but at least the piano player gets some space to stretch out. Jimmy takes a solo near the end but he doesn´t seem to get loose.
• B phur Real (8.44)

A similar kind of riff as on "Fool in heah" from "Blues and Pain", but here including the whole band. It´s definitely too long, but I wouldn´t want to be without Jimmy Dawkins shouting who in today's blues world is for real. Who´s for real then? Sorry, you have to buy the album to find out!
• Walk with me (4.58)

"Dust my broom"! A fast shuffle with the best guitar from Jimmy Dawkins yet. I especially like his fat chords between the licks. The piano player, Henry Parilla, gets the chance to take another solo. I prefer Jimmy Dawkins with an organ, but he seems to prefer piano players. Well, who am I to tell Jimmy what kind of backup he should have... Anyway, this tune rocks and Jimmy Dawkins spits out aggressive licks through the song.
• Begging Business (3.44)

The shortest song on the album with the same kind of horns as on "If it ain´t love". The band sound a little stiff here. It´s just thumpa-thumpa-thumpa with no swing. Wasn´t that an excellent observation... Well, well, Jimmy Dawkins takes a long and rather interesting solo, but overall nothing to write home about.
• You got it, baby (7.20)

The only slowblues on the album in the now quite typical Jimmy Dawkins tradition. It´s good, but in my opinion the weakest slow blues he recorded in this decade. I can´t say what is missing. Everything you could expect to be there is there, but but... Maybe it´s the too bright organ?
• Can´t hide my love (5.09)

The rhythm guitar pumps a heavy riff and Jimmy Dawkins delivers his usual stinging comments. A kind of Muddy Waters style "Rock me baby" from Muddy´s Blue Sky years if you get what I mean.

Me, my guitar and the blues Shucks! This album is stone heavy. When I first heard it I was confused, but after playing it loud a couple of times I began to realize the albums potential. This album really is what all of Dawkins last outputs have pointed towards at. Down-home heavy shuffles with drums that´ll shake if not your soul at least your ribs. Sometimes that´s enough.

• Back to school (4.58)

Chucka-chucka-chucka with nice piano. Jimmy's guitar wails it trademark notes in the back and Jimmy sings tougher than ever. It´s very h-e-a-v-y.
• You don´t want me (4.27)

A fast paced shuffle, a straight old-time shuffle on the two base strings Jimmy Dawkins voice is not beautiful, but it works here. He has developed as a singer. The piano player is good, hmm got to check out who he is..., Steve McRay. Good work Steve!
• Down, Down, baby (3.22)

Jimmy Dawkins have found a new female singer to play with... Francine Reed. Her style and voice fits Dawkins better than Nora Jean Wallace ever did. Again a shuffle, this time a slow one. Jimmy plays his mean notes in the back. At times I forget what a unique guitar player he is. No one plays like Jimmy Dawkins
• I´m running (6.07)

The liner notes says this was a late night jam which happened to be recorded. Steve McRay shines on his piano again and Jimmy plays a little more subtle guitar than he done on the first three tracks. This track is also not as heavy as the other ones. The best track so far?
• Tuff Girl (4.56)

This could be Rolling Stones. The guitar though is straight Jimmy Dawkins. I´d preferred more soul in the tune. Not my cup of tea.
• Me, my guitar and the blues (6.48) ()

Jimmy Dawkins blues. In the same league as "No Pain". The liner notes: "No explanation needed, pure Jimmy Dawkins." I agree.
• Jimmy´s Bag (3.38)

The usual instrumental track. This feels uninspired compared to "Gitar Jive" on "Blues and Pain", where the rhythm guitar was great.
• True love (6.11)

Whoa now as Lazy Lester ones sang. A "Dust my broom" riff really kicks off this very heavy shuffle. The rhythm guitar may remind more of Axl Rose playing the blues than let´s say Brewer Phillips (Who´s my favorite shuffle rhythm guitarplayer!), but somehow it works here.
• Back street blues (3.48)

Guess what? Another shuffle! Now I´m getting tired of the shuffles.
• Cold as hell (4.52)

My favorite track on the album. A nice slowblues which have managed to find a new groove and sound compared to the other slowblues´ Jimmy Dawkins have recorded. I especially like the cool baselines. Jimmy Dawkins starts the song of with a well planned solo and then he wails his heart out. More like this on your next CD Mr. Dawkins and why not include a soulblues song or two also and maybe a funky workout and could you please change the tone on your guitar on some tracks and why not record another duet with Otis Rush again and.... My wish list is long. I´m still waiting for the perfect Jimmy Dawkins album I know he can make.

Albums

1) Blisterstring (Delmark DE-641)	This is the most exciting Jimmy Dawkins album. You never know what Jimmy is going to do. He mixes straight hard-core blues with funky rhythms and it works! The band on this album is also the best Jimmy had. Tyrone Centuray and Sylvester Boines on drums and bass makes a terrifying backup and Jimmy Johnson's second guitar is a perfect mix between the Chicagosoul scratch and deep blues. Note that this band also backed Otis Rush on the ´75 live album. They do a much better job on Blisterstring! The album is a bit uneven, some songs aren´t that good, but when it´s good it´s the most exciting work Jimmy Dawkins ever recorded.
2) Blues and Pain (Wild dog 9108-2)	If Blisterstring was a bit uneven, this albums strength is it´s evenness. The first six tracks are killer tracks. I consider this album as the comeback album for Jimmy Dawkins. Great guitar and the best band Jimmy recorded with in the Nineties, especially the drums and the rhythm guitar turns some of the songs from ordinary blues songs to soulful masterpieces.
3) Fast Fingers (Delmark DE-623)	The first album always has a certain charm. Jimmy Dawkins sings with an honest voice and his guitar is amazingly intense. Recorded in 1969 this album gives not just hints of what was to come, it´s a document of an artist who knew exactly what he wanted right from the start.
4) All for Business (Delmark DE-634)	This is Chicago blues! Jimmy shares the guitar work with Otis Rush. What else do you need to know?
5) Hot Wire 81 (Isabel 900.508 also Evidence ECD 26043-2)	Jimmy didn´t record between 1976 and 1981. Hot Wire 81 could then be called a kind of comeback album. Cut during an European tour the Fast Finger Jimmy have changed to Thoughtful Jimmy. The first five tracks are among the best Dawkins have recorded. Often slow, slow, but with an almost hypnotic groove. On Hot Wire 81 you´ll also find the singer Jimmy Dawkins. His voice is great here.
6) Me, my guitar and the blues (Ichiban D2-24909-2)	The toughest album Jimmy Dawkins recorded, but not without soul. If you like your blues heavy and if you love shuffles, you´ll love this album.
7) I want to know (MCM 900.290)	This is the best of the two Dawkins live MCM albums. The first side on the LP is very strong, especially I want to know where Jimmy´s perfomance is an outstanding example of the doomladen seventies style of blues. I know one song don´t make an album, but if it´s as good as i want to know I´ll buy any album. I wouldn´t want to without Jimmy´s lowdown cut of Rock me baby either.
8) Jimmy Dawkins (Vogue LDM 301.49)	I don´t really know why, but I like this album. Jimmy is in great shape, the band is OK and that´ll carry any Dawkins album a long way.
9) B phur real (Wild Dog 9110-2)	The songs, the band, the whole concept is the same as on the other Wild Dog albums. But somehow the groove never works and if it ain´t got the swing...
10) Come back baby (MCM 900.295)	As I said in the reviews this could have been a great album. The band is the same as on Blisterstring, Jimmy Dawkins is in great shape on guitar, but the poor sound and the fact that all songs (at least on the LP) are similar turns this album from a great album to a rather boring album. Dawkins plays good guitar, but he don´t play with the band, he plays for himself.
11) Tribute to Orange (Black & Blue 33.556)	If the band on "Come Back Baby" wasn´t working together with Dawkins, the band here doesn´t work at all. On the first four songs Dawkins plays some of his best guitar ever. Unfortunately the band is the worst he ever played with...
12)Kant sheck dees bluze (Earwig 4920)	When I first heard this album I liked it. Now I think it´s boring. Jimmy plays a lot of guitar, but he plays too much. Every song has several guitar solos and after awhile they blur together. I almost never listen to this album.
13) Transatlantic 770 (Excello 8024)	Hmmm, the best thing I can say of Transatlantic 770 is that it´s interesting. The song material is in fact quite good and Jimmy Dawkins tries to create something new. Excello, well Ace, have released "Blues for Hippies" which maybe is the best way to describe "Transatlantic 770". Music which have been outdated for 25 years!
14) Feel the blues (JSP 1093)	zzzzzzzzzzzzzzzzzzzzzzz....

Top ten songs (For comments the link´ll take you to the reviews)

1. It serves me right to suffer (Fast Fingers)
2. Down so long (All for Business)
3. Ode to Billie Joe (Blisterstring)
4. Lonely Guitar Man (Blues and Pain)
5. Driftin´ Sand (Blues and Pain)
6. Triple Trebles (Fast Fingers)
7. If you´re ready (Blisterstring)
8. You just a babychild (Hot Wire 81)
9. All for Business (All for Business)
10. I want to know (I want to know) 

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Tommy Jansson