Jimmy Dawkins Fast Fingers

First released in 1969, after guitarist Jimmy Dawkins had served a long apprenticeship as a sideman in the Chicago electric blues scene, Fast Fingers remains one of the finest pure electric blues albums of its era. Dawkins proves to be a solid songwriter and an able singer, although the best moments on the album invariably come when he tears off a casually perfect, deeply soulful, but never showy electric solo. Highlights include the stomping instrumental "Triple Trebles," featuring an outstanding Dawkins solo over a funky horn-driven rhythm, and the mellow, laid-back opener, "It Serves Me Right to Suffer."

A Listener can sometimes get overly analytic in reviewing music, and that can lead one away from the big picture. As with this CD by Jimmy Dawkins, it is better to listen and let the music wash over you, allowing you to feel it and enter the variety of musical "rooms" whose doors are opened for you. "B Phur Real" has Jimmy in bold form, testifying with his blues in vocals and guitar. His instrument, a semi-hollow Gibson ES-355, is once again employed here to deliver the soul/blues according to Jimmy. His tone, choice of notes, and playing quirks bring a unique brand of soul to this music. This can't really be described but has to be felt. The able backing band sounds like a well-oiled unit with especially the drum/bass combo keeping up the necessary platform for Jimmy to build upon. The CD contains eight songs. Jimmy's singing style includes adlibbing lyrics on the spot.

Dawkins is back on the right track now, making solid, if less than earthshaking recordings, that at least hint at why he once was billed "Fast Fingers."
Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Incredibly weird title (many of the songs sport equally bizarre spellings), but a major step back in the right direction for the guitarist, whose dirty, distorted tone won't thrill the purists.
Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Recorded live at "Big Duke's", West Side Chicago, November 10, 1976. Tracks 3, 5, 7 & 10 previously unissued.
Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.
It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressing warmly to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day! Harpist Billy Boy Arnold offered the newcomer encouragement, and he eventually carved out a niche on the competitive West Side scene (his peers included Magic Sam and Luther Allison).

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety – he didn't engage in flashy pyrotechnics or outrageous showmanship. It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressing warmly to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day! Harpist Billy Boy Arnold offered the newcomer encouragement, and he eventually carved out a niche on the competitive West Side scene (his peers included Magic Sam and Luther Allison).

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety – he didn't engage in flashy pyrotechnics or outrageous showmanship. It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressing warmly to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day!