For the 1963 album Goin' Away, Lightnin' Hopkins was backed by a spare rhythm section – bassist Leonard Gaskin and drummer Herb Lovelle – who managed to follow his ramshackle, instinctual sense of rhythm quite dexterously, giving Hopkins' skeletal guitar playing some muscle. Still, the spotlight remains Hopkins, who is in fine form here. There are no real classics here, but everything is solid, particularly "Stranger Here" and "You Better Stop Her," making it worth investigation by serious fans of Hopkins' classic material.
Lightnin’ Hopkins is arguably the greatest Texas blues star of the 1960s era. A country bluesman of the highest caliber, his career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. His style, strong rhythms punctuated by his flowing but compact lead lines, created a stinging and heart-tearing evocative sound.
Lightnin' Hopkins was one of the greatest and most popular authentic blues artists. These 26 titles comprise the first 13 singles released by Lightnin' Hopkins between 1947 and 1952. They weren't his first recordings but they were the first released under his own name. Although he did record with other musicians and even with full bands it's these acoustic classics that best illustrate his art and they are some of the most endearing blues tracks ever recorded. Includes the popular songs "Katie Mae Blues", "Big Mama Jump" and his biggest chart hit "Shotgun Blues". A true genius of the genre, this Lightnin' Hopkins release by Jasmine is a must have for blues and R&B fans.
Lightnin' Hopkins' plaintive, soft-rolling blues style is exemplified on "Let's Go Sit on the Lawn," "Just a Wristwatch on My Arm," "I'm a Crawling Black Snake," Willie Dixon's "My Babe," and others. Accompanied only by himself on guitar (and oh what a guitar he plays), Leonard Gaskin (bass), and Herb Lovelle (drums), Hopkins' seductive, intricate guitar picks and strums will dance around in your head long after this CD has played. His voice, which sounds like it's aged in Camels and Jim Beam, conveys his heartfelt sagas to the fullest. A prolific songwriter, Hopkins wrote every song except the Dixon tune.
This quintessential collector’s edition includes two of Lightnin’ Hopkins’ finest albums from the early Sixties in their entireties: Mojo Hand, and the equally splendid Blues in My Bottle. The former was originally released in 1962 by Fire Records, while the latter was issued on the Prestige label in 1961, and contained a combination of autobiographical originals and blues standards. These two LPs are widely regarded as landmarks of the early-’60s blues revival. Both solidblues masterpieces have been remastered and packaged together in this very special release, which also includes 2 bonus tracks from the same period.
Hopkins' earliest recordings in a nice package, booklet with biography, discography, and many detailed informations - plus great sound quality. This is where it all began for the Houston troubadour: 43 solo sides, as evocative and stark as any he ever did, from 1946-1948. The first 13 sides find the guitarist in tandem with pianist Wilson "Thunder" Smith (who handles the vocals on a few tracks), but after that, old Lightnin' Hopkins went the solo route. "Katie May," "Short Haired Woman," "Abilene," "Shotgun" – all these and more rate with his seminal performances.
Lightnin' Hopkins is the star of this live recording, made at an August 1961 concert at the Ash Grove in Hollywood featuring Hopkins, Sonny Terry and Brownie McGhee (with Big Joe Williams sitting in on three numbers…