Of all the influential Texas blues men, none were more prolific than Sam "Lightnin'" Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982, recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and the mournful sound that he perfected on both acoustic and electric guitar. Hopkins' intricate boogie riffs resonated with musicians and fans alike,…entire summary

Lightnin' Hopkins - guitar, vocals

Of all the influential Texas blues men, none were more prolific than Sam "Lightnin'" Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982, recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and the mournful sound that he perfected on both acoustic and electric guitar. Hopkins' intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins' popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality.

Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins' six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander, and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins' musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin Records talent scout, Lola Anne Cullum. Uninterested in Alexander, Callum's vision was to introduce Hopkins to pianist Wilson "Thunder" Smith, recreate Hopkins as "Lightnin'" and have "Thunder & Lightnin'" become Alladin recording artists. Hopkins' and Smith's debut recording, "Katie Mae" was cut on November 9, 1946 and saw immediate regional success. Hopkins recorded prolifically during the next few years, even scoring a national hit with "Shotgun Blues." Over the course of the next decade, he would record for many different labels, both as a solo artist and with a small rhythm section. In 1954, Hopkins recorded a remarkably influential batch of songs for the Herald label, where he was captured playing aggressive electric guitar. Along with drummer Ben Turner and bassist Donald Cook, the trio blasted through a series of up-tempo rockers that were groundbreaking in their ferocity. Far too aggressive for the times, the importance of these recordings would take another decade to be fully appreciated, and by the end of the 1950s, Hopkins found himself back in Houston, with little promise of further pursuing a recording career.

It was right at this time (1960) that Hopkins encountered the music researcher Mack McCormick, who along with Chris Strachwitz, was in the process of launching the California-based record label Arhoolie. They presented Hopkins as a folk-blues artist; a role he was destined to play. That same year, pioneering ethnomusicologist Sam Charters recorded Hopkins in his tiny apartment, using a borrowed guitar, resulting in an album for the higher profile Folkways Records label. The resulting album introduced Hopkins to a new generation of listeners and re-launched his career. Soon Hopkins was performing before white audiences on college campuses and touring extensively. Television appearances and an early-1960s appearance at New York City's prestigious Carnegie Hall, alongside Pete Seeger and Joan Baez, raised his profile considerably and his career really took off. He recorded prolifically throughout the next decade, releasing highly influential releases for World Pacific, Vee-Jay, Candid, Arhoolie, Prestige, and Verve, to name but a few. Switching back to acoustic guitar, Hopkins had become one of the shining lights of the folk-blues revival of the 1960s.

Recorded during the prime blues revival era of the 1960s, this is exactly what countless folk and blues guitar players coming of age in the early to mid-1960s heard when they caught Hopkins' live performances. As such, one needn't look far to hear Hopkins influence. From 1960s guitar icons like Johnny Winter, Mike Bloomfield, Jorma Kaukonen, and Duane Allman right up to Nirvana's Kurt Cobain and beyond, Hopkins' root sound carries on. This recording is a fascinating glimpse at Lightnin' Hopkins in pure undiluted form.

Written by Alan Bershaw

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