Lightnin' Hopkins

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Samuel John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982)<ref name="bare">Template:Cite book</ref> was an American country blues singer, songwriter, guitarist and occasional pianist from Centerville, Texas. In 2010, Rolling Stone magazine ranked him No. 71 on its list of the 100 greatest guitarists of all time.<ref>Template:Cite magazine</ref>

The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act".<ref name="russell">Template:Cite book</ref> He influenced Townes Van Zandt, Hank Williams, Jr., and a generation of blues musicians such as Stevie Ray Vaughan, whose Grammy-nominated song "Rude Mood" was directly inspired by the Texan's song "Hopkins' Sky Hop".<ref>Template:Cite web</ref><ref>Template:Cite web</ref> In his own lifetime, Hopkins was one of the initial inductees in 1980 to the Blues Hall of Fame.<ref>Template:Cite web</ref>

Life

Hopkins was born in Centerville, Texas.<ref>Template:Cite book</ref> As a child, he was immersed in the sounds of the blues. He developed a deep appreciation for the music at the age of eight, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas.<ref name="amg">Template:Cite web</ref> He went on to learn from his distant older cousin, the country blues singer Alger "Texas" Alexander;<ref name="amg"/> Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.<ref name=Dahl>Template:Cite web</ref> Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except Hopkins, and Hopkins learned much from Jefferson at these gatherings.

In the mid-1930s, Hopkins was sent to Houston County Prison Farm, but why he was imprisoned is unknown.<ref name="amg"/> In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand.<ref name="russell"/>

Hopkins took a second shot at Houston in 1946.<ref name="russell"/> While singing on Dowling Street in Houston's Third Ward, which would become his home base, he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles.<ref name="amg"/> She convinced Hopkins to travel to Los Angeles, where he accompanied the pianist Wilson Smith. The duo recorded twelve tracks in their first sessions in 1946.<ref name="Wirz">Template:Cite web</ref> An Aladdin executive decided the pair needed more dynamism in their names and dubbed Hopkins "Lightnin'" and Wilson "Thunder".<ref name="LarkinBlues">Template:Cite book</ref>

File:Hopkins-Goldstar-Promo.jpg
Gold Star promotional photograph, 1948

Hopkins recorded more sides for Aladdin in 1947.<ref name="Wirz"/> He returned to Houston and began recording for Gold Star Records.<ref name="Wirz"/> In the late 1940s and 1950s he rarely performed outside Texas, only occasionally traveling to the Midwest and the East for recording sessions and concert appearances.Template:Citation needed He performed regularly at nightclubs in and around Houston, particularly on Dowling Street, where he had been discovered by Aladdin.<ref name="russell"/> He recorded the hit records "T-Model Blues" and "Tim Moore's Farm" at SugarHill Recording Studios in Houston.<ref name="Wirz"/> By the mid- to late 1950s, his prodigious output of high-quality recordings had gained him a following among African Americans and blues aficionados.<ref name="LarkinBlues"/>

In 1959, the blues researcher Robert "Mack" McCormick contacted Hopkins, hoping to bring him to the attention of a broader musical audience engaged in the folk revival.<ref name="amg"/> McCormack presented Hopkins to integrated audiences first in Houston and then in California. He made his debut at Carnegie Hall on October 14, 1960, alongside Joan Baez and Pete Seeger, performing the spiritual "Mary Don't You Weep". In 1960, he signed with Tradition Records. The recordings which followed included his song "Mojo Hand" in 1962.<ref name="Wirz"/>

In 1968, Hopkins recorded the album Free Form Patterns, backed by the rhythm section of the psychedelic rock band 13th Floor Elevators.<ref name="Wirz"/> Through the 1960s and into the 1970s, he released one or sometimes two albums a year and toured, playing at major folk music festivals and at folk clubs and on college campuses in the U.S. and internationally.<ref name="LarkinBlues"/> He toured extensively in the United States<ref name="russell"/> and played a six-city tour of Japan in 1978.Template:Citation needed

Hopkins was Houston's poet-in-residence for 35 years. He recorded more albums than any other blues musician.<ref name="russell"/> Hopkins was one of the initial inductees to the Blues Hall of Fame in 1980.<ref>Template:Cite web</ref>

Hopkins died of esophageal cancer in Houston on January 30, 1982, at the age of 69.<ref name="Wirz"/> His obituary in the New York Times described him as "one of the great country blues singers and perhaps the greatest single influence on rock guitar players".<ref>Template:Cite news</ref> Hopkins is buried at Forest Park Lawndale Cemetery in Houston, Texas.<ref>Template:Cite web</ref>

A statue of Hopkins, unveiled in 2003, sits in Crockett, Texas.<ref>Template:Cite web</ref> His Gibson J-160e "hollowbox" is on display at the Rock and Roll Hall of Fame in Cleveland, Ohio, and his Guild Starfire at the National Museum of African American History and Culture in Washington, D.C., both on loan from the Joe Kessler Collection.<ref name="Where Lightnin Strikes 2011">Template:Cite web</ref>

Musical style

Template:Unsourced section Hopkins's style was born from spending many hours playing informally without a backing band. His distinctive fingerstyle technique often included playing, in effect, bass, rhythm, lead, and percussion at the same time.Template:Citation needed He played both "alternating" and "monotonic" bass styles incorporating imaginative, often chromatic turnarounds and single-note lead lines. Tapping or slapping the body of his guitar added rhythmic accompaniment.Template:Citation needed

Much of Hopkins's music follows the standard 12-bar blues template, but his phrasing was free and loose. Many of his songs were in the talking blues style, but he was a powerful and confident singer.Template:Citation needed Lyrically, his songs expressed the problems of life in the segregated South, bad luck in love and other subjects common in the blues idiom. He dealt with these subjects with humor and good nature. He often referred to himself as "Po' Lightnin'" in his songs when talking about himself or referring to himself as the protagonist of the song. This is also the name of one of his albums. Many of his songs are filled with double entendres, and he was known for his humorous introductions to songs.Template:Citation needed

Some of his songs were of warning and sour prediction, such as "Fast Life Woman":

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Discography

Early compilations of previously issued material

Original LP releases

As sideman

With Sonny Terry

Films

  • The Blues Accordin' to Lightnin' Hopkins (1968), directed by Les Blank and Skip Gerson (Flower Films & Video)<ref name="amg"/><ref name="LarkinBlues"/>
  • The Sun's Gonna Shine (1969), directed by Les Blank with Skip Gerson (Flower Films & Video)<ref>Template:Cite web</ref>
  • Sounder (1972), directed by Martin Ritt (the soundtrack included Taj Mahal singing a version of Hopkins "Needed Time")<ref name="CG">Template:Cite book</ref>
  • His song "Once a Gambler" is on the soundtrack of the 2009 film Crazy Heart.<ref>Template:Cite web</ref>

Books

See also

References

Inline citations

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Further reading
  • Stambler, Irwin; Landon, Grellun (1983). The Encyclopedia of Folk, Country & Western Music (2nd ed.). St. Martin's Press. Template:ISBN.
  • Liner notes to the CD Country Blues, Ryko/Tradition Records.

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