Sam John Hopkins
b. March 15th, 1912 in Centerville (Texas)
d. January 30th, 1982 in Houston (Texas)
ALL THE CLASSICS
JSP
November 1946 - 1951
Fils d'Abe et Ma Hopkins, Sam apprend la guitare avec ses frères Joel et John Henry. Il montre son interêt pour la musique dès son plus jeune âge et aurait rencontré le légendaire bluesman texan Blind Lemon Jefferson à l'âge de 8 ans. Mais, Sam démarre vraiment en accompagnant son cousin le chanteur "Texas" Alexander dans le ghetto noir de Dowling Street à Houston. Découvert par Lola Anne Cullum du label Aladdin, Sam part à Los Angeles graver ses premiers morceaux en novembre 1946 avec le pianiste Wilson "Thunder" Smith. Plusieurs séances seront réalisées pour Aladdin jusqu'en 1948 remplies de titres exceptionnels comme "Katie Mae blues", "Feel so bad", "Short haired blues", "Big mama jump" qui obtiennent un grand succès au sein de la communauté noire. Sam "Lightnin'" Hopkins possède une voix expressive, un jeu de guitare virtuose et innovant influencé par Lonnie Johnson. Puis, en 1948, Lola Anne Cullum cède le contrat d'enregistrement d'Hopkins à Bill Quinn, propriétaire du label Gold Star. A Houston, Sam enregistre pour lui de superbes titres comme "Tim Moore's farm", "Death bells", "Airplane blues", "T-Model blues", "Lightnin's boogie" parfois accompagné de son cousin Frankie Lee Sims ou de L.C. Robinson. Il grave également quelques remarquables morceaux à l'orgue ("Zologo", "Organ boogie"). En deux ans chez Gold Star, Sam a enregistré environ 40 titres. En 1950, il passe chez RPM, un label appartenant aux frères Bihari ("Bad luck and trouble"), puis Specialty ("Dark and cloudy"). Puis, il entame une fructueuse collaboration avec le producteur Bob Shad et ses labels (Sittin' In et Jax) délivrant des morceaux magnifiques comme "Coffee blues", "Gotta move", "Hello central", "Long way from Texas". Enfin, Sam arrive chez Mercury où il grave son fameux "Sad news from Korea".
Son of Abe and Ma Hopkins, Sam learned guitar with his brothers Joel and John Henry. He shows his interest in music from an early age and would have met the legendary Texas bluesman Blind Lemon Jefferson at the age of 8. But, Sam really got along by accompanying his cousin the singer "Texas" Alexander in the black ghetto of Dowling Street in Houston. Discovered by Lola Anne Cullum from Aladdin label, Sam went to Los Angeles to cut his first songs in november 1946 with pianist Wilson "Thunder" Smith. Many sessions will be organized for Aladdin until 1948 filled with exceptional titles like "Katie Mae blues", "Feel so bad", "Short haired blues", "Big mama jump" which obtain a great success within the black community. Sam "Lightnin'" Hopkins has an expressive voice, a virtuoso and innovative guitar playing influenced by Lonnie Johnson. Then, in 1948, Lola Anne Cullum sells Hopkins' recording contract to Bill Quinn, owner of the Gold Star label. In Houston, Sam records great titles for him like "Tim Moore's farm", "Death bells", "Airplane blues", "T-Model blues", "Lightnin's boogie" sometimes accompanied by his cousin Frankie Lee Sims or by L.C. Robinson. He also records some remarkable organ songs ("Zologo", "Organ boogie"). Within two years at Gold Star, Sam has recorded around 40 titles. In 1950, he arrived at RPM, a label belonging to Bihari brothers ("Bad chance and trouble"), then Specialty ("Dark and cloudy"). Then, he began a fruitful collaboration with producer Bob Shad and his labels (Sittin' In and Jax) delivering beautiful songs like "Coffee blues", "Gotta move", "Hello central", "Long way from Texas". Finally, Sam arrives at Mercury where he records his famous "Sad news from Korea".
HOUSTON'S KING OF THE BLUES
Blues Classics
1951 - November 1953
Ce LP reprend une bonne partie de ses morceaux pour les labels Mercury, Decca et TNT enregistrés entre 1951 et 1953. Bien que Lightnin' Hopkins remporte moins de succès dès le début des années 50, il faut reconnaitre qu'il est toujours au meilleur de sa forme. En effet, les titres compilés ici sont tous de remarquables blues dans lesquels le bluesman brille constamment à la guitare : "Sad news from Korea", "Let me fly your kite", "Gone with the wind", "Highway blues", "Moanin' blues", "Bad things on my mind".
This LP includes a good part of his songs for the Mercury, Decca and TNT labels recorded between 1951 and 1953. Although Lightnin' Hopkins was less successful from the start of the 50's, we must admit that he is still at his best. Indeed, the titles compiled here are all remarkable blues in which the bluesman shines constantly on guitar : "Sad news from Korea", "Let me fly your kite", "Gone with the wind", "Highway blues", "Moanin' blues", "Bad things on my mind".
LIGHTNIN' HOPKINS 1948 - 1961
Document
July - November 1953 / 1956 / December 1961
LIGHTNIN' AND THE BLUES
Herald
ROCKIN' AT HERALD
Acrobat
LIGHTNIN' AND THE BLUES : THE HERALD SESSIONS
Buddah
MY BABY'S GONE
Fruit Tree
REMEMBER ME
Ember
April 1954
Pour le label new-yorkais Herald, Sam a gravé à Houston environ 25 morceaux simplement accompagné de Donald Cooks (basse) et Ben Turner (batterie). Blues terrien, sensuel, irrésistible avec des sommets comme "Sick feelin' blues", "Evil hearted woman", "Blues for my cookie", "Life I used to live", "Don't think 'cause you're pretty", "Moving on out boogie". Après Herald, Lightnin' Hopkins n'enregistre quasiment plus, à part quelques rares morceaux pour de minuscules labels. Il continue néanmoins de se produire dans les clubs et les bars du Third Ward de Houston. Cette production très consistante a été publié sous divers habillages. On préfère "Lightnin' and the blues" et "Remember me" qui sont les plus complets.
For the New York based label Herald, Sam engraved in Houston about 25 tracks simply accompanied by Donald Cooks (bass) and Ben Turner (drums). Down home, sensual and irresistible blues with highs like "Sick feelin' blues", "Evil hearted woman", "Blues for my cookie", "Life I used to live", "Don't think 'cause you're pretty", "Moving on out boogie". After Herald, Lightnin' Hopkins records less and less, apart a few rare songs for some tiny labels. However, he continues to perform in clubs and bars in Houston's Third Ward. This very consistent production has been issued in various packagings. We prefer "Lightnin' and the blues" and "Remember me" which are the most complete.
LIGHTNIN' HOPKINS
Folkways
Smithsonian - Folkways
THE ROOTS OF LIGHTNIN' HOPKINS
Verve - Folkways
Xtra
January 1959
Redécouvert par Sam Charters et Robert "Mack" Mac Cormick, ce disque est gravé en 4 heures au domicile de Lightnin' Hopkins sur Hadley Street à Houston. Pour cet enregistrement, Charters doit louer une guitare acoustique car Sam n'a plus la sienne, acheter un jeu de cordes et une bouteille de gin. Alors que la mode du Folk Revival est en marche, l'album décroche un vrai succès et recèle de nombreux titres superbes comme "Penitentiary blues", "Come go home with me", "She's mine". Historiquement fondamental, ce véritable album de retour aux affaires est le point de départ d'une seconde carrière extrêmement fructueuse pour Lightnin' Hopkins.
Rediscovered by Sam Charters and Robert "Mack" Mac Cormick, this album is cut in 4 hours at the home of Lightnin' Hopkins on Hadley Street in Houston. For this recording, Charters must rent an acoustic guitar because Sam no longer owns his intrument, buy a set of strings and a bottle of gin. While the Folk Revival is on, the album wins a real success and conceals many superb titles like "Penitentiary blues", "Come go home with me", "She's mine". Historically fundamental, this real back to business album is the starting point for an extremely successful second career for Lightnin' Hopkins.
COUNTRY BLUES
Tradition
Joc
Everest
Bellaphon
February 1959
Le folkloriste Robert "Mack" Mac Cormick enregistre substantiellement Sam "Lightnin'" Hopkins pendant l'année 1959 avec son matériel d'enregistrement portable. Tout ce matériel déboucha sur l'édition de nombreux disques. Il y a d'excellents moments malgré le fait que Sam joue exclusivement de la guitare acoustique (alors qu'il est surtout un spécialiste de la guitare électrique) pour coller aux goûts du public de l'époque (en plein Folk Revival) : "Baby" (avec la seconde voix de Luke "Long Gone" Miles), "Prison blues come down on me", "Backwater blues".
Folklorist Robert "Mack" Mac Cormick substantially recorded Sam "Lightnin'" Hopkins during 1959 with his portable recording equipment. All material led to the edition of numerous albums. There are some great moments despite the fact that Sam plays exclusively acoustic guitar (when he is mostly a electric guitar specialist) to match the tastes of the public of the time (during Folk Revival) : "Baby" (with the second voice of Luke "Long Gone" Miles), "Prison blues come down on me", "Backwater blues".
THE ROOSTER CROWED IN ENGLAND
77
1954 / February - July 1959
AUTOBIOGRAPHY IN BLUES
Tradition
Joc
Everest
Bellaphon
February - July 1959
Second recueil du label Tradition consacré aux enregistrements de Lightnin' Hopkins réalisés par Robert "Mack" Mac Cormick. Toujours à la guitare acoustique, il délivre quelques remarquables titres comme "Mama and Papa Hopkins", "The foot race is on", "That gambling life", "Get off my toe". Un programme encore une fois très consistant.
Second collection from Tradition label dedicated to Lightnin' Hopkins recordings made by Robert "Mack" Mac Cormick. Always on acoustic guitar, he delivers some remarkable titles like "Mama and Papa Hopkins", "The foot race is on", "That gambling life", "Get off my toe". Again a very consistent program.
THE UNEXPURGATED FOLK SONGS OF MEN
Ufsom
Raglan
July 1959
A TREASURY OF FIELD RECORDINGS vol.1
77
Candid
July 1959
A TREASURY OF FIELD RECORDINGS vol.2
77
July 1959 / January 1960
JOEL & LIGHTNIN'
Heritage
Collector's Issue
November 1959
Sur ce microsillon, la face A est consacrée à Joel Hopkins tandis que la face B est dévolue à Lightnin' Hopkins. Ce dernier joue dans de superbes pièces piochées dans les enregistrements réalisés par Robert "Mack" Mac Cormick : "Whiskey whiskey", "Long way from Texas".
On this record, side A is dedicated to Joel Hopkins while side B is devoted to Lightnin' Hopkins. The latter plays in superb tracks picked up from the recordings made by Robert "Mack" Mac Cormick : "Whiskey whiskey", "Long way from Texas".
DOWN SOUTH SUMMIT MEETING
World Pacific
Telstar
PENITENTIARY BLUES
Fontana
FIRST MEETIN'
World Pacific
July 1960
Remarquable association de quatre grands bluesmen (Brownie Mac Ghee & Sonny Terry, Big Joe Williams, Lightnin' Hopkins) dans une atmosphère relachée et pleine de feeling. La séance fut organisée par Ed Michel pour le label californien World Pacific. Ils se relaient au chant avec un beau naturel et se complètent efficacement musicalement. Un superbe programme prenant et immanquablement terrien : "Ain't nothin' like whiskey", "Penitentiary blues", "First meeting", "Wimmen from coast to coast".
Remarkable association of four great bluesmen (Brownie Mac Ghee & Sonny Terry, Big Joe Williams, Lightnin' Hopkins) in a relaxed and full of feeling atmosphere. The session was organized by Ed Michel for the californian label World Pacific. They take turns singing with a beautiful feeling and complement each other effectively musically. A superb program that is invariably down home : "Ain't nothin' like whiskey", "Penitentiary blues", "First meeting", "Wimmen from coast to coast".
BLUES HOOT
Davon
Horizon
Young World
COFFEE HOUSE BLUES
Vee-Jay
LIGHTNIN' SONNY AND BROWNIE
Saga Soc
BLUES IS LIFE
Karussell
Polydor
May - July 1960 / August 1961
Il s'agit de matériel issu de séances californiennes qui a été repris sous de nombreux habillages différents. Des morceaux de bonne facture de Sonny et Brownie comme "Po' boy", "Just rode in your town", "Blowin' the fuses" mais aussi des titres de Lightnin' Hopkins ("Right on that shore", "Blues for gamblers"). Il y a aussi des morceaux d'Hopkins capturés au Ash Grove en aout 1961.
It is material coming from californian sessions which has been reissued under many different packagings. Some good tracks from Sonny and Brownie like "Po' boy", "Just rode in your town", "Blowin' the fuses" but also titles from Lightnin' Hopkins ("Right on that shore", "Blues for gamblers"). There is also Hopkins' titles captured at Ash Grove in august 1961.
CONVERSATION WITH THE BLUES
Decca
August 1960
Dans ce superbe recueil illustrant les enregistrements de terrain de Paul Oliver, on entend un court extrait de discussion avec Lightnin' Hopkins mais il ne chante pas.
In this superb collection illustrating Paul Oliver's field recordings, we hear a short excerpt from a discussion with Lightnin' Hopkins but he does not sing.
SING OUT WITH PETE
Folkways
October 1960
Un titre avec Pete Seeger et Joan Baez sur la scène du Carnegie Hall de New York.
A title with Pete Seeger and Joan Baez on the stage of Carnegie Hall in New York.
LAST NIGHT BLUES
Prestige - Bluesville
GOT TO MOVE YOUR BABY
Prestige - Bluesville
October 1960
Ce disque est le premier d'une longue série pour le label Prestige-Bluesville et une de ses premières véritables séances en studio depuis sa redécouverte. Sam est à la guitare acoustique accompagné de Sonny Terry, Leonard Gaskin et Belton Evans. L'entente entre eux s'avère remarquable et débouche sur un disque au feeling redoutable : "Got to move your baby", "So sorry to leave you", "Lightnin's stroke", "Conversation blues".
This album is the first of a long series for Prestige-Bluesville label and one of his first real studio sessions since his rediscovery. Sam plays acoustic guitar accompanied by Sonny Terry, Leonard Gaskin and Belton Evans. The understanding between them is remarkable and leads to a disc with a formidable feeling : "Got to move your baby", "So sorry to leave you", "Lightnin's stroke", "Conversation blues".
LIGHTNIN'
Prestige - Bluesville
November 1960
Pour ce second album gravé quelques jours après le précédent, Lightnin' Hopkins est accompagné de Leonard Gaskin et Belton Evans seulement. Atmosphère intime et relâchée, de superbes moments comme "Thinkin' about an old friends" et sa relecture de "Katie Mae".
For this second album, recorded a few days after the previous one, Lightnin' Hopkins is accompanied by Leonard Gaskin and Belton Evans only. Intimate and relaxed atmosphere, great moments like "Thinkin' about an old friends" and his new reading of "Katie Mae".
MOJO HAND
Fire
Collectables
P-Vine
HOUSTON BOUND
Relic
LIGHTNIN' HOPKINS
Sphere Sound
November 1960
Pour le producteur Bobby Robinson et son label Fire à New York, Lightnin' Hopkins est le leader d'un groupe de jazzmen new-yorkais avec lesquels la communication ne fut pas si facile. Pourtant, le résultat est somptueux. Sam se montre en grande forme et ses musiciens offrent un support plein de feeling. On l'entend aussi au piano sur le superbe "Have you ever loved a woman". L'excellent "Mojo hand" est un grand succès mais on peut mentionner également les puissants et excitants "Awful dream", "Glory bee", "Sometimes she will", "How long has the train been gone". Cette séance connut beaucoup de rééditions sous différents titres avec des contenus sensiblement différents.
For producer Bobby Robinson and his Fire label in New York, Lightnin' Hopkins is the leader of a band of New York jazzmen with whom communication had not been so easy. However, the result is sumptuous. Sam shows himself in great shape and his musicians offer a full of feeling support. We also hear him on piano on the superb "Have you ever loved a woman". The excellent "Mojo hand" is a great success but we can also mention the powerful and exciting "Awful dream", "Glory bee", "Sometimes she will", "How long has the train been gone". This session had many reissues under different titles with significantly different content.
PREVIOUSLY UNISSUED 1960 - 1962 RECORDINGS
Krazy Kat
November 1960
Une poignée de titres supplémentaires provenant de la séance pour le label Fire de Bobby Robinson. "Shake that thing" et "Walk a long time" méritent une écoute attentive.
A handful of additional tracks from the session for Bobby Robinson's Fire label. "Shake that thing" and "Walk a long time" are worth listening to.
LIGHTNIN' IN NEW YORK
Candid
Barnaby
TEXAS BLUES
Atlas
Orbis
November 1960
Dans cette séance pour Candid produite par Nat Hentoff, Lightnin' Hopkins joue alternativement guitare et piano (parfois dans le même morceau comme sur "Take it easy") en solo. Un disque plutôt plaisant mais inférieur à ses meilleures réussites du moment.
In this session for Candid produced by Nat Hentoff, Lightnin' Hopkins alternately plays guitar and piano (sometimes in the same song as on "Take it easy") alone. A rather pleasant record but inferior to his best achievements of the moment.
THE COMPLETE CANDID OTIS SPANN / LIGHTNIN' HOPKINS SESSIONS
Mosaic
November 1960
Dans cette intégrale, on retrouve le reste des titres gravés par Lightnin' Hopkins chez Candid (5 titres inédits) à New York. Il est à la guitare ("When my first wife quit me") et au piano ("Come go home with me").
In this complete Candid collection, we find the rest of the titles engraved by Lightnin' Hopkins at Candid (5 unissued titles) in New York. He is on guitar ("When my first wife quit me") and on piano ("Come go home with me").
LIGHTNIN' STRIKES
Vee-Jay
Charly
Collectables
March 1961 - 1962
Deux titres très efficaces de mars 1961 ("Got me a Louisiana woman" et surtout "War is starting again") dans lesquels Sam est accompagné d'Elmore Nixon (piano) et Ivory Lee Semien (batterie). Puis une séance de 1962 réalisée pour le label Vee-Jay où il est seul à la guitare acoustique avec de beaux moments comme "Please don't quit me", "Devil is watching you", "Coon is hard to catch".
Two very effective titles from march 1961 ("Got me a Louisiana woman" and especially "War is starting again") in which Sam is accompanied by Elmore Nixon (piano) and Ivory Lee Semien (drums). Then a 1962 session made for the Vee-Jay label where he is alone on acoustic guitar with beautiful moments like "Please don't quit me", "Devil is watching you", "Coon is hard to catch".
LONESOME LIFE
Collectables
March 1961 / January - April 1968
WALKIN' THIS ROAD BY MYSELF
Prestige - Bluesville
Ace
HOW MANY MORE YEARS I GOT
Fantasy
July 1961 / February 1962
Trois séances produites par Robert "Mack" Mac Cormick enregistrées aux ACA studios de Bill Holford de Houston. La première en juillet 1961 présente Lightnin' Hopkins seul à la guitare acoustique, la seconde et la troisième en février 1962 place Hopkins en leader de son groupe régulier : Buster Pickens (piano), Billy Bizor (harmonica) et Spider Kilpatrick (batterie). Ces deux dernières sont sublimes, terriennes, terriblement excitantes : "Walkin' this road by myself", "How many more years I got", "Happy blues for John Glenn", "The devil jumped the black man".
Three sessions produced by Robert "Mack" Mac Cormick recorded at Bill Holford's ACA studios in Houston. The first in july 1961 features Lightnin' Hopkins alone on acoustic guitar, the second and third in february 1962 placed Hopkins as a leader of his regular backing band : Buster Pickens (piano), Billy Bizor (harmonica) and Spider Kilpatrick (drums). These last two are sublime, down home, terribly exciting : "Walkin' this road by myself", "How many more years I got", "Happy blues for John Glenn", "The devil jumped the black man".
BLUES IN MY BOTTLE
Prestige - Bluesville
Xtra
Vogue
Fonit Cetra
July 1961
Belle séance acoustique pour Prestige-Bluesville comme Sam en a enregistré de nombreuses à cette époque. Pas spécialement originale mais plutôt plaisante à l'écoute.
Nice acoustic session for Prestige-Bluesville as Sam recorded many at that time. Not particularly original but rather pleasant to listen to.
THE LOST TEXAS TAPES vol.3
Collectables
LIGHTNIN' STRIKES TWICE
Little Darlin' - Koch
August 1961
Un titre inédit capturé au Ash Grove de Los Angeles ("Chicken Mary").
An unissued track captured at Ash Grove in Los Angeles ("Chicken Mary").
LIGHTNIN' SAM HOPKINS
Arhoolie
PO' LIGHTNIN'
Arhoolie
BURNIN' IN L.A.
Fontana
November 1961 - January 1962
Le producteur Chris Strachwitz enregistra substantiellement Lightnin' Hopkins tout au long des années 60. Sam est ici accompagné par Henry "Geno" Landry (basse) et Victor Leonard (batterie) sur la plupart des titres. Sur deux morceaux, il est seulement soutenu par l'excitante batterie de Spider Kilpatrick. "Ice storm blues", "Speedin' boogie", "Meet you at the chicken shack", "Burnin' in L.A." sont réellement superbes. On trouve aussi un morceau où il joue du piano. Un programme très varié, constamment passionnant et accrocheur.
Producer Chris Strachwitz recorded Lightnin' Hopkins substantially throughout the 1960's. Sam is here accompanied by Henry "Geno" Landry (bass) and Victor Leonard (drums) on most titles. On two songs, he is only supported by the exciting drumming of Spider Kilpatrick. "Ice storm blues", "Speedin' boogie", "Meet you at the chicken shack", "Burnin' in L.A." are really superb. There is also one song where he plays piano. A very varied program, constantly exciting and catchy.
PO' LIGHTNIN'
Arhoolie
November 1961
Deux morceaux supplémentaires issus des mêmes séances "Candy kitchen" où Sam est au piano et "My baby's gone" dans lequel il joue de l'orgue.
Two additional songs from the same sessions "Candy kitchen" where Sam is on piano and "My baby's gone" in which he plays organ.
BLUES 'N TROUBLE vol.2
Arhoolie
November 1961
Dans cette anthologie, une remarquable version de "Wine drinking woman" (avec la superbe batterie de Victor Leonard).
In this anthology, a remarkable version of "Wine drinking woman" (with the superb drumming of Victor Leonard).
TEXAS BLUES vol.2
Arhoolie
November 1961
Un beau titre de Lightnin' Hopkins seul à la guitare électrique : "Hurricanes Carla and Esther".
A beautiful title of Lightnin' Hopkins alone on electric guitar : "Hurricanes Carla and Esther".
PO' LIGHTNIN'
Arhoolie
November 1961 / December 1967
Dans ce superbe CD, on retrouve plusieurs inédits dont "Wake up old maid" où il joue de l'orgue, le spiritual "Jesus won't you come by here" et deux autres morceaux en solo capturés dans l'appartement de Lightnin' Hopkins à Houston par Chris Strachwitz ("Gin bottle blues", "I'm leaving you now").
In this superb CD, we find several unissued songs including "Wake up old maid" where he plays organ, the spiritual "Jesus won't you come by here" and two other songs in solo captured in Lightnin' Hopkins apartment in Houston by Chris Strachwitz ("Gin bottle blues", "I'm leaving you now").
BAD LUCK 'N TROUBLE
Arhoolie
January 1962
Un instrumental chaotique et déchainé "Candy wagon" avec la batterie virevoltante de Spider Kilpatrick.
A chaotic and unleashed instrumental "Candy wagon" with the spinning drums of Spider Kilpatrick.
SMOKES LIKE LIGHTNIN'
Prestige - Bluesville
January - February 1962
Six morceaux seul à la guitare et trois morceaux avec son groupe de Houston. Un bon disque qui mérite l'écoute en particulier "My black name", "Ida Mae" et "Prison farm blues".
Six songs alone on guitar and three songs with his regular band from Houston. A good record that deserves to listen in particular "My black name", "Ida Mae" and "Prison farm blues".
LIGHTNIN' AND CO
Prestige - Bluesville
HOW MANY MORE YEARS I GOT
Fantasy
February 1962
Lightnin' Hopkins entouré de ses amis musiciens du Third Ward de Houston : Buster Pickens (piano), son cousin Billy Bizor (harmonica), Donald Cooks (basse), Spider Kilpatrick (batterie). Habitués à jouer ensemble, leur feeling et leur complémentarité sont totales. Un programme formidable avec des sommets comme "Sinner's prayer", "I got a leak in this old building", "You is one black rat", "My baby don't stand no cheating", "Mojo hand".
Lightnin' Hopkins surrounded by his musical friends from Houston's Third Ward : Buster Pickens (piano), his cousin Billy Bizor (harmonica), Donald Cooks (bass), Spider Kilpatrick (drums). Accustomed to play together, their feeling and their complementarity are total. A great program with summits like "Sinner's prayer", "I got a leak in this old building", "You is one black rat", "My baby don't stand no cheating", "Mojo hand".
HOOTIN' THE BLUES
Prestige
May 1962
Concert au club Second Fret de Philadelphie. Le long slow blues "Blues is a feeling", le dansant "Me and Ray Charles" (en fait une reprise de "What'd I say"), "Ain't it crazy" figurent parmi les bons moments. Mais d'autres passages s'avèrent plus faibles.
Concert at the Second Fret club in Philadelphia. The long slow blues "Blues is a feeling", the dancing "Me and Ray Charles" (actually a cover of "What'd I say"), "Ain't it crazy" are among the good moments. But other passages prove to be weaker.
LOOK IT'S US
Jester
1963
HEAR ME HOWLING
Arhoolie
1963
GOIN' AWAY
Prestige - Bluesville
June 1963
Nouvelle séance studio à New York pour Prestige-Bluesville sous la supervision d'Ozzie Cadena. Lightnin' Hopkins est soutenu par les jazzmen Leonard Gaskin (basse) et Herbie Lovelle (batterie). De beaux moments comme "Don't embarass me baby", "Stranger here", "Little sister's boogie".
New studio session in New York for Prestige-Bluesville under the supervision of Ozzie Cadena. Lightnin' Hopkins is supported by jazzmen Leonard Gaskin (bass) and Herbie Lovelle (drums). Nice moments like "Don't embarass me baby", "Stranger here", "Little sister's boogie".
THE HOPKINS BROTHERS
Arhoolie
February 1964 / March 1965
Réunion des trois frères Hopkins par Chris Strachwitz en février 1964 : Sam "Lightnin'" Hopkins bien sûr, Joel Hopkins et John Henry Hopkins. Ambiance informelle, improvisée et vraiment sympathique, la séance est enregistrée au domicile de John Henry à Waxahachie (Texas). Beaucoup de complicité entre eux. Joel et John Henry s'expriment plus comme des songsters. Dans ce CD, on trouve aussi trois morceaux de mars 1965.
Meeting of the three Hopkins brothers by Chris Strachwitz in february 1964 : Sam "Lightnin'" Hopkins of course, Joel Hopkins and John Henry Hopkins. Informal atmosphere, improvised and really nice, the session is recorded at John Henry's home in Waxahachie (Texas). Lots of complicity between them. Joel and John Henry play and sing more like songsters. In this CD, there are also three tracks from march 1965.
THE SWARTHMORE CONCERT
Fantasy
April 1964
Concert très plaisant présentant Lightnin' Hopkins dans une configuration acoustique. Il n'a été publié qu'en 1993 par Fantasy (qui a racheté le catalogue Prestige-Bluesville).
Very pleasant concert presenting Lightnin' Hopkins in an acoustic configuration. It was only issued in 1993 by Fantasy (which bought the Prestige-Bluesville catalog).
DOWN HOME BLUES
Prestige
DOUBLE BLUES
Fantasy
May 1964
Nouvelle séance avec les musiciens de jazz Leonard Gaskin et Herbie Lovelle. Malgré le fait que la musique reste de bonne facture, on sent venir une certaine routine qui conduit Lightnin' Hopkins à se répéter parfois. Néanmoins, il s'agit d'un album qui mérite l'écoute.
New session with jazz musicians Leonard Gaskin and Herbie Lovelle. Despite the fact that the music remains of good quality, we feel a certain routine coming which leads Lightnin' Hopkins to repeat himself sometimes. However, this is an album that deserves to be listened to.
SOUL BLUES
Prestige
DOUBLE BLUES
Fantasy
May 1964
Enregistré le même jour et le lendemain que "Down home blues" avec les mêmes musiciens. Un superbe "I'm going to build me a heaven on my own" dans un programme globalement très sympathique.
Recorded the same day and the next day as "Down home blues" with the same musicians. A superb "I'm going to build me a heaven on my own" in a overall very nice program.
SOMETIMES I BELIEVE SHE LOVES ME
Arhoolie
June 1964
Il est associé ici à la chanteuse folk Barbara Dane sur la plupart des titres. Ceux-ci ont été enregistrés au club The Cabale de Berkeley. Sam apparait sur 10 titres (sur un total de 17 plages). Leur entente est palpable dans ce répertoire essentiellement blues ("I know you got another man", "Sometimes I believe she loves me").
He is associated here with folk singer Barbara Dane on most titles. These were recorded at The Cabale club in Berkeley. Sam appears on 10 tracks (on a total of 17 tracks). Their feeling is palpable in this essentially blues repertoire ("I know you got another man", "Sometimes I believe she loves me").
LIVE AT THE BIRD LOUNGE
Guest Star
Ember
Astan
Tobacco Road
1964
En concert dans un club de Houston seul à la guitare. Une performance plutôt sympathique quoique peu originale. A conseiller d'abord aux fans confirmés.
In concert in a Houston club alone on guitar. A rather nice performance although not very original. To recommend first to confirmed fans.
THE LOST TEXAS TAPES vol.4
Collectables
LIGHTNIN' STRIKES TWICE
Little Darlin' - Koch
1964
Plusieurs inédits dans ce disque dans lesquels on peut entendre Lightnin' Hopkins associé à l'harmoniciste Billy Bizor (qui joue sous le pseudonyme de Curley Lee). Le matériel semble dater de 1964 et possède un son un peu confus. Plutôt intéressant mais pour les fans confirmés.
Several unissued titles in this album in which we can hear Lightnin' Hopkins associated with harmonica player Billy Bizor (who plays under the pseudonym of Curley Lee). The material seems to date from 1964 and has a slightly confused sound. Rather interesting but for confirmed fans.
THE AMERICAN FOLK BLUES FESTIVAL 1962 - 1966
Hip-O
September 1964
AMERICAN FOLK BLUES FESTIVAL '64
Fontana
L+R
October 1964
Sam "Lightnin'" Hopkins figure à l'affiche de la fameuse tournée de l'American Folk Blues Festival 1964 produite par les allemands Horst Lippmann et Fritz Rau et organisée par Willie Dixon. Il s'agit de sa première venue sur le sol européen. Il aurait probablement pu s'y produire plus tôt mais sa phobie de l'avion l'en a empêché. Il joue dans ce disque le très beau "Ain't it a pity" et une reprise de "Baby please don't go".
Sam "Lightnin'" Hopkins is featured in the famous American Folk Blues Festival 1964 tour produced by the germans Horst Lippmann and Fritz Rau and organized by Willie Dixon. This is his first visit on European ground. He probably could have done it earlier, but his plane phobia prevented him from doing so. He plays in this disc the beautiful "Ain't it a pity" and a cover of "Baby please don't go".
MY LIFE IN THE BLUES
Prestige
December 1964
Cet album est le dernier pour le label Prestige. Il y a quelques excellents morceaux comme "I don't want to do nothing to you" et "You is one black rat" mais surtout une interview de Lightnin' Hopkins par Sam Charters découpée en plusieurs chapitres. Il raconte son enfance, sa vie, son blues. Un programme passionnant mais à conseiller surtout aux fans confirmés (6 morceaux musicaux sur 13 pistes).
This album is the last for the Prestige label. There are some great songs like "I don't want to do nothing to you" and "You is one black rat" but above all an interview with Lightnin' Hopkins by Sam Charters divided into several chapters. He speaks about his childhood, his life, his blues. An exciting program but to advise mainly to confirmed fans (6 musical pieces on 13 tracks).
THE KING OF THE BLUES
Pickwick
LET'S WORK AWHILE
Blue Horizon
ELECTRIC LIGHTNIN'
JSP
December 1964
Séance captée à la fin de l'année 1964 aux Gold Star studios à Houston par Aubrey Mayhew. Hopkins est seul à la guitare électrique et délivre une poignée de titres prenants : "Come on baby let's work awhile" et "I wish I was a baby" parmi d'autres. Cette séance fut rééditée sous différents habillages. Il faut mentionner que le LP "Electric lightnin'" (JSP) reprend la séance mais en retitrant tous les morceaux.
Session captured at the end of 1964 at the Gold Star studios in Houston by Aubrey Mayhew. Hopkins is alone on electric guitar and delivers a handful of catchy songs : "Come on baby let's work awhile" and "I wish I was a baby" among others. This session was reissued under different packagings. It should be mentioned that the "Electric lightnin'" LP (JSP) compiles the same material but renaming all the songs.
THE LOST TEXAS TAPES vol.1
Collectables
LIGHTNIN' STRIKES TWICE
Little Darlin' - Koch
December 1964
Deux morceaux inédits provenant des séances de décembre 1964 : "Little boy blue" et "That man from New York". Il faut mentionner que "From man to man" est le même titre que "I don't need you woman" sur le LP Pickwick.
Two unissued songs from december 1964 sessions : "Little boy blue" and "That man from New York". It should be mentioned that "From man to man" is the same title than "I don't need you woman" on Pickwick LP.
THE LOST TEXAS TAPES vol.2
Collectables
LIGHTNIN' STRIKES TWICE
Little Darlin' - Koch
December 1964
Trois titres inédits datant de décembre 1964 dont "How can you love me and another man too".
Three unissued tracks from december 1964 including "How can you love me and another man too".
BALL AND CHAIN
Arhoolie
March 1965
On retrouve dans cette sélection six excellents morceaux d'une séance de mars 1965. Lightnin' Hopkins est simplement accompagné de la batterie d'Harold "Frenchie" Joseph. On peut retenir les irrésistibles "Come on baby" et "Mama's fight".
We find in this selection six excellent songs from a session in march 1965. Lightnin' Hopkins is simply accompanied by the drums of Harold "Frenchie" Joseph. We can point out the irresistible "Come on baby" and "Mama's fight".
LIVE IN NEWPORT
Vanguard
July 1965
Lightnin' Hopkins est à l'affiche du célèbre Newport Folk Festival en juillet 1965 et délivre une performance convaincante devant ce nouveau public blanc qui l'adore. On peut mentionner de belles versions de "Where can I find my baby", "The woman I'm loving she's taken my appetite", "Cotton patch blues". Le batteur Sam Lay l'accompagne sur quelques titres. Certains morceaux parurent sur diverses anthologies mais ce CD rassemble la prestation complète du bluesman.
Lightnin' Hopkins appeared at the famous Newport Folk Festival in july 1965 and delivered a convincing performance to this new white audience who loved him. We can mention beautiful versions of "Where can I find my baby", "The woman I'm loving she's taken my appetite", "Cotton patch blues". Drummer Sam Lay accompanies him on some titles. Some songs appeared on various anthologies but this CD brings together the full performance of the bluesman.
LIGHTNIN' STRIKES
Verve - Folkways
October 1965
Séance produite par David Hubert à Los Angeles pour Verve-Folkways. Sam est accompagné par Jimmy Bond (basse), Earl Palmer (batterie) et Don Crawford qui ajoute son harmonica en overdubs. "Little wail", "Cotton", "Really nothin' but the blues" figurent parmi les meilleurs moments de ce disque sympathique.
Session produced by David Hubert in Los Angeles for Verve-Folkways. Sam is accompanied by Jimmy Bond (bass), Earl Palmer (drums) and Don Crawford who adds his harmonica in overdubs. "Little wail", "Cotton", "Really nothin' but the blues" are among the best moments of this nice album.
LIGHTNIN' HOPKINS
Saga
Boulevard
October 1965
Trois bons titres inédits issus de la même séance pour Verve-Folkways : "Goin' to Louisiana", "Down home blues", "Lightnin's blues". Les autres titres sont les mêmes que le LP "Lightnin' strikes" sauf que les titres ont été renommés.
Three good unissued tracks from the same session for Verve-Folkways : "Goin' to Louisiana", "Down home blues", "Lightnin's blues". The other titles are the same as the "Lightnin' strikes" LP except that they have been renamed.
SOMETHING BLUE
Verve - Folkways
THE BLUES GIANT
Olympic
SHAKE IT BABY
Vogue
October 1965
Nouveau disque pour Verve-Folkways avec Jimmy Bond, Earl Palmer et l'apport curieux du tromboniste John "Streamline" Ewing sur certains morceaux. Du blues puissant et terrien comme sur "I'll be gone", "Shake it baby", "Don't wake me" et "Talk of the town".
New record for Verve-Folkways with Jimmy Bond, Earl Palmer and the curious contribution of trombonist John "Streamline" Ewing on certain songs. Powerful and down home blues like on "I'll be gone", "Shake it baby", "Don't wake me" and "Talk of the town".
THAT'S MY STORY
Polydor
October 1965
Issu des mêmes séances que "Lightnin' strikes" et "Something blue". On trouve de bons moments comme "Keep movin' on", "That's my story" mais d'autres passages s'avèrent plus inégaux. Mineur mais globalement sympathique.
From the same sessions as "Lightnin' strikes" and "Something blue". There are good moments like "Keep movin' on", "That's my story" but other passages seem to be more uneven. Minor but generally nice.
BLUE LIGHTNIN'
Jewel
FISHING CLOTHES
Westside
1965
Dès 1965, Sam "Lightnin'" Hopkins entame une collaboration importante avec le label Jewel de Stan Lewis. Accompagné de l'excellent pianiste Elmore Nixon et d'une superbe section rythmique, il livre ici une remarquable tranche de blues brut et excitant destiné au public noir : "Move on out", "Back door friend", "Gamblers blues", "Moaning blues" figurent parmi ses faces les plus terriennes.
In 1965, Sam "Lightnin'" Hopkins began an important collaboration with Stan Lewis' Jewel label. Accompanied by the excellent pianist Elmore Nixon and a superb rhythm section, he delivers here a remarkable slice of raw and exciting blues intended for the black audience : "Move on out", "Back door friend", "Gamblers blues", "Moaning blues" are among his most down home sides.
2ND ANNUAL BERKELEY BLUES FESTIVAL
Arhoolie
LIVE AT THE 1966 BERKELEY BLUES FESTIVAL
Arhoolie
April 1966
Bandes enregistrées live à Berkeley pour une retransmission sur la radio KAL. Sam, en bonne forme, est supporté simplement du batteur Francis Clay. Il discute et plaisante avec le public et interprète "Last night", "Short haired woman". On trouve deux titres supplémentaires sur la version CD.
Live tapes recorded in Berkeley for a KAL radio broadcast. Sam, in good shape, is simply supported by drummer Francis Clay. He discusses and jokes with the audience and performs "Last night", "Short haired woman". There are two additional titles on the CD version.
THE TEXAS BLUESMAN
Arhoolie
December 1967
Gravé avec un enregistreur portable à Houston, cette séance présente Lightnin' Hopkins seul à la guitare à son domicile. D'excellents moments émergent comme "Watch my fingers", "Slavery", une belle lecture de "Tom Moore blues", "Little Antoinette" (pour sa femme), "Bud Russell blues". Un ensemble très consistant.
Recorded with a portable equipment in Houston, this session presents Lightnin' Hopkins alone on guitar at his home. Great moments emerge like "Watch my fingers", "Slavery", a nice reading of "Tom Moore blues", "Little Antoinette" (for his wife), "Bud Russell blues". A very consistent set.
TALKIN' SOME SENSE
Jewel
FISHING CLOTHES
Westside
January 1968
Second album pour Jewel avec notamment l'harmonica de son cousin Billy Bizor et le piano d'Elmore Nixon. Feeling brut et dévastateur, blues puissant et sans fioritures : "Long way from home", "Vietnam war", "Walkin' blues", "You're gonna miss me" apparaissent vraiment sublimes. On peut ajouter aussi quelques instrumentaux irrésistibles ("Uncle Stan the hip hit record man", "The purple puppy"). Dans ce CD "Fishin' clothes", il y a deux titres supplémentaires provenant de la même séance.
Second album for Jewel with in particular the harmonica of his cousin Billy Bizor and the piano of Elmore Nixon. Raw and devastating feeling, powerful and unadorned blues : "Long way from home", "Vietnam war", "Walkin' blues", "You're gonna miss me" appear truly sublime. We can also add some irresistible instrumental ("Uncle Stan the hip hit record man", "The purple puppy"). In this CD " Fishin' clothes", there are two more tracks from the same session.
FREE FORM PATTERNS
International Artists
Charly
February 1968
Cet album rassemble Lightnin' Hopkins avec la section rythmique du groupe 13th Floor Elevators (Duke Davis et Danny Thomas). L'album est produit par Lelan Rogers (frère de Kenny Rogers) pour le label International Artists. L'entente semble parfaite entre les musiciens et débouche sur d'excellents morceaux pleins de feeling : "Give me time to think", "Open up your door", "Cooking's done", "Got her letter this morning", "Mini skirt". Plusieurs éditions augmentées ont vu le jour grâce au label anglais Charly. On peut mentionner une version 3 CDs avec démos, titres inédits, interviews, vraiment passionnante.
This album brings together Lightnin' Hopkins with the rhythm section of the band 13th Floor Elevators (Duke Davis and Danny Thomas). The album is produced by Lelan Rogers (brother of Kenny Rogers) for International Artists label. The understanding seems perfect between the musicians and leads to excellent songs full of feeling : "Give me time to think", "Open up your door", "Cooking's done", "Got her letter this morning", "Mini skirt". Several enhanced editions have emerged thanks to the english label Charly. We can mention a 3 CDs version with demos, unissued titles, interviews, really exciting.
LIGHTNIN' HOPKINS STRIKES AGAIN
Home Cooking
Collectables
April 1968
THE LOST BLUES MASTERS vol.1
Amherst
April 1968 - 1969
Une bonne version de "Shake that thing" provenant d'une séance pour le label Home Cooking de Roy C. Ames.
A good version of "Shake that thing" from a session for Roy C. Ames' Home Cooking label.
BLOWING MY BLUES AWAY
Home Cooking
Collectables
April 1968
WAKE UP THE DEAD
Cicadelic
June 1968 / March - April 1969
Ce CD rassemble les titres enregistrés par Sam "Lightnin'" Hopkins et Billy Bizor pour le label Clarity de Roy C. Ames. Du blues terrien et excitant, plein de feeling, gravé aux studios ACA de Houston. "Wake up the dead", "Vietnam war", "I'm tired of trouble", "How dooz it" figurant parmi les meilleurs moments de ce programme très consistant. Le CD1 est consacré à Lightnin' Hopkins tandis que le CD2 est dévolu à Billy Bizor.
This CD brings together the tracks recorded by Sam "Lightnin'" Hopkins and Billy Bizor for Roy C. Ames' Clarity label. Down home and exciting blues, full of feeling, engraved at the ACA studios in Houston. "Wake up the dead", "Vietnam war", "I'm tired of trouble", "How dooz it" are among the highlights of this very consistent program. The CD1 is devoted to Lightnin' Hopkins while CD2 is devoted to Billy Bizor.
SHOOTIN' FIRE
Cicadelic
April 1969
Ce recueil rassemble également des titres gravés pour le label Clarity de Roy C. Ames. Comme sur "Wake up the dead", le contenu musical demeure remarquable : du blues rempli de feeling constamment inspiré. Un programme avec de nombreux bons moments comme "Rainy night in Houston", "A man like me is hard to find", "Feel like ballin' the jack", "December 7, 1941" (sur l'attaque de Pearl Harbor), "Stinking foot", "Mistrust my baby and she mistrust me".
This collection also brings together titles recorded for the Clarity label owned by Roy C. Ames. As on "Wake up the dead", the musical content remains remarkable : blues filled with a constantly inspired feeling. A program with many good moments like "Rainy night in Houston", "A man like me is hard to find", "Feel like ballin' the jack", "December 7, 1941" (about Pearl Harbor attack), "Stinking foot", "Mistrust my baby and she mistrust me".
THE GREAT ELECTRIC SHOW AND DANCE
Jewel
FISHING CLOTHES
Westside
1969
Troisième et dernier disque pour le label Jewel de Stan Lewis. D'après la discographie officielle, les séances d'enregistrements auraient eu lieu à Muscle Shoals (Alabama) avec Barry Beckett, Eddie Hinton, David Hood, Roger Hawkins. Mais en fait, Lightnin' Hopkins a probablement gravé ces morceaux à Houston avec ses musiciens réguliers (Elmore Nixon, Billy Bizor) et le producteur Stan Lewis a ajouté par la suite en overdubs quelques éléments capturés à Muscle Shoals. Malgré cela, il y a une bonne homogénéité musicale et le programme reste convaincant. Sur certaines plages, Lightnin' Hopkins est seul à la guitare. On peut retenir "Lovin' arms", "Rock me mama", "Ride your new automobile", "Breakfast time". Le CD Westside ajoute une bonne dizaine d'inédits ou de titres qui n'étaient sortis que sur diverses anthologies provenant de ces séances et qui valent l'écoute.
Third and last record for Stan Lewis' Jewel label. According to official discography, the recording sessions took place in Muscle Shoals (Alabama) with Barry Beckett, Eddie Hinton, David Hood, Roger Hawkins. But in fact, Lightnin' Hopkins probably recorded these songs in Houston with his regular musicians (Elmore Nixon, Billy Bizor) and producer Stan Lewis later added some music captured in Muscle Shoals in overdubs. Despite this, there is a good musical homogeneity and the program remains convincing. On some tracks, Lightnin' Hopkins is alone on guitar. We can remember "Lovin' arms", "Rock me mama", "Ride your new automobile", "Breakfast time". The Westside CD adds a good ten unissued tracks or titles that were only released on various anthologies from these sessions and which are worth listening to.
CALIFORNIA MUDSLIDE (AND EARTHQUAKE)
Vault
Liberty
LOS ANGELES BLUES
Rhino
May 1969
Ce disque fut gravé à Los Angeles sous la supervision de Bruce Bromberg pour le label Vault de Ralph Kaffel et Jack Lewerke. La plupart du temps, Sam y est seul à la guitare mais s'asseoit également derrière le piano ou l'orgue. Il y a un morceau avec un bassiste et un batteur. Tout l'interêt de cet opus tient d'ailleurs de cette variété de configurations. On peut mentionner "Rosie Mae", "No education", "Los Angeles blues", "Antoinette's blues", "Los Angeles boogie".
This record was cut in Los Angeles under the supervision of Bruce Bromberg for the Vault label managed by Ralph Kaffel and Jack Lewerke. Most of the time, Sam is alone on guitar but also sits behind piano or organ. There is a song with a bass player and a drummer. All the interest of this opus is also due to this variety of configurations. We can mention "Rosie Mae", "No education", "Los Angeles blues", "Antoinette's blues", "Los Angeles boogie".
LIGHTNIN'
Poppy
RCA
Tomato
LIGHTNIN'
Arhoolie
May 1969
Séance produite par Chris Strachwitz et Jim Malloy présentant Lightnin' Hopkins souvent accompagné du subtil batteur Francis Clay. L'album est d'abord sorti sur le label Poppy (puis Tomato) avant d'être repris par Arhoolie. Remarquablement varié et inspiré, un disque superbe ponctué de belles réussites comme "My starter won't start this morning", "Trouble in mind", "Annie's blues", les deux versions de "Mojo hand", "Rock me baby", "Have you ever had a woman". Superbe pochette dessinée par Milton Glaser.
Session produced by Chris Strachwitz and Jim Malloy presenting Lightnin' Hopkins often accompanied by the subtle drummer Francis Clay. The album was first released on the label Poppy (then Tomato) before being taken over by Arhoolie. Remarkably varied and inspired, a superb record punctuated by great achievements like "My starter won't start this morning", "Trouble in mind", "Annie's blues", the two versions of "Mojo hand", "Rock me baby", "Have you ever had a woman". Superb sleeve drawing designed by Milton Glaser.
IN THE KEY OF LIGHTNIN'
Tomato
May 1969
Suite de la séance produite par Chris Strachwitz et Jim Malloy qui était paru sous le label Poppy. Le reste du matériel fut donc édité sur ce CD en 2002. Lightnin' Hopkins est accompagné le plus souvent du batteur Francis Clay et délivre une tranche de superbes blues parmi lesquels "Last night I lost the best friends I ever had", "Baby lend me your love", "Katie Mae", "Where did you stay last night".
Continuation of the session produced by Chris Strachwitz and Jim Malloy which had appeared under the Poppy label. The rest of the material was therefore issued on this CD in 2002. Lightnin' Hopkins is most often accompanied by drummer Francis Clay and delivers a slice of superb blues including "Last night I lost the best friends I ever had", "Baby lend me your love", "Katie Mae", "Where did you stay last night".
ANN ARBOR BLUES & JAZZ FESTIVAL vol.2
Third Man
August 1969
Lightnin' Hopkins figura à l'affiche du célèbre Ann Arbor Blues Festival en 1969. Il joue ici son fameux "Mojo hand".
Lightnin' Hopkins was featured in the famous Ann Arbor Blues Festival in 1969. He plays his famous "Mojo hand" here.
IN BERKELEY
Arhoolie
December 1969
La face A de ce LP propose une nouvelle séance plutôt sympathique ("Please settle in Vietnam") produite par Chris Strachwitz. Par contre, la face B compile des titres déjà parus par ailleurs (dans le LP "Lightnin'" édité par Poppy).
The A side of this LP offers a new rather nice session ("Please settle in Vietnam") produced by Chris Strachwitz. On the other hand, the B side compiles titles already issued elsewhere (in the "Lightnin'" LP edited by Poppy).
BLUES IS MY BUSINESS
Edsel
1971
Bandes live de 1971 provenant d'un lieu inconnu et dans lesquelles Sam est accompagné de musiciens non identifiés. La qualité sonore n'est pas très bonne. Hopkins livre une prestation routinière et plate peu aidé par des sidemen peu impliqués.
1971 live tapes from an unknown location in which Sam is accompanied by unidentified musicians. The sound quality is not very good. Hopkins delivers a routine and flat performance little helped by little involved sidemen.
YOU'RE GONNA MISS ME
Edsel
1971
Second volume des bandes live de 1971. Il vaut mieux se tourner vers les nombreux chefs d'oeuvre de Lightnin' Hopkins que vers cet obscur et médiocre disque.
Second volume of the live tapes of 1971. It is better to turn to the many masterpieces of Lightnin' Hopkins than to this obscure and mediocre album.
IT'S A SIN TO BE RICH
Verve
Gitanes Jazz
May 1972
Tentative ambitieuse d'associer Lightnin' Hopkins avec de nombreux musiciens de studio comme Mel Brown, Cliff Coulter, Jessie Edwin Davis, Luther Tucker. Il y a même John Lee Hooker sur une poignée de titres. Tout ce matériel fut produit par Ed Michel - probablement pour ABC-Bluesway - mais ne fut pas publié avant 1993. Ces séances semblent en grande partie improvisée et sans ligne directrice. "Roberta" et "Just out of Louisiana" sont les seuls moments intéressants de ce disque ennuyeux.
Ambitious attempt to associate Lightnin' Hopkins with many studio musicians like Mel Brown, Cliff Coulter, Jessie Edwin Davis, Luther Tucker. There is even John Lee Hooker on a handful of titles. All this material was produced by Ed Michel - probably for ABC-Bluesway - but was not issued until 1993. These sessions seem to be largely improvised and without guidelines. "Roberta" and "Just out of Louisiana" are the only interesting moments on this boring record.
LIVE IN DENVER
Klondike
April 1974
Paru en 2017, ce CD reprend des bandes live enregistrées par la radio KCUV. La qualité sonore n'est pas excellente (on n'entend pas beaucoup la section rythmique qui l'accompagne) et le programme plutôt plat. A conseiller aux fans confirmés ou aux complétistes.
Released in 2017, this CD features live tapes recorded by KCUV radio. The sound quality is not excellent (we don't hear much of the rhythm section which accompanies him) and the program is rather flat. To advise to confirmed fans or to completists.
THE LEGACY OF THE BLUES vol.12
Sonet
GNP - Crescendo
THE SONET BLUES STORY
Verve
1974
"The legacy of the blues" était une série de disques publiée par la firme suédoise Sonet dont la production était confiée à Sam Charters. Hopkins est enregistré à Houston avec un groupe de musiciens non identifiés. Mais personne ne semble vraiment inspiré ici rendant le programme parfois désespérement plat. Il y a deux titres supplémentaires dans la réédition CD. Il s'agit en fait de son dernier album en studio.
"The legacy of the blues" was a series of discs issued by the swedish label Sonet whose production was entrusted to Sam Charters. Hopkins is recorded in Houston with a group of unidentified musicians. But no one seems really inspired here making the program sometimes hopelessly flat. There are two additional titles in the CD reissue. This is actually his last studio album.
NEW ORLEANS JAZZ & HERITAGE FESTIVAL '76
Island
April 1976
On trouve dans cet excellent disque trois morceaux joués par Lightnin' Hopkins lors du New Orleans Jazz & Heritage Festival d'avril 1976 simplement accompagné d'une section rythmique. On peut entendre une superbe reprise de "Baby please don't go".
We find in this excellent record three songs played by Lightnin' Hopkins during New Orleans Jazz & Heritage Festival in april 1976 simply accompanied by a rhythm section. We can hear a superb cover of "Baby please don't go".
LIVE IN MUNICH
Rockbeat
June 1977
THE RISING SUN COLLECTION
Just a Memory
June 1977
Concert à Montreal au Rising Sun Celebrity Jazz Club de Roué Doudou-Boicel. Quelques moments sympathiques mais beaucoup de longueurs. Un disque à conseiller avant tout aux complétistes.
Concert in Montreal at the Rising Sun Celebrity Jazz Club in Roué Doudou-Boicel. Some nice moments but lots of lengths. An album to advise above all to completists.
MIGHTY CRAZY
Catfish
June 1978
Le programme est partagé entre "Big Mama" Thornton et Sam "Lightnin'" Hopkins. En ce qui concerne Hopkins, il s'agit d'un concert capté à Houston qui devait être initialement publié par le label Lunar #2. Un disque sans surprise, peu intéressant.
The program is shared between "Big Mama" Thornton and Sam "Lightnin'" Hopkins. Regarding Hopkins, this is a concert captured in Houston which was to be originally released by the Lunar #2 label. A disc without surprise, not very interesting.
THE RISING SUN COLLECTION
Just a Memory
July 1980
FOREVER : LAST RECORDINGS
Paris Album
EPM
July 1981
Dernier album de Lightnin' Hopkins en concert dans un juke-joint de sa ville Houston. Fatigué par les années et déjà malade, il délivre une performance peu marquante et très loin de ses meilleures réussites. A part quelques bons moments, le programme semble trop long. Ce disque devrait intéresser uniquement les fans inconditionnels de Lightnin' Hopkins.
Last album of Lightnin' Hopkins in concert in a juke-joint of his city Houston. Tired by the years and already sick, he delivers a flat performance very far from his best achievements. Except for a few good moments, the program seems too long. This disc should interest only the unconditional fans of Lightnin' Hopkins.