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Lightnin' Hopkins Free Form Patterns (180g Vinyl)

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(2014/Charly) 10 tracks). Recorded January 1968 'Free From Patterns' is unusual because the... more

Lightnin' Hopkins: Free Form Patterns (180g Vinyl)

(2014/Charly) 10 tracks). Recorded January 1968 'Free From Patterns' is unusual because the line-up of sessions - the Blues Veteran gets support from a young hip rhythm section from Danny Thomas and Duke Davis from the 13th Floor Elivators who were traveling on acid at that time. 'Free Form Patterns' is not a stranded hybrid of hippie / Blues, but a sincere blues album with the great man, who is being supported by fans, the members of a legendary psych band just happened. The peculiarity lies in the merging of different generations and the transgression of limits in the repressive state of Texas in the late sixties.

Article properties: Lightnin' Hopkins: Free Form Patterns (180g Vinyl)

  • Interpret: Lightnin' Hopkins

  • Album titlle: Free Form Patterns (180g Vinyl)

  • Label CHARLY

  • Genre Blues

  • Year of publication 2014
  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Mint (M)
  • Sleeve Grading Mint (M)
  • Artikelart LP

  • EAN: 0803415182015

  • weight in Kg 0.3
Hopkins, Lightnin' - Free Form Patterns (180g Vinyl) LP 1
01 Mr Charlie Lightnin' Hopkins
02 Give Me Time To Think Lightnin' Hopkins
03 Fox Chase Lightnin' Hopkins
04 Mr Ditta's Grocery Store Lightnin' Hopkins
05 Open Up Your Door Lightnin' Hopkins
06 Baby Child Lightnin' Hopkins
07 Cooking's Done Lightnin' Hopkins
08 She' S Almost Dead) Got Her Letter This Morning (Aka
09 Rain Falling Lightnin' Hopkins
10 Mini Skirt Lightnin' Hopkins
Lightnin' Hopkins Lightnin' Hopkins is many people's idea of what a blues-singer should be... more
"Lightnin' Hopkins"

Lightnin' Hopkins

Lightnin' Hopkins is many people's idea of what a blues-singer should be : an endlessly inventive folk-poet, whose imagination is touched by almost everything but whose sing-ing and playing express nothing but the blues. And this, despite nearly 30 years of performing and recording, and all the pressures that might have made him something else, he unswervingly has been. But he has not, outside his own com-munity, been very obviously influential on either American or British rock; his blues, sung by others, are not self-sustaining, as many of the Chicagoans' are.


His early recordings, in the Forties and Fifties, were characterised by thunderous amplification - as any number of reissues demonstrate - but his first ventures into a different market, with acoustic guitar, compensate in subtlety for what they lose in force (e.g. the Folkways and some Bluesville albums). Later sessions placed him with accompanying groups, rarely successfully, though his album for Jewel is an exception.

Through all these records he balances slow blues with vivid boogies, occasionally leaving his guitar to essay an idiosyncratic piano style. Born in Centerville, Texas, in 1912, he spent most of his life in Houston, and his refusal to extract himself from that milieu is the chief reason for his undiminished authenticity as an observer, through the blues, of black life.

Electric Blues 1939-2005. - The Definitive Collection!


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