Lightnin' Hopkins & Sonny Terry Last Night Blues (Bluesville Acoustic Sounds Series) (CD)

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catalog number: CDCRF159427
weight in Kg 0.08

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(Craft Recordings) 8 tracks Last Night Blues is Lightnin' Hopkins' 1961 album, featuring Sonny... more

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Lightnin' Hopkins & Sonny Terry: Last Night Blues (Bluesville Acoustic Sounds Series) (CD)

(Craft Recordings) 8 tracks
Last Night Blues is Lightnin' Hopkins' 1961 album, featuring Sonny Terry. The second of three album collaborations, Last Night Blues showcases Hopkins' and Terry's different yet complementary styles to create a well-rounded listening experience. AllMusic declared, 'this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth.'

Article properties: Lightnin' Hopkins & Sonny Terry: Last Night Blues (Bluesville Acoustic Sounds Series) (CD)

Interpret: Lightnin' Hopkins & Sonny Terry
Album titlle: Last Night Blues (Bluesville Acoustic Sounds Series) (CD)
Genre Blues
Artikelart CD
Label Craft Recordings
EAN: 0888072617629
weight in Kg 0.08

Hopkins, Lightnin' - Last Night Blues (Bluesville Acoustic Sounds Series) (CD) CD 1
01	Rocky Mountain	Lightnin' Hopkins & Sonny Terry
02	Got To Move Your Baby	Lightnin' Hopkins & Sonny Terry
03	So Sorry To Leave You	Lightnin' Hopkins & Sonny Terry
04	Take A Trip With Me	Lightnin' Hopkins & Sonny Terry
05	Last Night Blues	Lightnin' Hopkins & Sonny Terry
06	Lightnin's Stroke	Lightnin' Hopkins & Sonny Terry
07	hard To Love A Woman	Lightnin' Hopkins & Sonny Terry
08	Conversation Blues	Lightnin' Hopkins & Sonny Terry

Lightnin' Hopkins Lightnin' Hopkins is many people's idea of what a blues-singer should be... more

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"Lightnin' Hopkins & Sonny Terry"

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.

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