(2015/Cicadelic) 20 tracks.
Lightnin' Hopkins recorded over a dozen songs for the Clarity Music Company at the "ACA" Recording Studio in Houston in April of 1969. These songs ranged from new originals, such as "Born In The Bottom", "December 7, 1941", "A Rainy Day In Houston", and "Stinking Foot", to oldies such as "Feel Like Ballin' The Jack", "Shake That Thing" and "Shinin' Moon". Since the 1970's some of these songs have been released on haphazard compilations with the bass and drums mixed too high, the guitar leads mixed too low, and excessive "reverb" in an attempt to make Lightnin' sound more contemporary. Now for the first time ever the original four track masters have been re-mixed without any of the extraneous studio misjudgments that marred previous releases. As an added bonus, previously unreleased recordings such as "Movin On Out When The Saints March In", "Old House Torn Down", "Mistrust My Baby And She Mistrust Me", and "Baby Please Don't Do Me Wrong" are included on this compendium of Lightnin' Hopkins gems. A large selection of never before seen photos, contracts, and documents rounds out this collection of rarities. The net result is 77 minutes of Lightnin' Hopkins in his prime "shootin' fire".
Lightin' Hopkins - - gtr,voc, Cedric Hayword - pno, Lawrence Evans - bass, Ben Turner - drums.
Article properties: Lightnin' Hopkins: Shootin' Fire (CD)
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.