Lightnin’ Hopkins

Lightnin’ Hopkins

The Blues According To Lightning Hopkinsblues guitar

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Sam Lightnin’ Hopkins The Texas Blues Man

There’s some great guitar pickers came from Texas (and still do!) but none quite like Lightnin’. Often imitated, never equaled, his legacy for generations of aspiring acoustic blues guitar fingerpickers is huge and can’t be overestimated. He was influenced by Blind Lemon Jefferson, and his cousin played with the blind blues guitarist from time to time. He probably learned that a sparse fingerstyle punctuated with fast and unexpected licks were a powerful way to engage an audience, particularly if your lyrics tell a good story at the same time – he was a master story teller.

lightnin hopkins guitar tuningFrom all accounts, his early days were pretty typical of a young brash blue guitar picker of those times – hard drinking and womanizing were just the beginning. He spent some time in jail, was married for a time, but always came back to the blues for his living, in fact it was his life. He was very popular with small dance crowds in the rural areas and could play for hours with no backing, just him and his guitar. It’s a testimony to his skill that he could innovate for long periods without boring his listeners.

Many modern rock and blues guitar players list Hopkins as one of their major influences, men like Jimi Hendrix and Stevie Ray Vaughan among them, and many Lightnin’ Hopkins songs have been covered again and again by diverse musicians. He produced 85 albums throughout his career and Lightnin’ Hopkins blues songs were often near the top of the Billboard Charts in the late 40s and 50s.

In later years he toured Europe, and even put on a command performance for Queen Elizabeth in the UK! He was Mr Cool of Texas acoustic blues and could captivate audiences at all levels. Perhaps a good way to get into the man’s style is to watch the video below, which is a great little documentary filmed in Texas and shows him playing, singing and also philosophizing about life and blues.

Here’s a good biography I found:

Lightnin’ Hopkins embodied the blues. His singing, guitar playing, his physical appearance, personality, and demeanor, were the blues. One of the most recognizable bluesmen to come out of Texas, Lightnin’ Hopkins went on to stake out an enduring and productive career with his own spontaneous and eclectic style of haunting vocals and accompanying guitar.

Sam Lightnin’ Hopkins was born in Centerville, Texas, on March 15, 1912. After his father died in 1915, the family (Sam, his mother and five brothers and sisters) moved to Leona. At age eight he made his first instrument, a cigar-box guitar with chicken-wire strings. By ten he was playing music with his cousin, Texas Alexander, and Blind Lemon Jefferson, who encouraged him to continue. Hopkins also played with his brothers, blues musicians John Henry and Joel.

By the mid-1920s Sam had started jumping trains, shooting dice, and playing the blues anywhere he could. He married sometime in the 1920s, and had several children, but by the mid-1930s his wife, frustrated by his wandering lifestyle, took the children and left Hopkins. He served time at the Houston County Prison Farm in the mid-1930s, and after his release he returned to the blues-club circuit. In 1946 he had his big break and first recording in Los Angeles for Aladdin Recordings. On the record was a piano player named Wilson (Thunder) Smith; by chance he combined well with Sam to give him his nickname, Lightnin’. The album has been described as “downbeat solo blues” characteristic of Hopkins’s style. Aladdin was so impressed with Hopkins that the company invited him back for a second session in 1947. He eventually made forty-three recordings for the label, which are highly regarded and available as “The Complete Aladdin Recordings.”

Over his career Hopkins recorded for nearly twenty different labels, including Gold Star Records in Houston. These were reissued under Arhoolie as “The Gold Star Sessions.” On occasion he would record for one label while under contract to another. In 1950 he settled in Houston, but he continued to tour the country periodically. Though he recorded prolifically between 1946 and 1954, his records for the most part were not big outside the black community, and buried by the onslaught of rock and roll. It was not until 1959, when Hopkins began working with legendary producer Sam Chambers that his music began to reach a mainstream audience. Hopkins switched to an acoustic guitar and became a hit in the folk-blues revival of the 1960s. He was signed by Chris Strachwitz for his new Arhoolie label in this period, which really propelled his popularity in the genre.

During the early 1960s he played at Carnegie Hall with Pete Seeger and Joan Baez and in 1964 toured with the American Folk Blues Festival. By the end of the decade he was opening for such rock bands as the Grateful Dead and Jefferson Airplane. During a tour of Europe in the 1970s, he played for Queen Elizabeth II at a command performance. Hopkins also performed at the New Orleans Jazz and Heritage Festival. In 1972 he worked on the soundtrack to the film Sounder. He was also the subject of a documentary by filmmaker Les Blanks The Blues According to Lightnin’ Hopkins, which won the prize at the Chicago Film Festival for outstanding documentary in 1970.

Hopkins recorded and appeared on more than eighty-five albums for an incredible variety of labels, and toured around the world. But after a 1970 car crash, many of the concerts he performed were on his front porch or at a bar near his house.

He had a knack for writing songs impromptu, and frequently wove legends around a core of truth. His often autobiographical songs made him a spokesman for the southern black community that had no voice until blues attained a broader popularity through white audiences and performers.

In 1980 Lightnin’ Hopkins was inducted into The Blues Foundation Hall of Fame.

Hopkins died of cancer on January 30, 1982

Author: James Nadal


The Blues According To Lightnin’ Hopkins

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This Lightnin Hopkins documentary shows many live clips of the legend playing and his definition of the blues in his low Texas drawl “anytime you got a sad feeling, you can tell the whole round world you got the blues,” – just about says it all. You can have the blues about anything and everything, it depends on how you look at it and how you express it. The Texas blues man expressed it with his amazing guitar skill and turned it into a lifelong career. You get the impression that he lived every word he sang, and this is one the things he had in common with all legendary performers from Bob Dylan to Elvis Presley – they sing and you just believe them, you just know it’s the Truth!

Mance Lipscombe - Lightnin's Texas Blues Buddy

Lightnin’ is accompanied from time to time by his buddy Mance Lipscombe, whose style was similar, but had if anything a broader repertoire. Mance is the subject of another article as he deserves to be discussed in some detail.

Notice how the two guitars completely complement each other in the video. Often, this is not prepared, but each guitarist feels the other’s playing and adapts to wherever his partner goes – sometimes Mance takes off and sometimes its Hopkins.

This type of blues ‘jam’ is about as good as it can get whether listening to it or taking part in it yourself, and no amount of Lightnin’ Hopkins tabs can give you that expertise. It takes a lot of work and practice.

Top Lightnin’ Hopkins Songs

Preparing a short list is a hard choice from so many great recorded tracks, but here goes:

  1. Katie Mae
  2. Shotgun Blues
  3. Baby Please Don’t Go
  4. Automobile Blues
  5. Give Me Central 209 (Hello Central)
  6. Coffee Blues
  7. I’m Beggin’ You
  8. Contrary Mary
  9. Moanin’ Blues
  10. Penitentiary Blues
  11. Fan It
  12. Conversation Blues
  13. Last Night Blues
  14. Mighty Crazy
  15. Mojo Hand
  16. Baby Don’t You Tear My Clothes

Lonesome Road Blues Lyrics Lightnin Hopkins

Ain’t it lonesome, ain’t it lonesome, sitting in your home alone
Ain’t it lonesome, ain’t it lonesome, sitting in your home alone
Yes, you know, when your wife done quit your black self and the girl you love is gone

Yeah, you know she kind of like Katie Mae
I give her everything in the world she needs
That’s why she don’t do nothing, man, but lay up in the bed and read

And you know, she’s kind of like Katie Mae
Boy, I give that woman everything in the world she needs
Yes, that’s why, you know, she don’t do nothing, man, lay up in the bed and read

Yes, you know I bought her a radio, I even bought her a’electric fan
She said, “Sam. I’m gon’ lay here and read and God knows I won’t have no other man”
That made me feel so good till I don’t know what to do
Yes, darling, every dollar poor Sam makes, you know, he got to bring it back home to you
(Got to play it out right here)

Still, I say, can’t a woman act funny, I’m talking about when she got another man?
You know she won’t look straight at you, boy, she always raising sand
Can’t a woman act funny, boy, when she got another man
Yes, you know she won’t look straight at you, then she’s always raising sand

Download Lightnin Hopkins Lyrics To Shotgun Blues (Bring Me My Shotgun) PDFblues guitar

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Lightnin Hopkins Guitar Picking – Monotonic Bass

Although it’s sure that the Texas blues man could play an alternating bass pattern if he wanted to, he was a master guitar player, but his preferred style incorporated the so-called ‘monotonic bass’ thumb strike to accompany his songs. With this pattern, the picking thumb didn’t move between strings, but sets up a solid rhythm on one or two bass strings – you’ll see the detail later in my Lightnin Hopkins guitar lesson video posted below.

Mojo Hand Lightnin' Hopkins Style
Lightnin Hopkins – Mojo Hand Master

For this this style of fingerpicking the blues, the keys of E and A work best, although some blues men have used it very successfully in C and G. ( Robert Johnson (Four ’til Late), Big Bill Broonzy (St Louis Blues, Glory of Love, Guitar Shuffle) and of course, Mance Lipscombe. Mance’s way of playing this thumb pattern is particularly interesting and is discussed separately elsewhere on this site.

Once the bass string is plucked with the thumb, it can either be damped or let ring, depending on the feel of the song and what the artists wants to get across to his listeners. The string can be muted or ‘choked off’ by simply dropping the palm of the picking hand onto the string. Normally, the palm is held very close to the strings close to the bridge, so this muting can be effected very quickly.

If the bass string isn’t fretted, as when using an E or A chord, then muting the note with the picking hand is ideal. If using a G or C chord, then the fretting hand can be used, by lifting the fingers off for a fraction of a second and choking off the note in this way. Most guitarists use a combination of these techniques to create the desire effect.

As you might guess from Lightnin’ Sam Hopkins, he went a little further in his basic bass picking pattern, and often doubled up on the timing so that the beat became heart-beat. When this is done with the right timing it speaks directly to the emotions, which is a powerful way to communicate with your audience. This ‘mojo hand’ technique of his was much more complex than many other blues guitar players and added syncopation to very simple chord progressions, no matter what the key it’s played in.

Click To Play MP3 – ‘Fan It’ by Lightnin’ Hopkins

One of the best known Lightnin’ Hopkins quotes is ‘Lightnin’ changes chords when Lightnin’ wants to!” which is a way of saying that he’s not chained to any particular chord structure or traditional timing associated with it. The music is there to fit in with his lyrics and story, it’s not the other way round. This is one way he owns the blues – he just wasn’t stuck into playing it how others think it should be done.

Lightnin’ Hopkins Country Blues – Baby Please Don’t Go Lesson

In the following Lightnin’ Hopkins lesson, complete with tabs and chords, I go into one of his most popular songs in some detail to try and capture some of that magic. It incorporates many of his trademark riffs and licks, and also some interesting thumb moves during a middle break that adds syncopation – his thumb plays on a single bass string sometimes doubling up on the temp and then striking on the off-beat while is forefinger complements the sound on the trebles. It sounds great and takes a bot of practice to get it down just right.

Written by Big Joe Williams, for me Hopkins really made it his own and many artists have recorded the song over the decades, artists like Bukka White, Muddy Waters, BB King, Them and the Doors – over 100 in total!

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Lighnin Hopkins PDF – ‘Baby Please Don’t Go’

Lightnin’ Hopkins Guitar Tuning.

Let’s take a look at the highly syncopated part of Baby Please Don’t Go and refer to some guitar tab images to explain what’s going on with Lightnin’s fingerpicking pattern. When the syncopation starts, he’s playing a very simple A7 chord with a bar when he starts to vary his thumb beat, and it’s deceptively simple – looks easy until you try it!



Before that he vamps along for a few bars on the E chord. Get the rhythm going, be careful with the finger and thumb picking position, and it starts to take shape.

Lightnin’s finger mirrors the thumb action, but alternates, so after the thumb strikes twice, the finger strikes just once and vice versa.

It’s the same pattern as he moves into the E chord, but his thumb drops down to the bass E while he slides up to 5th fret on the B string, which puts it in tune with the open high E, and lets it ring.

A short but fancy riff after a standard B7 and we’re ready to drop back to the E to finish off that phrase.

Hopkins runs down to the E chord with a standard progression in the traditional blues style, and turns it around with another B7 before starting the next verse.

This is a masterclass in using very simple chords to the best effect in a standard blues format.




Tips For Learning To Play Acoustic Blues Guitar

Most people want to try and retain the authentic feeling pf the original blues – Keep it Real, as I always say! The only way to really do this is to learn to fingerpick in the same way, it’s as simple as that. It’s easy to say, but sometimes oh so hard to do – I know this. The strange thing is that even when we KNOW that we are doing the finger movements in exactly the same way, with the same chords and everything the way we’ve studied it, often there’s still something missing.

One thing is for sure, learning to play old style acoustic blues guitar isn’t like memorizing a page of text, for example. There’s much more happening when we try to create a musical experience, and it’s as much to do with the listener’s perception of what you’re doing as your technique. To make you performances special, which is to say, better than 90% of the other guitar players, learning the physical technique is only 20% of the work – the other 80% comes from other subtle sources.

  1. The Mechanics – most guitarists have a preference for playing fingerstyle guitar either with bare fingers or with finger picks. Now different blues artists used both, so you will need to copy what they did if you wanted to get the feel of how they did it, and also try to use the same number of fingers. Hopkins used a plastic thumb pick and his bare forefinger, for example, while Rev. Gary Davis used a pick on thumb and forefinger. Others, like Mississippi John Hurt, used his bare fingers.  The best approach is to practice with or without, until comfortable with either way of playing.

  2. Guitar Teachers – If you need a teacher, either in person or on the internet, don’t be scared to take a long time in choosing you an (or woman!) You’ll save a lot of time by working with someone you are comfortable with. It’s quite common that students chop and change, trying this instructor and then the other. Once you find the right blues guitar teacher, stick with him and soak it up like a sponge.

  3. Who were the blues men? Take your time to explore the background of your favorite blues men, read about their lives and try to imagine what it must have been like to have to play for hours for a couple of dollars, or a meal and a place to sleep. How did this affect their music? Of course they had the blues – what are your blues and how do you get it into your music?

  4. Using guitar tablature – it’s not uncommon for a student to come to me who really wants to play the blues in the right way, the old way, but he’s learned by ear and doesn’t have a grounding in the basics. As young men we tend to want to jump straight over to the good stuff, the flashy licks and impressive riffs. The old blues isn’t like that.Without a solid foundation, this kind of playing has little substance. The foundation I’m talking about is the one thing that all the great blues players have in common – complete control over their picking thumb. The way to get this control is by using tablature, which ensures you don’t skip things that you’ll need later on to play great blues.

  5. Practice – we’ve got to do it, we all know that, but it shouldn’t be a drudge. If you get tired of it, then there’s something wrong. You started on this blues journey because you were passionate about the old way of playing acoustic blues, and the people who created it all. However, it does happen, particularly when you’re trying to nail a particular fingerpicking pattern and it’s just not coming. Best thing is to practice that piece for 30 mins a day, and then play something else totally unrelated with the rest of your practice time – it’ll come!

  6. Visualization – this just may be the most important piece of the whole puzzle that many people don’t realize! Whatever you practiced that day, you need to visualize in you mind’s eye for ten minutes before going to sleep. Create a virtual video in your mind. See yourself effortlessly hitting the right strings. Really hear those perfect notes in the right order with a perfect rhythm. Make it larger than life, both sound and technicolor. This technique alone will enhance your progress in leaps and bounds.

A visit to Houston for any fan of vintage black American songs can not fall short to absorb a trip via the city’s Third Ward, the cradle of South Texas blues and the factor of beginning for nearly every strand of songs to come from H-Town since the early 20th century. The appearance of the location has actually altered substantially from those days in the 1930s and 40s when it was the epicentre of black songs activity in Houston and most likely the whole of the American South. It’s still the heart beat of the city’s black community, but on streets where when great blues singers stood on corners and bet nickels and also dollars, a wealth of coffee houses and also clever dining establishments for vegans and also carnivores alike currently stand.

A titan of Texas blues such as Sam John “Lightnin'” Hopkins would certainly battle to recognise Dowling Street as the location where he and also his remote relative Alger “Texas” Alexander plied their musical sell the hope of making enough money to eat in the late 1930s, or where Lightnin’ was found in the mid-40s by Lola Ann Cullum, the well-to-do dentist’s spouse with an interest for cries and great contacts with Los Angeles’ Aladdin Records, his first recording house. However a minimum of Dowling Street hasn’t already been bulldozed for gentrification. If you desire to do so, it’s still possible to base on an edge, shut your eyes and also envision what it would have resembled to hear Lightnin’ and his peers more compared to 65 years back.

When I first began paying attention to blues records in the mid-60s, I was attracted to Lightnin’s songs promptly. I loved his laconic vocal style and the ruthless balanced drive of his up-tempo sides. I played his great live recording of ‘Cadillac Blues’ over as well as over once more, attempting to analyze just what he was stating in its opening rap in his often hard-to-decipher South Texas drawl, all the while waiting for him to go down the awesome boogie riffs that come half method through. Once I discovered his R&B timeless ‘Mojo Hand’ on a Sue compilation in 1964, I understood my ears would certainly have a long-lasting relationship with the songs of Lightnin’ Hopkins. And also they have.

Lightnin’ died aged 69 in 1982, leaving an exceptional recorded heritage that extended greater than 30 years. Throughout the late 50s as well as early 60s, he went to his most prolific, recording for anyone who would certainly supply a charge and also selling lots of albums to folk-blues followers. He made many fine albums during these years, several of the very best which have actually long been readily available on Ace.

His earliest sides for tags such as Aladdin, Gold Star, Sittin’ In With and also Modern record him at his most necessary. Ace also have that duration of his profession covered with “Jake Head Boogie” (a collection of the finest Lightnin’ masters and alternating draws from the Modern Records stock) and also “His Blues”, a 2CD profession overview provided combined with Alan Govenar’s clear-cut Lightnin’ Hopkins bio of the same title.

Unlike much of his Houston contemporaries, Lightnin’ enjoyed globally popularity and acknowledgment of his contributions to South Texas blues while he was still active. It’s a fitting testament to his talents that he has so several CDs readily available more compared to 30 years after his death. To discover the guy and also his music at their greatest, you require look no more compared to Ace.

Lightnin Hopkins Lesson



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