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.” This edition has been remastered from the original tapes.

Lightnin’ Hopkins is widely considered one of the great popular architects of the blues style that came be known as “country blues” and which proved to be huge influence on the future development of Rock ‘n’ Roll. “Mojo Hand” was one of Hopkins‘ signature tunes. Mixing his own style with Louisiana Creole and voodoo culture, the song ripples with an occult energy.This album, recorded for Fire Records, is especially interesting because it casts Hopkins in a more R&B-flavored environment. This obvious effort to get a hit takes for some excellent blues; moody and powerful performances play throughout. The Penguin Guide to Blues Recordings wrote that "Lightnin' is focussed and businesslike and delivers a strong and varied sequence of songs; the bassist and drummer unobtrusive but very much there”.

Lightnin’ Hopkins is arguably the greatest Texas blues star of the 1960s era. A country bluesman of the highest caliber, his career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. His style, strong rhythms punctuated by his flowing but compact lead lines, created a stinging and heart-tearing evocative sound. This quintessential collector’s edition includes two of Hopkins’ finest albums: the long unavailable Lightnin’ Strikes, originally released in 1962 by Vee-Jay Records, and the self-titled Lightnin’ Hopkins, his1959 debut for the Folkways label. The two LPs are widely regarded as landmarks of the late-‘50s/early-‘60s blues revival. Both solid-blues masterpieces have been remastered and packaged together in this very special release, which also includes 5 bonus tracks from the same period.

A Lightnin' solo concert from his college kiddie-folk period (1964), this languished unissued in Fantasy Records' vaults until its release in the early '90s. That's a shame, because this concert captures Lightnin' at his beguiling best, spinning tales and blues magic with every track. His introductions are half the show, making even shopworn staples like "Baby Please Don't Go" and "My Babe" sound fresh. His guitar work is astounding, pulling off inventive leads while maintaining a constant boogie rhythm that makes other instruments superfluous. If you want a disc that clearly showcases Lightnin' Hopkins at his enchanting best, start your collection with this one; it's a charmer.

A grab bag of early-'60s Hopkins, four of the songs recorded solo in a Houston studio in July 1961, two recorded with bass and drums in New York in May 1964, and the other six recorded live as a solo in New York in December 1964. These were originally released on the following Prestige/Bluesville LPs: the 1961 cuts on Walkin' This Road by Myself, the two New York band songs on Down Home Blues, and the live New York tracks on My Life in the Blues. Hopkins plays good country blues on the 1961 numbers, particularly on "Baby Don't You Tear My Clothes" and his interpretation of "Good Morning Little School Girl." The two 1964 band efforts are pretty good spare electric blues, whether "I Like to Boogie" or the more unusual "Get It Straight," which gets rather close to country music in its rhythms and guitar work…

The most important part of Lightnin' Hopkins' career was spent in juke joints in Houston, but during the early 1960s, he also became a star along the folk circuit, playing clubs that catered mostly to college students eager to hear authentic acoustic blues. Several of those shows were recorded over the years to capitalize, and while the albums don't have the same importance as Hopkins' classic blues sides of the 1940s and 1950s, they do show another side of the man, and one he seemed to take to very naturally. Hootin' The Blues is one of Hopkins' better folk club concerts, capturing him in an intense performance on acoustic guitar, rapping (in the sense of talking) about the blues and what it means as he introduces some powerful songs: "Blues Is a Feeling," "In the Evenin'," and "Meet Me in the Bottom," among others…

One of the most weirdly compelling elements of Smokes Like Lightnin' is Mack McCormick's liner notes, reproduced from the original 1963 LP. Almost breathtaking in their ferocity, McCormick's notes characterize Hopkins as a spoiled crybaby whose only redeeming quality is his ability to make music. The album, recorded in three 1962 sessions, consists simply of Hopkins and his guitar, except for three songs that are performed with a full band. The sound is spare and very loose, with a re-recording of "T Model Blues" and the dance song "Let's Do the Susie-Q," a musical exhortation that seems unlikely to inspire dancing. A brief and uneven album, Smokes Like Lightnin' is less compelling than Hopkins' '50s recordings, but strikes an appealingly lazy acoustic groove.

Lightnin' Hopkins originally recorded the ten tracks that make up Free Form Patterns on February 1, 1968, for the International Artists label. Also on that label's roster was the psychedelic group 13th Floor Elevators, which, by 1968, had basically disbanded. For this session, producer Lelan Rogers (Kenny's brother) teamed Hopkins up with Elevators drummer Danny Thomas and bassist Duke Davis. While not as revolutionary as John Lee Hooker's sessions with Canned Heat, Free Form Patterns steers clear of the late-'60s psychedelic trappings that screwed up such similar sessions as Electric Mud. No one tried to bend Hopkins to fit a foreign musical approach on Free Form Patterns; he made the music bend to him.

Recorded for Prestige's Bluesville subsidiary in 1960 and reissued on CD for Fantasy's Original Blues Classics (OBC) series in 1990, Lightnin' is among the rewarding acoustic dates Lightnin' Hopkins delivered in the early '60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like "Thinkin' 'Bout an Old Friend" and the familiar "Katie Mae" and enjoyable interpretations of Sonny Terry & Brownie McGhee's "Back to New Orleans" and Arthur "Big Boy" Crudup's "Mean Old Frisco." Hopkins' only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful "Come Back Baby" to more lighthearted, fun numbers like "You Better Watch Yourself" and "Automobile Blues," Lightnin' is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you.

This five-disc collection from London's JSP Records brings together 126 sides that Lightnin' Hopkins tracked for the Aladdin, Modern/RPM, and Gold Star labels at the very start of his recording career. Included are the Texas bluesman's first hit, "Katie May" from 1946, "T-Model Blues" from 1949, and arguably the most startling Hopkins composition, the powerful "Tim Moore's Farm," also from 1949. Most of the tracks are Hopkins solo, playing either acoustic or electric guitar, but he takes a turn at the organ for "Organ Boogie," a track that shows the same adventuresome liberties with tempo and time that mark all of his work, whatever the instrument. Since his approach and style to the blues never altered throughout his life, a case could be made that these first recordings are the ones to get, but at an astounding 126 tracks, this set is mind-numbing overkill for all but the most devoted fan.

Lightnin' Hopkins' plaintive, soft-rolling blues style is exemplified on "Let's Go Sit on the Lawn," "Just a Wristwatch on My Arm," "I'm a Crawling Black Snake," Willie Dixon's "My Babe," and others. Accompanied only by himself on guitar (and oh what a guitar he plays), Leonard Gaskin (bass), and Herb Lovelle (drums), Hopkins' seductive, intricate guitar picks and strums will dance around in your head long after this CD has played. His voice, which sounds like it's aged in Camels and Jim Beam, conveys his heartfelt sagas to the fullest. A prolific songwriter, Hopkins wrote every song except the Dixon tune.