"I had the one thing you need to be a blues singer," Lightnin' Hopkins used to say. "I was born with the blues." The songs he created – "barrelhouse," he called them – were as sorrowful as a cottonfield holler and as earthy as the Texas bottomlands that swallowed his sweat. "You know the blues come out of the field, baby," Lightnin' said. "That's when you bend down, pickin' that cotton, and sing, 'Oh, Lord, please help me.'"
Scars on his hands and ankles testified to stints on the chain gang and long days of driving mules and chopping cotton. But Lightnin' was indomitable, and, like Lead Belly and Muddy Waters and other great bluesmen, he played his way to better circumstances, parlaying his anger and pain into tough, deeply felt music. "The blues is a lot like church," Hopkins explained. "When a preacher's up there preachin' the Bible, he's honest to God trying to get you to understand these things. Well, singing the blues is the same thing."
Sage, scoundrel and natural-born storyteller, Sam "Lightnin'" Hopkins had a genius for improvised poetry, creating new verses or entire songs as the spirit moved him. He could sing about hairstyles, being broke, how his car was doing, goings-on in the club where he was performing, or the way things used to be. He damn near sang "Po' Sam" into an everyman of the blues.
Lightnin' was a supremely confident guitarist, keeping time with his left leg while swinging hard or traveling downhome. He often played a Gibson J-50 outfitted with a DeArmond soundhole pickup, and he also performed and recorded with a small Harmony flat-top and a Fender Stratocaster. Resting his pinkie and ring finger on the face of his guitar, Lightnin' played bass and rhythm with his thumbpick while plucking solos with his bare index finger. He thrived on first-position shuffles, especially in the key of E with the fat A7 chord with the high G.
"One of the most distinctive elements of the Lightnin' sound is that turnaround in E," observes ZZ Top's Billy Gibbons. "It's a signature lick that he did in just about every song he played. He'd come down from the B chord and roll across the top three strings in the last two bars. He'd pull the pick off those strings to get kind of a staccato effect, first hitting the little open-E string and then the 3rd fret on the B string and then the 4th fret of the G string. He would then resolve on the V chord after doing this roll. It's a way to immediately identify a Lightnin' Hopkins tune."
To accompany Hopkins meant doing things his way, as Gibbons quickly learned: "We were playing a traditional blues and we all went to the second change, but Lightnin' was still in the first change. He stopped and looked at us. Our bass player said, 'Well, Lightnin', that's where the second change is supposed to be, isn't it?' Lightnin' looked back and said, 'Lightnin' change when Lightnin' want to change.' And we knew – don't do that no more!"
By Jas Obrecht / Guitar Player
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