Lightnin’ Hopkins – How Many More Years I Got (1962/2021)

Lightnin' Hopkins - How Many More Years I Got (1962/2021)
Artist: Lightnin’ Hopkins
Album: How Many More Years I Got
Label: Fantasy
Year Of Release: 1962/2021
Quality: FLAC (tracks)

Tracklist:
01. How Many More Years I Got To Let You Dog Me Around
02. Walkin’ This Road By Myself
03. The Devil Jumped The Black Man
04. My Baby Don’t Stand No Cheating
05. Black Cadillac
06. You Is One Black Rat
07. The Fox Chase
08. Mojo Hand
09. Mama Blues
10. My Black Name
11. Prison Farm Blues
12. Ida Mae
13. I Got A Leak In This Old Building
14. Happy Blues For John Glenn
15. Worried Life Blues
16. Sinner’s Prayer
17. Angel Child
18. Pneumonia Blues
19. Have You Ever Been Mistreated

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Though he had been performing since the 1920s, Texas bluesman Lightnin’ Hopkins was a fresh face to the majority of the young folk audiences of the 1960s. On the verge of drifting into obscurity, the singer had been rediscovered by enthusiast Mack McCormick and promoted to college crowds as a singer/guitarist in the folk-blues mold. What followed was a series of albums cut both solo and with session musicians for a variety of labels. How Many More Years I Got was one of the earliest. The players here are extremely loose, betraying a casual interest in the task at hand. They sound like a group of borrowed session men, but were in fact a small combo familiar both with each other and Hopkins himself. Bassist Donald Cooks, pianist Buster Pickens, drummer “Spider” Kilpatrick, and Hopkins’ harp-playing cousin, Billy Bizor, all played on a number of the guitarist’s dates during the early ’60s. Hopkins was apparently reluctant to do second takes, however, and these recordings show it. The singer leads the group with his relaxed lines and Kilpatrick follows, further defining the tempo with the light, stiff patter of his drums. Bizor occasionally plays the role of catalyst, though his moans, hollers, and vocal/harmonica dialogues do little to increase the interest of his partners. Things pick up slightly during the album’s second half, though even then the performances hardly approach the level of Hopkins’ solo sides from the period, let alone his best work.

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