Thumbing through issues of Blues Unlimited in search of a particular review I was reminded of something which appeared in issue 74 (July 1970). It is prefaced by a note from the editors thus: "George Adins is probably the bluesmen's favourite European. Since 1959 he has made regular 'pilgrimages' - as he calls them - to the blues centres and has found a unique place in the hearts of men like Lightnin' and Muddy, men who do not proffer their friendship easily. George reminds us, if we need it, that one of the all time greatest bluesmen is still around, completely unaffected by our acclaim (which if you think, may be why he gets it!)"
What follows is lengthy but I think insightful, so stick with it folk.
With LIGHTNIN' in Oakland
BY GEORGE ADINS
Most of our people when they go on pilgrimage stick to the same place every year. My favourite place is none other than Houston, Texas, where lives a man I met for the first time back in 1959 who became a kind of guardian angel to me. Unfortunately when I was over last Sam "Lightnin"' Hopkins wasn't in Houston so I had to break with the tradition. Several weeks before I left Sam sent a letter telling me he'd been invited by his two cousins living in Oakland to come over and do some concerts in the Oakland - San Francisco area. He asked me to come to Oakland and spend some time with him. I arrived late at night and next morning called his cousin on the 'phone. I was told he had just gone to his other cousins. I got a cab and found Sam sitting waiting on the porch. After two years it was nice to see him again. I got a cold drink (it sure was hot for December!) and was surprised not to see his wife. She might join us later from Houston where she was taking care of business. She never did. Sam was worried as no contracts had been signed. Everyone who knows him knows also that Sam is not the man to be rushed or fooled with. He likes so much better to lay in bed in Houston watching TV, to go for a walk, or drive his car very slowly through the coloured section. Looking for work we traveled to San Diego, Sacramento, Da Costa visiting clubs and colleges where Sam could possibly be booked in. Sam seldom left the car and while his cousin discussed business he complained of the wasted time!
Sam would pick me up at my motel about noon each day and after getting a pint of Canadian Club to sip at home as we listened to his records. He played the two Jewel LPs and seemed very satisfied with them...he particularly likes his "Long Way From Home" which put him in a sad mood. He'd hold his head muttering inaudibly, presumably thinking of Houston and Antoinette whom he had to leave behind. His cousin was very busy since he was in charge of publicity and made the posters himself. Sometimes we worked late in the night after a date.
The great moment came at 5 o'clock when we drove to Ruthie's Inn, a small joint which happened to be the HQ of L. C. Robinson, a west-coast blues singer-guitarist who specialises in Hawaiian! L.C.s combo would open the night and he was to introduce Lightnin Hopkins to the audience. Lightnin' was the guest star but from the start he overshadowed L.C. and I witnessed a kind of competition between them. Obviously disappointed by Lightnin's success L.C. tried to mess up the amplifier (his own) which Lightnin' had to use as he couldn't carry his own equipment. Sam remained quiet while L.C. was at work, then said through the mike, "L.C. you trying to mess that thing up, you better stay off that thing; you are my friend and you sure gonna help me." An observation a la Hopkins which made L.C. apologise, though he still didn't like the way the people clapped and shouted as Lightnin' sat there on his chair strumming that guitar and singing poetically.
Everytime I see Lightnin' onstage it's a new experience. When you see him walk on you know something is going to happen. While he sets his strings he'll say it takes a lot of time for him to start; but once he's started it takes a lot of time to stop him! He'd start mostly with "Rocky Mountains" which made him famous among the blues singers - I remember one night in Boston when Muddy Waters and I were waiting for the first plane to Chicago, I played some of the tapes made at Ruthie's. When he heard "Rocky Mountain" Muddy said "this is the first recording of Lightnin's that I heard and it sure is one of his best". Lightnin' seems to put every bone of his body into each performance, diving deep in his memory for a kind of blues that makes up a life story. He feels more at ease in front of a coloured audience; he can talk to his people, tell them what is on his mind, build up stories that mean nothing to a white but make a Negro jump outa his seat. His comments on some of the lyrics in his song is the work of an exceptional observer. His "Back Door Friend" was introduced each night with comment that had hilarious reactions from the coloured people. And the voice making the comments and singing the lyrics is without doubt the most moving and genuine in the blues today.
His repertoire is one of the richest in the blues and he has no trouble playing for two hours. He did many familiar pieces which were a joy - "Hello Central", "Give me back that wig", "Katie Mae", "Short haired woman" and many others including some I never heard him do such as "My starter won't work", "What'd I Say" and "How many more years". His "I Wonder" is not a blues but a story Lightnin' sings with depth and sincerity, even tenderness - if proof still is needed, this song ranks Lightnin' among the greatest blues singers that ever lived. When the late wee wee hours came and people got up to go Lightnin' would shout "You don't have to go folks, Lightnin' ain't tired yet and I'll do a fast number that'll make you feel good.
When Lightnin' was off one night we went to hear Big Mama Thornton and her Hounddogs at the Madrague, a large hippie hangout mostly attended by whites. She had George Smith on harp and was in big shape, making the whole place rock. Lightnin' was to play the same place the next night and those hippies hung on his every word. Having a lot of trouble with his amp he decided to play straight - an opportunity to hear his old stuff "Automobile", "Bluebird", "See See Rider", "Mr Charlie's Farm" and "Play with your poodle". Some of his family were in the audience answering Lightnin's comments; this really worked on him and Sam went quite wild after a while!
It was after that night Lightnin' had one of his freaks. Some girls came up after the show and we all went in his cousins car; Sam told him to get liquor and food as he wanted to have real fun. This wasn't too much to the cousin's liking but he didn't say no. Actually it was a mad night which showed us Sam dance the boogaloo and the black bottom...it ended at 7 in the morning almost in a fight as the girls started arguing about their husbands.
The two following nights he was booked into the Fillmore Auditorium but unfortunately I couldn't be there. As he drove me back to the hotel in 'Frisco (I had to take an early 'plane to Chicago) he said, "Be sweet" and as I took my leave "say hello to the people over there from poor Lightnin"' I swore I'd be back the next year..... cause I just can't stay away too long, from a wonderful man who stands high above all the other country artists active today.
What follows is lengthy but I think insightful, so stick with it folk.
With LIGHTNIN' in Oakland
BY GEORGE ADINS
Most of our people when they go on pilgrimage stick to the same place every year. My favourite place is none other than Houston, Texas, where lives a man I met for the first time back in 1959 who became a kind of guardian angel to me. Unfortunately when I was over last Sam "Lightnin"' Hopkins wasn't in Houston so I had to break with the tradition. Several weeks before I left Sam sent a letter telling me he'd been invited by his two cousins living in Oakland to come over and do some concerts in the Oakland - San Francisco area. He asked me to come to Oakland and spend some time with him. I arrived late at night and next morning called his cousin on the 'phone. I was told he had just gone to his other cousins. I got a cab and found Sam sitting waiting on the porch. After two years it was nice to see him again. I got a cold drink (it sure was hot for December!) and was surprised not to see his wife. She might join us later from Houston where she was taking care of business. She never did. Sam was worried as no contracts had been signed. Everyone who knows him knows also that Sam is not the man to be rushed or fooled with. He likes so much better to lay in bed in Houston watching TV, to go for a walk, or drive his car very slowly through the coloured section. Looking for work we traveled to San Diego, Sacramento, Da Costa visiting clubs and colleges where Sam could possibly be booked in. Sam seldom left the car and while his cousin discussed business he complained of the wasted time!
Sam would pick me up at my motel about noon each day and after getting a pint of Canadian Club to sip at home as we listened to his records. He played the two Jewel LPs and seemed very satisfied with them...he particularly likes his "Long Way From Home" which put him in a sad mood. He'd hold his head muttering inaudibly, presumably thinking of Houston and Antoinette whom he had to leave behind. His cousin was very busy since he was in charge of publicity and made the posters himself. Sometimes we worked late in the night after a date.
The great moment came at 5 o'clock when we drove to Ruthie's Inn, a small joint which happened to be the HQ of L. C. Robinson, a west-coast blues singer-guitarist who specialises in Hawaiian! L.C.s combo would open the night and he was to introduce Lightnin Hopkins to the audience. Lightnin' was the guest star but from the start he overshadowed L.C. and I witnessed a kind of competition between them. Obviously disappointed by Lightnin's success L.C. tried to mess up the amplifier (his own) which Lightnin' had to use as he couldn't carry his own equipment. Sam remained quiet while L.C. was at work, then said through the mike, "L.C. you trying to mess that thing up, you better stay off that thing; you are my friend and you sure gonna help me." An observation a la Hopkins which made L.C. apologise, though he still didn't like the way the people clapped and shouted as Lightnin' sat there on his chair strumming that guitar and singing poetically.
Everytime I see Lightnin' onstage it's a new experience. When you see him walk on you know something is going to happen. While he sets his strings he'll say it takes a lot of time for him to start; but once he's started it takes a lot of time to stop him! He'd start mostly with "Rocky Mountains" which made him famous among the blues singers - I remember one night in Boston when Muddy Waters and I were waiting for the first plane to Chicago, I played some of the tapes made at Ruthie's. When he heard "Rocky Mountain" Muddy said "this is the first recording of Lightnin's that I heard and it sure is one of his best". Lightnin' seems to put every bone of his body into each performance, diving deep in his memory for a kind of blues that makes up a life story. He feels more at ease in front of a coloured audience; he can talk to his people, tell them what is on his mind, build up stories that mean nothing to a white but make a Negro jump outa his seat. His comments on some of the lyrics in his song is the work of an exceptional observer. His "Back Door Friend" was introduced each night with comment that had hilarious reactions from the coloured people. And the voice making the comments and singing the lyrics is without doubt the most moving and genuine in the blues today.
His repertoire is one of the richest in the blues and he has no trouble playing for two hours. He did many familiar pieces which were a joy - "Hello Central", "Give me back that wig", "Katie Mae", "Short haired woman" and many others including some I never heard him do such as "My starter won't work", "What'd I Say" and "How many more years". His "I Wonder" is not a blues but a story Lightnin' sings with depth and sincerity, even tenderness - if proof still is needed, this song ranks Lightnin' among the greatest blues singers that ever lived. When the late wee wee hours came and people got up to go Lightnin' would shout "You don't have to go folks, Lightnin' ain't tired yet and I'll do a fast number that'll make you feel good.
When Lightnin' was off one night we went to hear Big Mama Thornton and her Hounddogs at the Madrague, a large hippie hangout mostly attended by whites. She had George Smith on harp and was in big shape, making the whole place rock. Lightnin' was to play the same place the next night and those hippies hung on his every word. Having a lot of trouble with his amp he decided to play straight - an opportunity to hear his old stuff "Automobile", "Bluebird", "See See Rider", "Mr Charlie's Farm" and "Play with your poodle". Some of his family were in the audience answering Lightnin's comments; this really worked on him and Sam went quite wild after a while!
It was after that night Lightnin' had one of his freaks. Some girls came up after the show and we all went in his cousins car; Sam told him to get liquor and food as he wanted to have real fun. This wasn't too much to the cousin's liking but he didn't say no. Actually it was a mad night which showed us Sam dance the boogaloo and the black bottom...it ended at 7 in the morning almost in a fight as the girls started arguing about their husbands.
The two following nights he was booked into the Fillmore Auditorium but unfortunately I couldn't be there. As he drove me back to the hotel in 'Frisco (I had to take an early 'plane to Chicago) he said, "Be sweet" and as I took my leave "say hello to the people over there from poor Lightnin"' I swore I'd be back the next year..... cause I just can't stay away too long, from a wonderful man who stands high above all the other country artists active today.