MOJO HAND Lightnin' Hopkins Mega-Rare FIRE FLP-104 NRMT

$

499

IS OFFERING FOR YOUR CONSIDERATION TODAY, A MEGA-RARE CLASSIC LIGHTNIN' HOPKINS "MOJO HAND" LP  IN  NEAR MINT CONDITION! THIS ONE IS VERY HARD TO LET GO, UNFORTUNATELY MY ECONOMIC CONDITIONS LEAVES ME NO CHOICE.

THE WORD "ADMATTER" WILL NOT APPEAR ANYWHERE ON THIS LP.

 CHECK OUT THE SONG LIST BELOW TO SEE THE AWESOME SELECTIONS!!!

VISUALLY, THE MEGA-RARE VINYL PLATTER IS IN NRMT CONDITION.  I HAVE EXAMINED THIS UNDER BRIGHT LIGHT AND SEE LITTLE EVIDENCE THAT IT WAS EVER EVEN PLAYED!

 YOU WOULD TRULY BE HARD-PRESSED TO EVER FIND AN NICER EXAMPLE.  THE VINYL  & LABELS GRADES NRMT.

THE WORD "ADMATTER" WILL NOT APPEAR ANYWHERE ON THIS LP.

THE WORD "ADMATTER" WILL NOT APPEAR ANYWHERE ON THIS LP.

THE WORD "ADMATTER" WILL NOT APPEAR ANYWHERE ON THIS LP.

THE WORD "ADMATTER" WILL NOT APPEAR ANYWHERE ON THIS LP.

THE COVER IS BEAUTIFUL AS WELL. THERE IS SOME EXTREMELY SLIGHT EVIDENCE OF RING WEAR. YOU REALLY HAVE TO LOOK FOR IT. THERE IS NO SPLITTING ON ANY OF THE SEAMS. THE SPINE IS PERFECTLY READABLE. THE LINER NOTES ON THE REVERSE SIDE ARE VERY INFORMATIVE AND IN OUTSTANDING CONDITION! BASED ON THE ABOVE  I FEEL THAT THE COVER GRADES A NRMT- TO NRMT.

THE WORD "ADMATTER" WILL NOT APPEAR ANYWHERE ON THIS LP.

   I HAVE  PLAY GRADED THIS AND THE LISTENING EXPERIENCE WAS  INCREDIBLE! I GRADE THE LISTENING EXPERIENCE AS NRMT+. 

THERE WERE  NO  SKIPS, POPS, HISSES, CLICKS OR BURPS!  

OVERALL THIS CLASSIC LP GRADES NRMT!

 I SINCERELY DOUBT YOU WILL EVER FIND A NICER COPY UNLESS IT IS SEALED.

Here's some cool info that makes for interesting reading I found on the net.

Born in Centerville, Texas, Hopkins' childhood was immersed in the sounds of the blues and he developed a deeper appreciation at the age of 8 when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was "in him" and went on to learn from his older (somewhat distant) cousin, country blues singer Alger "Texas" Alexander. Hopkins began accompanying Blind Lemon Jefferson on guitar in informal church gatherings. Jefferson supposedly never let anyone play with him except for young Hopkins, who learned much from and was influenced greatly by Blind Lemon Jefferson thanks to these gatherings. In the mid 1930s, Hopkins was sent to Houston County Prison Farm for an unknown offense. In the late 1930s Hopkins moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s he was back in Centerville working as a farm hand.

Hopkins took a second shot at Houston in 1946. While singing on Dowling St. in Houston's Third Ward (which would become his home base) he was discovered by Lola Anne Cullum from the Los Angeles based record label, Aladdin Records. She convinced Hopkins to travel to L.A. where he accompanied pianist Wilson Smith. The duo recorded twelve tracks in their first sessions in 1946. An Aladdin Records executive decided the pair needed more dynamism in their names and dubbed Hopkins "Lightnin'" and Wilson "Thunder".

Hopkins recorded more sides for Aladdin in 1947 but soon grew homesick. He returned to Houston and began recording for the Gold Star Records label. During the late 40s and 1950s Hopkins rarely performed outside Texas. However, he recorded prolifically. Occasionally traveling to the Mid-West and Eastern United States for recording sessions and concert appearances. It has been estimated that he recorded between 800 and 1000 songs during his career. He performed regularly at clubs in and around Houston, particularly in Dowling St. where he had first been discovered. He recorded his hits "T-Model Blues" and "Tim Moore's Farm" at SugarHill Recording Studios in Houston. By the mid to late 1950s his prodigious output of quality recordings had gained him a following among African Americans and blues music aficionados.

In 1959 Hopkins was contacted by folklorist Mack McCormick who hoped to bring him to the attention of the broader musical audience which was caught up in the folk revival. McCormack presented Hopkins to integrated audiences first in Houston and then in California. Hopkins debuted at Carnegie Hall on , 1960 appearing alongside Joan Baez and Pete Seeger performing the spiritual Oh, Mary Don’t You Weep. In 1960, he signed to Tradition Records. Solid recordings followed including his masterpiece song "Mojo Hand" in 1960.

By the early 1960s Lightnin' Hopkins reputation as one of the most compelling blues performers was cemented. He had finally earned the success and recognition which were overdue. In 1968, Hopkins recorded the album Free Form Patterns backed by the rhythm section of psychedelic rock band the 13th Floor Elevators. Through the 1960s and into the 1970s Hopkins released one or sometimes two albums a year and toured, playing at major folk festivals and at folk clubs and on college campuses in the U.S. and internationally. He traveled widely in the United States, and overcame his fear of flying to join the 1964 American Folk Blues Festival; visit Germany and the Netherlands 13 years later; ; and play a six-city tour of Japan in 1978.

Sam Hopkins, who died of Cancer in 1982, left behind a staggering collection of country and urban blues as personal and topical as any artist of his time.

Hopkins' style was born from spending many hours playing informally without a backing band. His distinctive finger-style playing often included playing, in effect, bass, rhythm, lead, percussion, and vocals, all at the same time. He played both "alternating" and "monotonic" bass styles incorporating imaginative, often chromatic turnarounds and single note lead lines. Tapping or slapping the body of his guitar added rhythmic accompaniment.

Much of Hopkins' music follows the standard 12-bar blues template but his phrasing was very free and loose. Many of his songs were in the talking blues style, but he was a powerful and confident singer. Lyrically his songs chronicled the problems of life in the segregated south, bad luck in love and other usual subjects of the blues idiom. He did however deal with these subjects with humor and good nature. Many of his songs are filled with double entendres and he was known for his humorous introductions.

Hopkins was an influence on local musicians around Houston and Austin, Texas in the 1950s and 1960s. His recordings from the early 1960s reveal a lead guitar style that anticipated the popular blues based rock guitar of the later 1960s. Jimi Hendrix reportedly became interested in blues music listening to Lightnin’ Hopkins records with his father. Stevie Ray Vaughan's Grammy Award-nominated instrumental "Rude Mood" was described in the words of the legend himself as "a take-off from a Lightnin' Hopkins riff". He was an influence on Jimmie Vaughan's work and on the vocals and blues style of Ron "Pigpen" McKernan, the keyboardist of the Grateful Dead until 1972. He was also an important influence on Townes Van Zandt, the Texan folk/blues songwriter and performer, who often performed Hopkins numbers in his live concerts. Doyle Bramhall II is another Texas artist who was influenced by Hopkins, as evidenced by a tattoo of Hopkins on his upper left arm.

The Red Hot Chili Peppers guitarist, John Frusciante, was influenced by listening to Hopkins around the time of his Stadium Arcadium recordings.

A song named after him was recorded by R.E.M. on their album Document.

A tribute track called "Po' Lightnin'" appears on Texas blues/rock band Jim Suhler & Monkey Beat's CD, Tijuana Bible (2009).

The Houston Chronicle included Hopkins in their list of "100 Tall Texans", 100 important Texans who influenced the world. The George Bush Presidential Library and Museum included Hopkins in a 100 Tall Texans exhibit that opened in September 2006. The display included Hopkins' Guild Starfire electric guitar and performance video.

Hopkins’ Gibson J-160e guitar (on loan from the Joe Kessler Collection) is on display at the Rock and Roll Hall of Fame in Cleveland, Ohio.

Lightnin' is number 71 on Rolling Stone Magazine's list of the 100 Greatest Guitarists of All Time. Link

SONG LIST:

SIDE 1

1. MOJO HAND

2. COFFEE FOR MAMA

3. AWFUL DREAM

 4.  BLACK MARE TROT

5. HAVE YOU EVER LOVED A WOMAN

 SIDE II

1. GLORY BEE

2. SOMETIMES SHE WILL

 3. SHINE ON, MOON!

4. SANTA

WE USE GOLDMINE AS GUIDELINE FOR OUR GRADING SYSTEM.

ALL RECORDS ARE VISUALLY INSPECTED UNDER BRIGHT LIGHT. I TRY TO PLAY GRADE WHEN POSSIBLE OR AT LEAST IN ANY AREAS IDENTIFIED AS QUESTIONABLE FROM THE VISUAL INSPECTION.

MINT

Mint records are in most cases sealed in original shrink wrap. The only wear permissible is to the shrink wrap itself.

NEAR-MINT

 NM records have glossy vinyl. There are no visible defects such as writing, tape, or stickers on the labels. The labels should not contain any spindle marks (from someone blindly trying to put the record on the turntable) The vinyl may have a few extremely fine hairline scratches or light scuffs that do not affect the sound quality. The vinyl will "appear" to have been unplayed (It may very well have been played and well-cared for) The album cover will have NO writing, tape, creases, folds, seam splits ,stains, ring wear or Promo holes or cuts!

VG+ (EXCELLENT)

VG+ records have glossy vinyl. Slight signs of wear, including light scuffs, very light scratches or slight warping that does not  seriously affect the listening experience is permissible. Very slight intermittent background noise mostly in the quiet passages is acceptable. 

The album cover will have no more than three of the following imperfections: light writing such as initials or name in one area, minor creasing, seam splits not larger than 1".  Neatly taped seams of 2" or less. It may also contain very slight ring wear or discoloration, a promo stamp, punch hole or cut-out as originally sold.

VG

VG Records have more obvious flaws such as more pronounced scratches & lack of gloss. Groove wear and scratches deep enough to be felt with a fingernail are common. When played there will be surface noise but it should not continuously overpower the music. There are NO skips permissible with no more than 1.5 grahams of tracking force. It is common to hear crackling and pops especially in the quiet passages. The labels may contain writing such as a persons name or initials or it may contain a piece of tape or sticker with or without writing. The cover may have some seam splits, writing, tape, stickers, ring wear and scuffs.

VG-

VG- All of the defects listed VG category would be more pronounced. The record will play through without skipping WITH NORMAL tracking force. A quick skip or two with no more that 2.5 grahams of tracking force are permissible. The record will have many obvious flaws but still enjoyable to listen to. Generally if the record is rare, it is still highly collectible.

G/G+

Good (G), Good Plus (G+) Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping WITH NORMAL tracking force. A quick skip or two with no more that 2.5 grahams of tracking force are permissible. It will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object.

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***USA  Media Mail $3.95 (NO INSURANCE INCLUDED!) ***

***WORLDWIDE   $38.95 REGISTERED MAIL ONLY!***

***YES WE COMBINE SHIPPING! U.S.A $1 EACH ADDITIONAL RECORD. INTERNATIONAL $6 EACH ADDITIONAL RECORD!*** 

***This item will be shipped FLAT sandwiched between cardboard
"FOR ULTIMATE PROTECTION" We pride ourselves in packaging your investment properly!***

 
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