Anihony Hopkins

How I Live Now is the big screen adaptation of the award-winning young adult novel by Meg Rosoff, directed by acclaimed Academy Award winning director Kevin McDonald (The Last King Of Scotland, Marley). The original soundtrack is scored by Jon Hopkins, composer, producer and longterm collaborator of Brian Eno and Coldplay. Featuring some of his darkest, most nihilistic work to date, the score is built from two contrasting elements - atonal, sub-terrestrial drones with a backbone of pounding rhythms, and sublimely pastoral acoustic piano. These two opposing musical forces guide the viewer through the film, by turns disturbing and beautifully meditative. The centrepiece of the score is the track The Hawk, a timeless and heartbreaking theme that recurs throughout the film.

How I Live Now is the big screen adaptation of the award-winning young adult novel by Meg Rosoff, directed by acclaimed Academy Award winning director Kevin McDonald (The Last King Of Scotland, Marley). The original soundtrack is scored by Jon Hopkins, composer, producer and longterm collaborator of Brian Eno and Coldplay. Featuring some of his darkest, most nihilistic work to date, the score is built from two contrasting elements - atonal, sub-terrestrial drones with a backbone of pounding rhythms, and sublimely pastoral acoustic piano. These two opposing musical forces guide the viewer through the film, by turns disturbing and beautifully meditative. The centrepiece of the score is the track The Hawk, a timeless and heartbreaking theme that recurs throughout the film.

The rockingest sessions ever recorded by bluesmaster Lightnin' Hopkins. These sessions cut in Houston in 1954 and released on the New York-based Herald label feature a hard driving backbeat and an almost rockabilly feel on the faster tempo numbers. These were amongs the last sessions that Hopkins made fot the R&B jukebox market before embracing the college-based folk circuit in the late fifties. 12 of these tracks were released on an LP in 1960 aimed at the folk audience. That album is now one of the rerest blues collectables. It's all here along with every other title he recorded for Herald; roll back the carpet and put on your dancing shoes, this is no folk-blues session.

Lightnin' Hopkins woke up The Dead when he played San Francisco in the 1960's and his song 'Wake Up The Dead' is the centerpiece of this two and a half hour journey into the electrified world of Texas blues. Accompanying Lightnin' on this journey is his long time harmonica player, Billy Bizor. While Lightnin' had a prolific recording career, Bizor's stature is relatively obscure due to the lack of solo recordings he released during his lifetime. Fortunately, 'Wake Up The Dead' seeks to rectify that situation by including the complete June 17, 1968 session with Lightnin' and Bizor, plus all of Bizors' 1969 solo recordings. As an added bonus, the rest of the April 11,1969 session that could not fit onto Lightnin's 'Shootin Fire' album is included on 'Wake Up The Dead'…

This exciting album was recorded on October 4 & 5th, 1965 in Los Angeles. Much of its success must be attributed to a sensitive and imaginative producer, David Hubert. The morning of the 25th found Lightnin' in an excellent mood; as a matter of fact, a number of the bands required only one "take" at the session, most unusual under any conditions. Years ago, Lightnin' recorded with rhythm sections, but never any like the one on this album. Jimmy Bond on bass, and Earl Palmer on drums, laid down a quiet, but bluesy beat that "turned Lightnin' on". Lightnin' himself plays and sings with the vitality of any young artist today. Anyone who digs the blues will be emotionally moved by this album.

Music For Psychedelic Therapy carves a new path for Jon Hopkins sonically and philosophically as a follow up to 2018's Grammy nominated Singularity. Enveloping Hopkins' journeys across geographical and cosmological spectrums, the album is an inimitable and all-embodying journey in and of itself. It's a richly rewarding and personal listening experience; one highly recommends indulging in without distraction.

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 had a hard and fast approach to dealing with the abundance of record labels he recorded for during his career. The irascible bluesman would show up at the session in question but would refuse to play a note until he was paid his fee upfront. Once paid and satisfied, he'd unpack his stock set of boogie blues riffs and pretty much improvise songs on the spot until he'd fulfilled his agreed upon quota. Then he would leave. This system led to an awful lot of similarly constructed and executed throwaway tracks, but Hopkins had a special gift for personalizing the blues that came through in the best of these improvised songs, and a few gems always showed up in the process. This disc combines 1961's Walkin' This Road by Myself, which features Hopkins with drummer Spider Kilpatrick, harmonica player Billy Bizor, and pianist Buster Pickens, with 1963's solo acoustic Blues in My Bottle…