Anihony Hopkins

Lightnin' Hopkins originally recorded the ten tracks that make up Free Form Patterns on February 1, 1968, for the International Artists label. Also on that label's roster was the psychedelic group 13th Floor Elevators, which, by 1968, had basically disbanded. For this session, producer Lelan Rogers (Kenny's brother) teamed Hopkins up with Elevators drummer Danny Thomas and bassist Duke Davis. While not as revolutionary as John Lee Hooker's sessions with Canned Heat, Free Form Patterns steers clear of the late-'60s psychedelic trappings that screwed up such similar sessions as Electric Mud. No one tried to bend Hopkins to fit a foreign musical approach on Free Form Patterns; he made the music bend to him.

Jon Hopkins supplemented Immunity and Singularity, his two massively ambitious and acclaimed experimental techno albums released during the 2010s, with EPs containing ambient versions and pieces designed for relaxation. His 2021 album Music for Psychedelic Therapy is a full immersion into beatless compositions, moving far away from the grand, intricately crafted progressive dance epics of his two most well-known albums. The release is a three-dimensional sound bath meant to be played continuously while the listener is lying down in the dark, and it incorporates natural sounds within its layers of shifting textures, chimes, and subtle bass modulations. It isn't as jarring or heart-racing as Hopkins' more rhythmic works, but it does feel like it's channeling spiritual energy in a similar, chemically enhanced way. The album might appear new age on the surface, but it's more than just a set of blissful, mind-cleansing meditations…

Jon Hopkins supplemented Immunity and Singularity, his two massively ambitious and acclaimed experimental techno albums released during the 2010s, with EPs containing ambient versions and pieces designed for relaxation. His 2021 album Music for Psychedelic Therapy is a full immersion into beatless compositions, moving far away from the grand, intricately crafted progressive dance epics of his two most well-known albums. The release is a three-dimensional sound bath meant to be played continuously while the listener is lying down in the dark, and it incorporates natural sounds within its layers of shifting textures, chimes, and subtle bass modulations. It isn't as jarring or heart-racing as Hopkins' more rhythmic works, but it does feel like it's channeling spiritual energy in a similar, chemically enhanced way. The album might appear new age on the surface, but it's more than just a set of blissful, mind-cleansing meditations…

Lightnin' Hopkins originally recorded the ten tracks that make up Free Form Patterns on February 1, 1968, for the International Artists label. Also on that label's roster was the psychedelic group 13th Floor Elevators, which, by 1968, had basically disbanded. For this session, producer Lelan Rogers (Kenny's brother) teamed Hopkins up with Elevators drummer Danny Thomas and bassist Duke Davis. While not as revolutionary as John Lee Hooker's sessions with Canned Heat, Free Form Patterns steers clear of the late-'60s psychedelic trappings that screwed up such similar sessions as Electric Mud. No one tried to bend Hopkins to fit a foreign musical approach on Free Form Patterns; he made the music bend to him.

Pruning 16 tracks from Hopkins' extensive catalog for a best-of meant that some hard choices had to be made. The ones Rhino came up with won't satisfy everyone, but the label did take the correct road by sticking exclusively to the earliest part of his career, 1947-61. Perhaps the decision will offend some fans who feel that his 1960s and '70s work should be represented, but two things should be acknowledged. First, Hopkins, as is the case with most artists, did his most interesting recordings in the earlier part of his career. Second, as is the case with many blues artists, he did not vary his approach substantially throughout the decades. So what you have is a good assortment of his first 15 years on disc, taken from about ten labels, including both originals and covers, and placing the singer/guitarist in various instrumental contexts: with a full electric band (Sonny Terry is on a couple of 1961 cuts), as a solo guitarist, or accompanied by nothing more than a bass or additional guitarist. It's a good deal for those who want only one Hopkins disc, and for those who want a best-of that's more extensive, there's Rhino's own two-disc anthology, Mojo Hand.