Proof That Lightning Can Strike Twice

The country blues and gospel traditions are the focus of this edition of On the Offbeat, the only periodic column of roots, ethnic and non-mainstream pop music from around the world that dares to ask: “Can too many Lightning Hopkins albums be available?”

*** 1/2 LIGHTNING HOPKINS, “The Gold Star Sessions--Volume 1 & 2”, Arhoolie

*** “The Complete Aladdin Recordings”, EMI

These two collections offer the best introduction to the prolific Texas blues guitarist’s singular sound. The two-CD Aladdin release collects his first recordings in 1946-47 and, although pretty strong, catch Hopkins just before he had fully focused his style. His skilled guitar playing and tale spinning narratives had matured by the 1948-50 period when he cut his solo sides for Houston’s Gold Star label. Volume 2 sparkles.

The best single Hopkins disc may be the material he recorded for Candid in 1960, but those performances are paired with two adequate discs by Chicago pianist Otis Spann on “The Complete Otis Spann/Lightning Hopkins Candid Sessions” (available by mail order from Mosaic Records, 35 Melrose Place, Stamford, Conn., 06902). The fairly perfunctory early-’60s performances on a seven-disc Prestige/Bluesville boxed set are for die-hard completists.

*** CHARLIE PATTON, “King of the Delta Blues”, Yazoo/Shanachie

Patton preceded Robert Johnson as a major influence on his Delta blues peers and this collection reissues, with authentic scratchy 78 sound, half of the songs he recorded for Paramount starting in 1930. The material comes from spiritual and secular sources and “Revenue Man Blues” shows Patton’s big, growling voice left its mark on Howlin’ Wolf. Patton isn’t as breathtaking as Johnson--who was?--but he’s a key figure for those curious about the early Delta blues traditions that shaped Johnson. Another collection of Patton material is available in Yazoo/Shanachie’s ongoing series of vintage country blues reissues.

*** SATAN AND ADAM, “Harlem Blues”, Flying Fish

Let’s see, white harmonica player back from Europe stumbles across black bluesman doing one-man band performance on 125th Street in Harlem, sits in, they strike up a partnership . . . this must be a film script. NOT. “Harlem Blues” rocks with an all-hell-for-leather-breaks-loose abandon that basically rips the 12-bars apart at the seams. The songs aren’t much, but wild performances setting Adam’s wailing harmonica against Satan’s slashing guitar, runaway drums and searing vocals reminiscent of Captain Beefheart in his blues shouter mold sure are.

** GOSPEL HUMMINGBIRDS, “Steppin’ Out”, Blind Pig

The Gospel Hummingbirds have done backing vocals on Huey Lewis and Fabulous Thunderbirds albums and worked the San Francisco area nightclub circuit as well as church gigs. Its debut album presents an updated take on the traditional gospel quartet vocal sound much like Robert Cray’s approach to the blues/soul spectrum--not surprisingly, since most of Cray’s band backs the group here. But the vocal blend on the ballad “Change,” notably the falsetto flourishes, and the jazzy groove of “Safety Zone” are the only distinctive songs here.

*** 1/2 VARIOUS ARTISTS, “The Gospel Sound of Spirit Feel”, Spirit Feel/Shanachie

Looking for a comprehensive introduction to the traditional gospel sound? Try this one assembled by gospel historian Anthony Heilbut. The selections cover the full spectrum, mixing big names Mahalia Jackson, the Soul Stirrers and Dixie Hummingbirds with lesser-knowns like the Consolers, whose staggering “Glory Land” is gospel at its most primal.

Specialty has a strong label sampler to complement its impressive series featuring such ‘50s gospel stars as Dorothy Love Coates and the Five Blind Boys of Alabama. Columbia’s Legacy label also has numerous releases of vintage gospel and country blues albums.

** 1/2 VARIOUS ARTISTS, “Doo Wop From Dolphin’s of Hollywood--Volumes 1 & 2”, Specialty

Dolphin’s of Hollywood was a well-known South-Central Los Angeles record store whose owner John Dolphin also recorded numerous R&B; vocal groups during the mid-’50s. The personnel picture is so scrambled even compiler Billy Vera and his fellow vocal group fanatics don’t have the whole story straight. Volume 1 is a bit more upbeat and lively, but it’s hard to imagine an audience for these performances beyond the collectors and/or serious students of L.A. music history.

Albums are rated on a scale of one star (poor) to four (excellent).