Mojo Hand

There’s a coiled energy to Mojo Hand—a flicker in the fusebox just before the lights go out. Recorded in 1960 and released two years later on Fire Records, this is Lightnin’ Hopkins stepping into a more R&B-tinged setting without shedding the grit and soul that made him a blues icon.

Where much of Hopkins’ earlier work leans into rambling acoustic storytelling, Mojo Hand feels tighter, punchier, and surprisingly radio-ready—without losing its edge. A rhythm section creeps in, subtle but sharp, adding propulsion without stealing the spotlight. The result? A sound that nods to commercial ambition but never dilutes Hopkins’ voice or guitar—both as smoky and immediate as ever.

Tim Sheridan of AllMusic called it “moody and powerful,” and he’s not wrong. Tracks simmer rather than burn, laced with tension and sly humour. There’s even a Christmas-themed blues tucked in, delivered with enough charm to sidestep any sense of novelty. The Penguin Guide to Blues Recordings captures it well: Hopkins is “focussed and businesslike,” but that doesn’t mean restrained—if anything, he’s sharpening his tools.

Mojo Hand doesn’t reinvent the form, but it refines it. Hopkins plays with poise, intent, and an eye on the future, bridging rural roots with urban swagger. It’s blues with a wink, blues with a backbeat—still raw, still real, but dressed up just enough to let the light catch.