Published in The Islander Magazine May 2014
Milton Hopkins
“I’m hotter now than I ever was!”
- Milton Hopkins
Houston guitarist, Milton Hopkins, is a gentleman, a professional and a good son. A model of taste and style that goes beyond the silk lining of any one of his trademark suits. “My mother wanted me to do something worthwhile in life. And she said it just like that, ‘I don’t care what you do, just do something worthwhile,’” said the 81 year old, Hopkins.
The second oldest of 9 children, Milton Hopkins grew up in Houston’s Trinity Garden and by 11 years of age had set out to fulfill his mother’s wishes. With a lawnmower attached to the back of his bicycle, the young Hopkins began working fixing flowerbeds and doing general yard maintenance. In the early 1940s, while eyeing an acoustic Stella guitar hanging on a wall on the back porch (given by a friend to Hopkins’ father, who never played it) Hopkins began to take an interest in music. Being the obedient son he was, young Milton didn’t dare touch his parent’s things, and the instrument remained a dormant fixture on the wall for years. Elementary school proved unhelpful to Hopkins’ guitar fascination as well. He had arrived late to class the day the teacher was assigning instruments and was forced to take up the tuba - a dilapidated one at that. Despite doing reasonably well with the tuba, Hopkins was spending many evenings on a neighbor’s front porch closely watching the guitar player from a local gospel quartet practice. Soonafter working up the courage to ask to play the Stella, Hopkins knew he found something he loved, though he was still very unsure what to do with it. “It only had three strings on it when I finally got it in my hands. But I didn’t know what I was doing anyway, never mind how to get three more strings on it.”
After courting the Stella for a few years, Hopkins moved to a Sears Silvertone f-hold guitar and learned some guitar basics from friend and Houston-born legend, Johnny ‘Guitar’ Watson. Inspired by the likes of T-Bone Walker and Houston’s Clarence “Gatemouth” Brown, Hopkins honed his skills and in 1949, took the stage for the first time at Jackson’s Drive-In in Houston. The evening went well for Hopkins but not so for the owner of the club who went to jail for staying open past midnight and serving liquor to minors. Hopkins was under 21 and was told to go home and never return. The band passed the club on their school bus the next morning and shared a laugh. Hopkins continued to take notes from Gatemouth Brown and began to create his onstage image and sound. “Gatemouth Brown really got me because he was playing another style, plus he had on a bright blue suit called a ‘Zoot suit’. I had to have one of those suits. And I thought maybe if I had one of those suits it might help me get on with this thing!” laughs, Hopkins.
Although his early influences were blues players (including, though later in life, his cousin, blues legend, Sam ‘Lightnin’ Hopkins), Milton Hopkins admits he’s not a blues purist and prides himself on his ability to play many styles of music. An ability that has planted him firmly on stage with some of the world’s biggest music stars like Little Richard, Big Mama Thornton, Lou Rawls, Marvin Gaye, and Stevie Wonder as well as a permanent spot in B.B. King’s band throughout the 1970’s.
Despite years of touring and recognition as a guitar player with one of the best backing groups in the country, The Upsetters (1958-1964, originally formed by Little Richard - Jimi Hendrix was in the band for a short period of time) Hopkins always relied on steadier work to help him keep a solid foundation financially and emotionally. “If I was going to be somewhere for any length of time, I got a day job. Playing music never was ‘a living’. At it’s best - it was still difficult. Hotels, food, maintaining a life on the road and a life at home is expensive.”
Like many Houston musicians, Galveston represents a significant part of Hopkins’ performance history. His first Galveston gig was in 1951 when the island was still living up to it’s tongue-in-cheek reputation for being a “free state” (free from certain laws of the state and nation). Gambling clubs and brothels helped fuel a vibrant entertainment-driven economy that was abruptly stunted in 1957 when officials cracked down on illegal activities. “It changed a lot when they ‘cleaned up the mess’”, says Hopkins with a smile. “We didn’t play down there as often after that.”
While Milton Hopkins never became as famous as some of the people he played behind, he hasn’t lost his musical mojo and is still a student of the guitar, looking for opportunities, playing gigs and making records. “Being a star is not something you can plan. People today try to plan that and that’s what does them in. It’s still about being in the right place at the right time. A lot of young people today think they can just start at the top. You have to work at what you do.”
Hopkins has lived in New York, Philadelphia and San Francisco but now resides back in his hometown of Houston. He has traveled the world playing his guitar and, as his mother would say, ‘done something worthwhile’, yet is still driven to be the best he can be at his craft. “I never considered my self to be a lead guitarist until recently. I think I’m hotter now than I ever was!”
Milton Hopkins new CD is titled, “Live At Danton’s” and was recorded in 2012 at Danton’s Seafood House on Montrose Ave in Houston. A solid recording of 10 blues classics (and one Cajun medley) performed by Hopkins and his band, the Hit City Blues Band featuring, Annette Metoyer on vocals, Chris Daniels on drums and vocals, Quentin Calva on bass and vocals, Mike Stone on organ, keys and vocals, and Robert Calva on guitar. Also released in 2012 was Hopkins collaboration CD with legendary Houston vocalist Jewel Brown. CDs are available at www.cdbaby.com and on Amazon. Booking information - Susan Criner (Gulf Coast Entertainment) 713-523-7004
Milton Hopkins appears every 1st and 3rd Sunday at Danton’s Blues Brunch 11am
Zach Tate is a writer, photographer and musician. (www.ZachTate.com)
