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Desert rock hero holds steady Hopkins is a heroic figure though I'm sure he wouldn't think so. He's appeared on countless records, he's an integral part of the Tucson desert rock scene, he keeps going, stays true, and stays relevant. That's heroic. This is the Luminarios fourteenth , little has changed but little needs to; Crazy Horse are still role models. Think of Howe Gelb, Rich hasn't strayed too far from the original template (a fried and frazzled version of the Paisley Underground); his songs visit familiar tropes but I wouldn't want to call them repetitive. Hopkins' heuristics are finely honed, he knows what makes songs work, knows his craft, the counter vocal melody on 'See How they Run' injects enough to know that there is a real craftsman at work. On 'Strutter' he sounds like Craig Finn's curmudgeonly uncle (he was making songs like this before the Hold Steady could hold instruments). If you want to know what Giant Sand recording with Los Lobos would sound like then 'Alycia Perez' is your poison. Where bands have made a name for themselves, Hopkins has already carved his name, 'Friend of the Shooter' is a noir Southern Rock Opera (take that Truckers) it unfurls menacingly like a rattlesnake in the morning sun, electric guitars flick out as he weaves a tale of a life gone bad. The instrumentals show another side; 'Sweet Dreams Lisa' is a contemplative plangent beauty, whereas 'Good Morning' with tambourine is a desert soundtrack with wind in the arroyo's and the call of the coyote and the blooming of desert plants in the riparian soil. Then there's the psychedelic power pop of 'Dark Side of the Spoon' that pulls up memories of everyone from the Rain Parade to Green Pyjamas. Hopkins was a Peace Corps volunteer in the early 1980's and there's an additional bonus CD of the music and people who inspired him. It captures the simple pleasures of playing music with
