Starting like a militant folkie, mutating right into a origins rocker, accompanied by a stint like a noisemonger, J.C. Hopkins might have discovered a house with the complex song structures even more connected with Brian Wilson than Woody Guthrie. His power is definitely his iconoclasm, partly influenced by Charles Ives, though similarly colored from the traditionalism from the Beatles. Singer-songwriter Peter Case 1st observed Hopkins in his folk incarnation, when he created his Americana combo Flophouse, Case stepped into create (1990, Heyday). But soon after, Hopkins left behind origins rock and only a noisier edition of Flophouse which documented Undaunted (Harp, 1992) and two information abroad with Bettie Serveert’s maker plus some of its users (UGLY, 1995 and Tulips and Chimnies, 1996). Athens By Night time (Shell/Stickshift, 1997) was Hopkins’ established solo debut assortment of songs-multi-layered with strange instrumentation including string and horn plans recalling the type of “severe” esthetic utilized by Vehicle Dyke Parks. He performs with an orchestra along with other times along with his jazz Heptet, while he also keeps a posture as a favorite nightspot’s pianoman. Hopkins regularly collaborates with indie-rock diva, Barbara Manning, and naif-rock queen, Victoria Williams. In middle-1998, he previously just made up a musical theatre piece, “Show’Bizness,” scripted by poet Pete Simonelli. It had been staged in SAN FRANCISCO BAY AREA, the singer’s used hometown.