Son House

Sample this concert
  1. 1Introduction (Brownie McGhee)00:49
  2. 2Monologue / Song Intro01:08
  3. 3Downhearted Blues10:26
  4. 4Stage Banter (Brownie McGhee)00:33
  5. 5Empire State Express02:46
  6. 6Monologue / Song Intro01:08
  7. 7Lord Have Mercy Before I Come To Die01:23
Liner Notes

Son House - vocals, guitar

Of all the Mississippi Delta bluesmen, Eddie James House, Jr., better known as Son House, was one of the earliest pioneers and one of the most powerful. Developing a slashing slide guitar technique that featured strong rhythmic repetitions and a vocal style reflective of spiritual and southern gospel singers, House was a critical innovator who had a profound effect. The fierce edginess of his music and many of his songs would form the root sound for Muddy Waters and Robert Johnson, both House protégées that would adopt his style and bring it to the attention of a much wider audience.

Born in Riverton, Mississippi in 1902, House worked the cotton plantations as a teenager. He developed a passion for the Baptist Church, delivering his first sermon at the age of fifteen and becoming a pastor by the age of twenty. By the mid-1920s, House began studying guitar with a local musician named James McCoy. Rapidly developing as a musician, he was soon performing with Delta musician Rube Lacy, where he began emulating Lacy's slide guitar technique. During a house party altercation in 1928, House shot a man dead and, despite claims of self-defense, was sentenced to imprisonment at the notorious Parchman Farm. Two years later, after a sympathetic Clarksdale judge re-examined his case, he was released from prison but advised to leave the area. He relocated to Lula and while performing at a railroad depot for tips, met up with Charley Patton, a prolific musician who had recorded dozens of songs for Paramount Records and was famous throughout the Delta. When Paramount required another Patton session in 1930, he recruited House, Willie Brown and Louise Johnson to record with him. During these sessions, House cut six sides as well, which despite poor sales (as 78s), remain some of the most intense and highly sought after blues recordings ever issued.

The immediate result of these legendary 1930 sessions was the musical friendship that developed between House and Willie Brown. They would perform together all over the Delta for the remainder of the decade and were still friends in 1941, which is when Alan Lomax turned up. Lomax pursued House on the recommendation of the young Muddy Waters, and upon finding him, made a series of important recordings for The Library Of Congress. House recorded 10 songs alone and another half dozen with Willie Brown, Joe Martin and Leroy Williams in a group format. While these 1941 and 1942 recordings proved him to still be in top form, House retired from music and literally vanished for two decades, relocating to Rochester, NY in 1943, where he worked as a porter for the New York Central Railroad and a short-order cook at a local Howard Johnson's.

It wasn't until June of 1964 that Dick Waterman, Phil Spiro and Nick Perls finally located House in Rochester and convinced him to re-launch his career. House was completely unaware of the growing enthusiasm for his earlier recordings and no longer remembered how to perform his own songs. With the help of future Canned Heat founder Alan Wilson, who was one of his most devoted fans, House re-learned his own repertoire and began performing again to overwhelmingly enthusiastic audiences. His true return came at that year's Newport Folk Festival, which generated rave reviews. Soon enough he signed a new recording contract with Columbia Records, performing on the folk and blues coffeehouse circuit and touring internationally.

George Wein, the impresario behind the Newport Jazz Festival and the Newport Folk Festival (which began in 1954 and 1959, respectively) is responsible for showcasing younger, older and rediscovered jazz, blues and folk musicians alike. However, his vision also included adding complimentary elements to the festivals, which presented leading and lesser-known figures from the regular Newport Festival programs at morning and afternoon workshops on the festival grounds.

This unique recording is a rare glimpse of House performing under the workshop tent at the 1969 Newport Folk Festival before an intimate and appreciative audience. Introduced by master of ceremonies, Brownie McGhee, this spontaneous performance provides two examples of House's fierce slashing style as well as an a cappella spiritual number reflecting his roots in the Baptist Church. Sadly, this set also conveys House's deep descent into alcoholism. Regardless, this recording is a remarkable glimpse at the man's music, sense of humor and self-effacing personality.

Following some humorous banter with the audience, House begins with a lengthy version of "Downhearted Blues" that clocks in at over 10 minutes. Despite his frailty and intoxication, House's National Steel guitar technique remains potent and emotive. His vocal, often a resonant moaning here, conveys a man playing only for the power of his music and completely unselfconsciously.

Following this number, McGhee returns to the microphone and encourages House to continue. Uninhibited giggling can be heard every time McGhee compliments House, conveying his state of mind and self-effacing personality. The second shorter number, "Empire State Express," is a more focused effort featuring the popping bass notes and slashing slide work that distinguished his style and directly influenced such protégés as Robert Johnson and Muddy Waters. By using his third finger, House was able to damp behind the slide and use his pinky for fretting, retaining a slide sound that has rarely been equaled in terms of raw grittiness.

The brief set concludes with a monologue conveying House's awareness of his age. He states that despite his old age "I have young ideas!" This elicits a hearty round of applause from the audience. Reiterating what he said at the beginning of the set, he repeats that if the Lord is going to have mercy on him, he'd prefer that happen now, rather than after he dies. This humorous statement links to one of the central philosophical components of the 1960s counterculture - appreciation for the here and now. This concept apparently resonates with House. He appropriately wraps things up with an a cappella delivery of the southern spiritual "Lord Have Mercy Before I Come To Die," forging a connection between the generations in the process.

This may not be one of his great performances, but it is nonetheless engaging and captures House's unselfconsciousness and self-effacing personality better than most existing recordings. If House had been given the opportunity to record as prolifically in his prime as his peers, Charlie Patton and Blind Lemon Jefferson, or his most famous protégées, Muddy Waters and Robert Johnson, chances are he would be considered the preeminent blues musician of his time.

-Written by Alan Bershaw