Customer Reviews

Delta Blues

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The 15 delta blues tracks that Son House recorded in Mississippi during 1941 and 1942 are raw and powerful. This CD is a must-buy for anyone interested in the deep blues of Mississippi. It is unfortunate that so few recordings of Son House exist prior to him being rediscovered during the blues revival during the 1960's. Other than his Library of Congress recordings made during 1941 and 1942, he recorded only three other songs, all during 1930. These songs are also incredibly powerful and gut-wrenching and are part of the CD titled "Masters of the Delta Blues: Friends of Charlie Patton". I highly encourage you to check out this CD as well.

This album is essential listening for any Blues fan. Hardcore Blues all the way. Son House's somber, yet light vocal style is the epitome of what the Blues ought to sound like. These are the solid, intact Library of Congress recordings (1941-1942) digitally remastered to allow the analog hiss to be merely background, bringing the music to the foreground where it belongs. Which makes this a great Blues experience. Purists might argue that the digital remastering constitutes tampering with the artist's intent. Clearly Son House intended for his music to be heard! Besides, the impurities of old time recordings are still apparent. It's just that you hear more music and less static.

The Delta Blues are my favorite and Son House was the undisputed King of this artistic, down-to-earth Blues style. So all you Blues fans, if you don't have this album purchase it immediately. If you already own it you know what I'm talking about.

Son House is my favourite of the Missippi Delta Blues Singers, largely because of this recording. Mr. Eddie James House, Jr., (1902? Riverton, Mississipi - 1988 Detroit, Michigan) has a low gravelly voice which is full of pathos. He sings convincingly of life's hard times. I feel an eery connection as his songs awaken feelings of lost love and the frustration of hopeless poverty. And I have never even been to Mississippi ;D. To say that Mr House "did not play a guitar as much as assault it" is an unfair oversimplification of his rustic style. On this CD, he exhibits two different approaches. When playing with an ensemble (Levee Camp Blues, Government Fleet Blues, Walking Blues and Shetland Pony Blues, for example) he establishes the rhythm. He plays barred chords supporting Mr. Joe Martin on mandoline and Mr. Leroy Williams on harmonica. It would be silly and uncharacteristic of a Delta Blues format to expect a mandolin or harmonica to take on this reponsibility. On the songs which feature Mr House alone, he displays a great deal of melodic expertise. Low Down Dirty Dog Blues is a fine example. He maintains a standard Blues bass with turn around while augmenting his singing with fills played on the higher strings. But the strongest feature is his singing which is stunning, and his poignant lyrics. My favourite line is "if I don't go crazy, I believe I'll lose my mind." If you are interested in the Folk Blues of the Mississippi Delta, this is an important recording for you.

Son House's voice is raw, deep, emotional. When I first listened to this I was slack-jawed. It's no wonder why he made such a big impact on Robert Johnson and Muddy Waters. Kind of makes you wonder how much great music Son House played during those years; it's a real shame there isn't more of this that's recorded. Son House is a blues legend; and this collection of recordings is all that's needed to back up that statement. Raw blues to the core.

These 1941-1942 recordings are the only ones ever made of Eddie "Son" House playing with a band.

Folklorist Alan Lomax came to Mississippi in late August 1941, bringing with him a 300-pound "portable" disc-cutting machine, and cut five acetate masters - the first five tracks on this album.
Now, these cuts may not quite match the power of House's ferocious 1930 Paramount recordings, but barely anything does, and these are tremendous recordings in their own right.
Perhaps the chatter of the other three musicians on the first three tracks, and the sound of Joe Martin picking his mandolin, dulls the raw intensity of Son House's music a little, but you can still hear why Muddy Waters was so much in awe of Son House, stating that "back where I came from, down in the Delta, Son House was the king!"

The 1941 recordings were cut in the back room of Clack's country store in Robinsonville by Lake Cormorant in Mississippi, with guitarist Willie Brown (another former playing partner of Charley Patton), "Fiddlin'" Joe Martin - who actually played mandolin - and harpist Leroy Williams. At one point, you can actually hear a train passing by outside!

And the remaining ten tracks (including an alternative, longer version of "The Jinx Blues") were cut the following summer, and on these tracks, House performs alone. This is where the power and intensity of House truly shines through, showcasing what an effective guitar player he really was. Son House may not have been Charlie Christian, but his loud, strongly rhytmic playing, filled with wailing slide riffs, was the perfect background for his huge voice and emotionally charged singing.

Among the highlights are "Delta Blues", superbly performed with only Leroy Williams (who adds a spoken introduction) backing House up, "Low Down Dirty Dog Blues" and "Depot Blues", which features some of the most impressive guitar playing House ever comitted to tape, "Walking Blues" (especially the 1941 version), and "The Jinx Blues", set to an effective shuffle beat. Just listen to the way House snaps his bass string against the fretboard. Funk bass players needed another thirty years to come up with the same idea!

This 58-minute collection is one of the all-time great documents on early Delta blues. It is a worthy testament to one of the most important figures in modern popular music.

I am grateful for that there was a record in 1940. I love this CD