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Son House

Son House's place, not only in the history of Delta blues, but in the overall history of the music, is a very high one indeed. He was a major innovator of the Delta style, along with his playing partners Charley Patton and Willie Brown. Few listening experiences in the blues are as intense as hearing one of Son House's original 1930s recordings for the Paramount label. Entombed in a hailstorm of surface noise and scratches, one can still be awestruck by the emotional fervor House puts into his singing and slide playing. Little wonder then that the man became more than just an influence on some white English kid with a big amp; he was the main source of inspiration to both Muddy Waters and Robert Johnson, and it doesn't get much more pivotal than that. Even after his rediscovery in the mid-'60s, House was such a potent musical force that what would have been a normally genteel performance by any other bluesmen in a "folk" setting turned into a night in the nastiest juke joint you could imagine, scaring the daylights out of young white enthusiasts expecting something far more prosaic and comfortable. Not out of Son House, no sir. When the man hit the downbeat on his National steel-bodied guitar and you saw his eyes disappear into the back of his head, you knew you were going to hear some blues. And when he wasn't shouting the blues, he was singing spirituals, a cappella. Right up to the end, no bluesman was torn between the sacred and the profane more than Son House.

He was born Eddie James House, Jr., on March 21, 1902, in Riverton, MS. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn't even bother picking up a guitar until he turned 25; to quote House, "I didn't like no guitar when I first heard it; oh gee, I couldn't stand a guy playin' a guitar. I didn't like none of it." But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, MS, one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now.

If the romantic notion that the blues life is said to be a life full of trouble is true, then Son found a barrel of it one night at another house frolic in Lyon. He shot a man dead that night and was immediately sentenced to imprisonment at Parchman Farm. He ended up only serving two years of his sentence, with his parents both lobbying hard for his release, claiming self defense. Upon his release -- after a Clarksdale judge told him never to set foot in town again -- he started a new life in the Delta as a full-time man of the blues.

After hitchhiking and hoboing the rails, he made it down to Lula, MS, and ran into the most legendary character the blues had to offer at that point, the one and only Charley Patton. The two men couldn't have been less similar in disposition, stature, and in musical and performance outlook if they had purposely planned it that way. Patton was described as a funny, loud-mouthed little guy who was a noisy, passionate showman, using every trick in the book to win over a crowd. The tall and skinny House was by nature a gloomy man with a saturnine disposition who still felt extremely guilt-ridden about playing the blues and working in juke joints. Yet when he ripped into one, Son imbued it with so much raw feeling that the performance became the show itself, sans gimmicks. The two of them argued and bickered constantly, and the only thing these two men seemed to have in common was a penchant for imbibing whatever alcoholic potable came their way. Though House would later refer in interviews to Patton as a "jerk" and other unprintables, it was Patton's success as a bluesman -- both live and especially on record -- that got Son's foot in the door as a recording artist. He followed Patton up to Grafton, WI, and recorded a handful of sides for the Paramount label. These records today (selling scant few copies in their time, the few that did survived a life of huge steel needles, even bigger scratches, and generally lousy care) are some of the most highly prized collectors' items of Delta blues recordings, much tougher to find than, say, a Robert Johnson or even a Charley Patton 78. Paramount used a pressing compound for their 78 singles that was so noisy and inferior sounding that should someone actually come across a clean copy of any of Son's original recordings, it's a pretty safe bet that the listener would still be greeted with a blizzard of surface noise once the needle made contact with the disc.

But audio concerns aside, the absolutely demonic performances House laid down on these three two-part 78s ("My Black Mama," "Preachin' the Blues," and "Dry Spell Blues," with an unreleased test acetate of "Walkin' Blues" showing up decades later) cut through the hisses and pops like a brick through a stained glass window.

It was those recordings that led Alan Lomax to his door in 1941 to record him for the Library of Congress. Lomax was cutting acetates on a "portable" recording machine weighing over 300 pounds. Son was still playing (actually at the peak of his powers, some would say), but had backed off of it a bit since Charley Patton died in 1934. House did some tunes solo, as Lomax asked him to do, but also cut a session backed by a rocking little string band. As the band laid down long and loose (some tracks went on for over six minutes) versions of their favorite numbers, all that was missing was the guitars being plugged in and a drummer's backbeat and you were getting a glimpse of the future of the music.

But just as House had gone a full decade without recording, this time after the Lomax recordings, he just as quickly disappeared, moving to Rochester, NY. When folk-blues researchers finally found him in 1964, he was cheerfully exclaiming that he hadn't touched a guitar in years. One of the researchers, a young guitarist named Alan Wilson (later of the blues-rock group Canned Heat) literally sat down and retaught Son House how to play like Son House. Once the old master was up to speed, the festival and coffeehouse circuit became his oyster. He recorded again, the recordings becoming an important introduction to his music and, for some, a lot easier to take than those old Paramount 78s from a strict audio standpoint. In 1965, he played Carnegie Hall and four years later found himself the subject of an eponymously titled film documentary, all of this another world removed from Clarksdale, MS, indeed. Everywhere he played, he was besieged by young fans, asking him about Robert Johnson, Charley Patton, and others. For young white blues fans, these were merely exotic names from the past, heard only to them on old, highly prized recordings; for Son House they were flesh and blood contemporaries, not just some names on a record label. Hailed as the greatest living Delta singer still actively performing, nobody dared call himself the king of the blues as long as Son House was around.

He fell into ill health by the early '70s; what was later diagnosed as both Alzheimer's and Parkinson's disease first affected his memory and his ability to recall songs on-stage and, later, his hands, which shook so bad he finally had to give up the guitar and eventually leave performing altogether by 1976. He lived quietly in Detroit, MI, for another 12 years, passing away on October 19, 1988. His induction into the Blues Foundation's Hall of Fame in 1980 was no less than his due. Son House was the blues. ~ Cub Koda, Rovi
full bio

Selected Discography

Comments

we're pregnant
what the hell?! son house don't have his own station? what kind of crap is that!!!!
No Blues man was torn between the sacred and the profane, than Son House' Ain't that the truth.
Yet another man that made the Delta blues great!
The one and only
Hes was a walking contradictio n both to his faith and blues.... Who'da thought it be a match made in blues heaven one of the best and possibly the only real blues players my hat and my guitar tip to the King of blues and music itself SON HOUSE - DJ Bloodshed
Raw indeed. It just doesn't get any more badass than Son House.
Son House, the King of the Blues. No one can dispute his contribution to the blues and music in general. The sheer rawness of his music is so amazing.
The true master
cool as a winter fan
wow, excellent bio. thanks.
csprecher2
Wow, what an influence on so many people.

My faviorite Son story, when back in the day Muddy's band is going towards the the stage and one of the band members shuffles into an old man exiting and mocks him, Muddy grabs the punk by the collar and says (para phrasing)"Do n ' t mess with that guy, thats why I'm here"
flithy
Emotion and passion at it's best.
Um.. its Son House, son.
His name is Sun House...spre a d "His" name...when you praise others it just clouds where the sound and style origanlly came from!!!!
son house is great. kudos to jack white for covering him
just watched that documentary. with J.P. the Edge and J.W. called "it might get loud" on Net Flex. watch it if you enjoy music. I've enjoyed Son House since i first heard him 10 year after he died. Never really appreciated Jack White until i watched the Documentary though.
lincolnpm
Jack White, Jimmy Page & The Edge all sharing influences & jammin' ?
Freakin' Awesome! A must see for any fan of roots, rock & the blues and guitar worshippers in general.
did the people who left a comment about jack white happen to watch "It Might Get Loud"
I understand why I liked gutiarman Jack White when he talks about Son House. I've resided most of my life in Rochester- Jack in Detroit...
timbrry
Thank You Michael, I must agree! I sat in Muddy's living room and played a little with him a year before he passed on (God, Please, rest his soul!) Now I know some of his inspiration, and this is it!
Powerful, expressive voice!
THE man! I love this voice!
@Rocknrollpa d d y t t y t t y Gotta Love them White stripes amazing just as Son House ....pure genious
I got a letter this mornin, how do you reckon it read?
It said, "Hurry, hurry, yeah, your love is dead"
-Death Letter Blues
gerardjones
Son House is magnificent. This biography, however, needs to have a lot of strutting, self-aggrand i z i n g crap stripped out of it. Just tell us about the man and how he changed music.
texasjoseph
Keep...:)
"Ohh, yeahhh! Oh yes, oh yes, oh yes, oh yeahhh!"
Son House proves George Carlin right when Carlin said "White man has no business singing the blues!!". If you listen to Son House and come away without a deeper appreciation for the expressivene s s of music and the blues then you are inhuman.
the most intense blues of all time.
His voice aged like wine. It got better, man. No one can touch Son House blues.

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