Fb-Button
Son House Archives - I Love Blues Guitar
I Love Blues Guitar

Tag: Son House

  • Son House – Yonder Comes The Blues

    Son House – Yonder Comes The Blues

    Son House – Yonder Comes The Blues

    The Preacher of the Blues – How Son House Shook My Soul With Nothing But a Voice and a Slide

    There are great bluesmen.
    And then there’s Son House.

    The first time I heard him, I wasn’t prepared. I thought I was putting on some dusty old folk-blues track.
    But what came through those speakers hit like a sermon and a storm rolled into one.

    It was just a voice, a slide guitar, and something ancient and holy.
    And it felt like he wasn’t singing at me. He was singing for me. To me. Through me.

    That’s when I understood: Son House didn’t just play the blues—he was the blues.

    Who Was Son House?

    Born Eddie James House Jr. in 1902 in Riverton, Mississippi, Son House was a preacher before he was a bluesman—and that tension never left his music.

    He came up in the Mississippi Delta in the 1920s and ’30s, surrounded by the legends: Charlie Patton, Willie Brown, and later, Robert Johnson—who he famously mentored (and possibly outplayed).

    But House was different.

    He wasn’t polished.
    He wasn’t predictable.
    He was raw, fierce, and full of contradictions—gospel one moment, gutbucket blues the next.

    And when he sang, it felt like the world stopped.

    The Sound: Slide Guitar and Spirit-Wrung Vocals

    Nobody—and I mean nobody—sounds like Son House.

    • 🎙️ His voice? Raspy, thunderous, desperate, holy.
    • 🎸 His slide playing? Percussive, hypnotic, full of steel and soul.
    • 🥁 His rhythm? Often just his foot pounding on the floor like a drum.

    He didn’t need a band. He was the band.

    What’s wild is how intense his music still feels today.
    A hundred years later, and you can still feel the sweat, the sorrow, and the spiritual war raging inside him.

    The Recordings That Gave Me Chills

    Son House’s recording career came in two waves: a short burst in the 1930s, and then a miraculous rediscovery in the 1960s folk-blues revival. Both eras are powerful, but the later stuff? That’s where I fell in.

    Here’s what I’d recommend:

    • 🎧 The Complete Library of Congress Sessions (1941–42) – The earliest field recordings. Stark, stunning, and historic.
    • 💿 Father of Folk Blues (1965) – His comeback album. Includes the definitive versions of “Death Letter,” “Grinnin’ in Your Face,” and “John the Revelator.”
    • 🔥 Delta Blues and Spirituals (1970) – Later recordings from his final run. Intimate, haunting, and full of wisdom.
    • 🎙️ Live at the Gaslight Cafe – If you want to feel what it was like to hear Son House in a small room.

    “Death Letter” – The Ultimate Blues Testimony

    If you only ever hear one Son House song—make it “Death Letter.”

    I can’t even count how many times I’ve heard it, and it still gives me chills.
    The guitar bangs and rattles. His voice howls like judgment day.
    And that line—”I got a letter this morning, how do you reckon it read?”—it’ll stop you cold.

    It’s not a song. It’s a blues exorcism.

    Why Son House Still Matters

    In an era of endless playlists, overproduced records, and throwback trends, Son House feels more alive than ever.

    He reminds us that the blues isn’t about scales or licks or gear.
    It’s about truth.
    It’s about pain, redemption, conflict, and release.

    When Son House plays, he takes you somewhere deeper—whether you’re ready or not.

    He didn’t chase fame. He wasn’t trying to be anyone’s hero.
    He just picked up his guitar and told the truth the only way he knew how—loud, broken, beautiful.

    Where to Start If You’re New

    Here’s your Son House starter pack:

    • 🎙️ Father of Folk Blues (1965) – Start here. It’s essential.
    • 🔥 “Death Letter” – One of the greatest blues songs of all time.
    • 🎧 Delta Blues and Spirituals – For his late-career wisdom.
    • 📺 YouTube: Search “Son House live,” “Death Letter Blues,” or “Grinnin’ in Your Face” for spine-tingling performances.

    More info: Wikipedia – Son House

    Son House didn’t sing the blues—he survived them.
    And when you hear that voice, that slide, that stomp—you’ll know exactly what I mean.

    🎸💙✝️

    Video

    Thank You

    We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.

  • Son House – So Hard to Love Someone

    Son House – So Hard to Love Someone

    The Voice That Shook the Devil: How Son House Dragged My Soul to the Delta

    I’d been listening to blues for years—Skip James, Robert Johnson, even Muddy and Wolf. But then I heard Son House for the first time, and nothing was the same after that.

    It was “Death Letter.” That slide guitar hit like thunder, raw and jagged, and then came that voice—boiling with rage and sorrow, rasping out from deep inside the earth. I sat there, frozen, goosebumps on my arms. This wasn’t just blues. This was a man ripping open his chest and letting you stare at his soul.

    The Preacher Turned Blues Prophet

    Born Eddie James “Son” House Jr. in 1902 (some say 1901 or ’03) in Riverton, Mississippi, he came up steeped in gospel and moral fire. He was a preacher first—before ever touching a guitar. That preacher’s intensity never left his voice.

    He didn’t even start playing guitar until he was around 25, and when he did? He didn’t learn to play—he attacked it. His slide style was all emotion and power, played on a worn-out National resonator like he was trying to save or destroy the world—maybe both.

    He recorded a handful of songs for Paramount in 1930 that barely made a ripple at the time… and then, decades later, Son House was rediscovered during the 1960s folk revival, brought out of obscurity, and given the chance to show the world what real Delta blues sounded like from the source.

    The Sound: Grit, Gospel, and Fire

    Son House didn’t just play the blues—he preached it. His slide guitar was furious, all steel and slide and stomp. He didn’t care about finesse. He cared about feeling. You could hear the strings buzz and break, and it made it more real.

    His singing? A howl, a prayer, and a threat all at once. You felt the gospel roots, the sin, the regret. It wasn’t pretty. It was raw truth.

    And when he performed, he poured his whole body into it. Slapping the guitar. Rocking back and forth. Eyes shut tight. You couldn’t look away.

    The Songs That Set My Hair on Fire

    There aren’t hundreds of tracks, but every one is a masterclass in blues as emotional exorcism. These are the ones that turned me into a believer:

    • 🎸 “Death Letter” – The definitive Son House track. A one-man band of grief and fury.
    • 💔 “Grinnin’ In Your Face” – Just his voice and handclaps. A chilling sermon about false friends.
    • 🕯️ “John the Revelator” – A haunting, apocalyptic spiritual like no other.
    • ⚡ “Preachin’ Blues” – Rage, rhythm, and a broken preacher’s soul.
    • 🔥 “Levee Camp Moan” – Long, slow, hypnotic. It’ll grab your spine and not let go.

    And don’t miss the 1930s recordings like “My Black Mama” and “Clarksdale Moan”. Dusty, crackly, unforgettable.

    Seeing the Fire in His Eyes

    I never saw Son House in person—he passed in 1988—but I’ve watched every clip, especially those filmed after his rediscovery in the ’60s. There’s one video of him doing “Death Letter” where he’s sweating, rocking, eyes wide like he’s staring into the void, and the guitar is just screaming. It’s raw electricity.

    Even in his 60s and 70s, with arthritic fingers and a lifetime of hard miles, Son could still shake a room to its foundation.

    Why Son House Still Wails Through the Ages

    You don’t get the blues without Son House. You don’t get the anger and redemption, the gospel fire, the slide that sings and screams.

    He was the link between the church and the juke joint, between salvation and sin. Between Robert Johnson (who learned from him) and every bluesman who ever plugged in a slide afterward.

    Son House didn’t play the blues to entertain. He played to survive. To warn. To testify. And the scars in his songs are as real now as they were in 1930.

    Where to Start If You’re New

    Welcome to the deep end:

    • 🎧 The Legendary Son House: Father of Folk Blues (1965) – A perfect intro from his rediscovery period. Includes “Death Letter,” “John the Revelator,” and more.
    • 💿 Delta Blues (early Paramount sides, 1930) – Grainy, historic, and vital.
    • 🎥 YouTube: Search “Son House Death Letter live” or “Son House Grinnin’ in Your Face” to see raw emotion with no filter.

    More at Mississippi Blues Trail

    Son House didn’t play music. He played truth. He didn’t sing songs. He sang warnings. For me, he’s not just a blues legend—he’s the voice that lives in the dirt of the Delta, in the cracks of a worn guitar, in the fire behind every real bluesman since. And when I need to remember what the blues really is… I go back to Son House. Every. Time.

  • Son House – Grinnin in Your Face

    Son House – Grinnin in Your Face

    Meeting the Blues at the Crossroads: My Lifelong Love for Son House

    Somewhere in the middle of a scratchy old record, I met a voice that felt like it came from the earth itself—raw, ragged, full of thunder and sorrow. That voice belonged to Son House. And nothing in my musical life has ever been the same since.

    I didn’t find Son House through radio or recommendation. I found him digging through an old blues compilation in the corner of a record shop—the kind of place where the lights are dim and the dust carries stories. I picked up Father of the Delta Blues: The Complete 1965 Sessions because I’d heard the name before in reverent tones. I didn’t know I was about to get hit in the chest by something realer than anything I’d ever heard.

    The First Note That Broke Me

    When I dropped the needle on “Death Letter,” my knees damn near gave out.

    That slide guitar—gritty, wild, unpredictable—sounded like it had been dragged across broken glass and soaked in Mississippi mud. And then his voice. Oh man, that voice. It didn’t sing so much as testify. It shouted from the edge of a life full of pain, regret, God, and redemption. It was a sermon. It was a confession. It was the blues in its purest, most human form.

    That one song told me more about life, loss, and spiritual survival than years of school or sermons ever could.

    A Preacher, A Drifter, A Survivor

    Son House wasn’t just a musician—he was a preacher who couldn’t shake the devil’s music. That contradiction fueled everything he did. Born Eddie James House Jr. in 1902 in Mississippi, he started as a Baptist minister. But the pull of the blues—those steel strings and that slide—was too strong to resist.

    And that tension never left him. You can hear it in every track. Songs like “Preachin’ Blues” and “John the Revelator” aren’t just about religion or music—they’re about wrestling with the soul. The man didn’t play for your ears—he played for your truth.

    He recorded a few sides for Paramount in the 1930s, then disappeared—like so many Delta musicians of that era. And that might’ve been the end of the story if not for one of the greatest rediscoveries in music history.

    The 1960s: Son Rises Again

    When the blues revival hit in the ’60s, Son House was dragged back into the spotlight—literally. Alan Wilson (who would go on to form Canned Heat), along with a few blues historians, tracked him down in Rochester, New York, in 1964. The man hadn’t played in years. They put a guitar back in his hands—and the fire came roaring back.

    His 1965 Columbia sessions are the stuff of legend. To me, that’s where the real Son House lives. Older, slower, but deeper. When he sings “Grinnin’ in Your Face,” it’s just his voice and his hands. No guitar. No backup. Just him, clapping and warning us: “Don’t you mind people grinnin’ in your face.” If there’s a more direct line from artist to listener, I haven’t heard it.

    Seeing Him in Old Footage

    I never saw Son House live—he passed in 1988, and I came to him too late. But I’ve watched every grainy clip I could find. In those black-and-white frames, you see something sacred. His eyes close. His body shakes. His slide hand moves like he’s possessed. It’s not performance. It’s release. Like he’s purging demons in real time.

    Even when he could barely play due to age or arthritis, his presence filled the room. The guitar might stutter, but the truth never did.

    Why He Still Matters

    In a world of overproduction and overthinking, Son House is a thunderclap of authenticity. No polish. No perfection. Just the raw sound of a man searching for God and wrestling with the world through a beat-up steel guitar.

    He taught me that music doesn’t need to be pretty. It needs to be honest. That the crack in the voice is where the feeling lives. And that sometimes, the heaviest sound comes from a single voice and six strings.

    For the New Listener

    Start with Death Letter. You have to. Then go straight to John the Revelator and Preachin’ Blues. After that, dive into the 1965 Columbia recordings—every track a masterclass in grit and gospel. If you want to go deeper, find those early 1930s Paramount sides—low fidelity, but higher truth.

    If you’re really serious, hunt down some video footage on YouTube or in old documentaries like The Blues According to Lightnin’ Hopkins. Seeing Son House in motion changes everything.

    Son House didn’t just sing the blues. He became the blues. And once you’ve heard that sound, you carry it with you. Like a scar. Like a gift. Like a reminder that even in sorrow, there’s something sacred worth shouting about.

    Thank You

    We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.

  • Son House – Death Letter Blues

    Son House – Death Letter Blues

    Son House: The Father of Delta Blues and His Enduring Influence on Contemporary Blues

    Son House, born Eddie James House Jr. in 1902, is a towering figure in the history of American blues. His raw, emotional voice and innovative approach to slide guitar helped shape the Delta blues style, leaving a profound impact on the genre that resonates to this day. Although he experienced periods of obscurity during his lifetime, Son House’s contributions to blues music are monumental, and his influence continues to be felt in contemporary blues and beyond.

    Early Life and Musical Roots

    Son House was born in rural Mississippi, a region that would later become synonymous with the Delta blues. His early life was shaped by his deep involvement with the church, and at one point, he even became a preacher. However, around the age of 25, House had a life-changing experience when he first encountered the blues. Though conflicted by his religious beliefs, he was captivated by the emotional intensity of the music, and he quickly learned to play the guitar.

    His unique playing style, particularly his use of slide guitar, and his haunting, soul-baring vocals, distinguished him from other blues musicians of his time. By the late 1920s and early 1930s, Son House had become a key figure in the Mississippi Delta blues scene, performing alongside other blues greats like Charlie Patton and Willie Brown.

    Pioneering the Delta Blues Sound

    Son House’s music is characterized by its raw power and emotional depth. His vocal delivery was often described as preaching or shouting, with an intensity that made each song feel like a personal confession. His slide guitar playing, typically performed using a metal or glass slide, was both rhythmic and melodic, creating a sound that was at once driving and mournful. His technique was groundbreaking at the time, and it has become a fundamental part of the blues lexicon.

    Some of his early recordings, like “Death Letter” and “Preachin’ Blues,” showcase the elements that made Son House so distinctive. “Death Letter,” in particular, is one of his most famous songs—a tale of love and loss that is both deeply personal and universally relatable. The song’s riff and structure have been widely imitated, influencing generations of blues and rock musicians.

    House’s music frequently dealt with themes of sin, redemption, and the struggles of life in the rural South, reflecting both his experiences as a former preacher and the hardships of African American life in the early 20th century. His songs are filled with emotional honesty, spiritual conflict, and a deep connection to the human condition.

    Decline and Rediscovery

    After recording some seminal tracks in the 1930s, Son House’s career stalled during the 1940s. He moved to Rochester, New York, and stopped performing music publicly, taking on factory work instead. For nearly two decades, House remained out of the public eye, and many assumed he had disappeared from the music scene for good.

    However, the folk and blues revival of the 1960s brought renewed interest in the early pioneers of the genre, and House was “rediscovered” in 1964 by a group of young blues enthusiasts, including Dick Waterman. This rediscovery led to a revival of his career, and Son House began performing again, now to larger and more appreciative audiences in both the U.S. and Europe. His live performances were electrifying, and he became an influential figure in the burgeoning folk-blues movement of the time.

    Influence on Contemporary Blues and Rock

    Son House’s influence on blues and rock musicians cannot be overstated. He is often credited with helping to define the Delta blues style, which laid the foundation for much of modern blues music. His intense vocal delivery, powerful slide guitar work, and emotional honesty inspired countless musicians who followed in his footsteps.

    One of the most notable artists influenced by Son House is Robert Johnson, who is widely regarded as one of the most important figures in the history of blues. House reportedly knew Johnson personally and taught him the fundamentals of blues guitar. Johnson’s recordings, particularly his use of slide guitar and the dark, mythic themes in his lyrics, bear the clear influence of Son House’s work.

    Beyond Johnson, Son House’s impact extends to contemporary rock and blues musicians, particularly in the 1960s and 1970s. British blues-rock bands like The Rolling Stones, Led Zeppelin, and Cream all drew inspiration from the Delta blues tradition that House helped to shape. Artists such as Eric Clapton, John Mayall, and Rory Gallagher frequently cited House as a key influence. Clapton’s work, especially his interpretation of Delta blues classics, owes much to the pioneering style of Son House.

    Perhaps the most famous tribute to House’s legacy in the modern era came from Jack White of The White Stripes. White has spoken extensively about Son House’s influence on his music, particularly citing “Death Letter” as one of the most important songs in shaping his own musical approach. The White Stripes even recorded a cover of “Death Letter” on their 2000 album “De Stijl,” bringing House’s music to a new generation of listeners.

    Key Songs and Their Legacy

    • “Death Letter”: Perhaps Son House’s most famous song, “Death Letter” is a mournful ballad about the death of a loved one. Its iconic slide guitar riff has been covered and reinterpreted by numerous artists, and the song remains a staple in the blues genre.
    • “Preachin’ Blues”: This song highlights the duality of House’s life as both a preacher and a bluesman. It showcases his intense vocal delivery and mastery of slide guitar, making it one of his most iconic recordings.
    • “Grinnin’ in Your Face”: A powerful a cappella track, this song is a raw and emotional performance that strips away everything but House’s voice and clapping, proving that even without a guitar, his music was deeply affecting.

    Legacy and Importance for Contemporary Blues

    Son House’s music continues to be a cornerstone of the contemporary blues genre. His pioneering style of Delta blues has influenced countless musicians, and his songs are still performed and recorded by blues artists today. Beyond his technical innovations, what truly sets House apart is the emotional intensity of his music. His songs are imbued with a rawness and authenticity that remain relevant to modern audiences.

    House’s influence extends beyond the blues, reaching into rock, folk, and even alternative music. His ability to channel deep personal emotion into his music, his innovative guitar techniques, and his commitment to the spiritual and human aspects of the blues make him a crucial figure in the history of American music.

    Final Thoughts

    Son House’s importance for contemporary blues cannot be overstated. His mastery of slide guitar, his emotionally charged vocals, and his deeply personal songwriting helped define the Delta blues genre, which remains the bedrock of much of modern blues and rock music. Though his career was marked by periods of obscurity, his music has endured, continuing to inspire new generations of musicians and listeners alike. Whether through direct covers or the countless artists who have drawn from his pioneering style, Son House’s legacy lives on as a foundational influence in the world of blues and beyond.

    Son House - Death Letter Blues
    Son House – Death Letter Blues

    Video source: https://www.youtube.com/watch?v=NdgrQoZHnNY

    Thank You

    We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.

  • Son House – Yonder Comes The Blues

    Son House – Yonder Comes The Blues

    The Preacher of the Blues – How Son House Shook My Soul With Nothing But a Voice and a Slide

    There are great bluesmen.
    And then there’s Son House.

    The first time I heard him, I wasn’t prepared. I thought I was putting on some dusty old folk-blues track.
    But what came through those speakers hit like a sermon and a storm rolled into one.

    It was just a voice, a slide guitar, and something ancient and holy.
    And it felt like he wasn’t singing at me. He was singing for me. To me. Through me.

    That’s when I understood: Son House didn’t just play the blues—he was the blues.

    Who Was Son House?

    Born Eddie James House Jr. in 1902 in Riverton, Mississippi, Son House was a preacher before he was a bluesman—and that tension never left his music.

    He came up in the Mississippi Delta in the 1920s and ’30s, surrounded by the legends: Charlie Patton, Willie Brown, and later, Robert Johnson—who he famously mentored (and possibly outplayed).

    But House was different.

    He wasn’t polished.
    He wasn’t predictable.
    He was raw, fierce, and full of contradictions—gospel one moment, gutbucket blues the next.

    And when he sang, it felt like the world stopped.

    The Sound: Slide Guitar and Spirit-Wrung Vocals

    Nobody—and I mean nobody—sounds like Son House.

    • 🎙️ His voice? Raspy, thunderous, desperate, holy.
    • 🎸 His slide playing? Percussive, hypnotic, full of steel and soul.
    • 🥁 His rhythm? Often just his foot pounding on the floor like a drum.

    He didn’t need a band. He was the band.

    What’s wild is how intense his music still feels today.
    A hundred years later, and you can still feel the sweat, the sorrow, and the spiritual war raging inside him.

    The Recordings That Gave Me Chills

    Son House’s recording career came in two waves: a short burst in the 1930s, and then a miraculous rediscovery in the 1960s folk-blues revival. Both eras are powerful, but the later stuff? That’s where I fell in.

    Here’s what I’d recommend:

    • 🎧 The Complete Library of Congress Sessions (1941–42) – The earliest field recordings. Stark, stunning, and historic.
    • 💿 Father of Folk Blues (1965) – His comeback album. Includes the definitive versions of “Death Letter,” “Grinnin’ in Your Face,” and “John the Revelator.”
    • 🔥 Delta Blues and Spirituals (1970) – Later recordings from his final run. Intimate, haunting, and full of wisdom.
    • 🎙️ Live at the Gaslight Cafe – If you want to feel what it was like to hear Son House in a small room.

    “Death Letter” – The Ultimate Blues Testimony

    If you only ever hear one Son House song—make it “Death Letter.”

    I can’t even count how many times I’ve heard it, and it still gives me chills.
    The guitar bangs and rattles. His voice howls like judgment day.
    And that line—”I got a letter this morning, how do you reckon it read?”—it’ll stop you cold.

    It’s not a song. It’s a blues exorcism.

    Why Son House Still Matters

    In an era of endless playlists, overproduced records, and throwback trends, Son House feels more alive than ever.

    He reminds us that the blues isn’t about scales or licks or gear.
    It’s about truth.
    It’s about pain, redemption, conflict, and release.

    When Son House plays, he takes you somewhere deeper—whether you’re ready or not.

    He didn’t chase fame. He wasn’t trying to be anyone’s hero.
    He just picked up his guitar and told the truth the only way he knew how—loud, broken, beautiful.

    Where to Start If You’re New

    Here’s your Son House starter pack:

    • 🎙️ Father of Folk Blues (1965) – Start here. It’s essential.
    • 🔥 “Death Letter” – One of the greatest blues songs of all time.
    • 🎧 Delta Blues and Spirituals – For his late-career wisdom.
    • 📺 YouTube: Search “Son House live,” “Death Letter Blues,” or “Grinnin’ in Your Face” for spine-tingling performances.

    More info: Wikipedia – Son House

    Son House didn’t sing the blues—he survived them.
    And when you hear that voice, that slide, that stomp—you’ll know exactly what I mean.

    🎸💙✝️

    Thank You

    We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.

  • Son House – John the Revelator

    Son House – John the Revelator

    Son House

    House was born in Riverton, a town near Clarksdale, Mississippi, being the middle brother of 17. At the age of eight, and after the separation of his parents, he moved to Tallulah, Louisiana, with his mother. During his teens, he wanted to become a Baptist preacher, starting at age fifteen. Inspired by the work of Willie Wilson, House was drawn to the blues, despite opposition from the Church about this musical style because of the sins that surrounded him, beginning to play guitar in the mid-1920s. until 1942 in Robinsonville, Mississippi, with musicians such as Charley Patton, Willie Brown, Robert Johnson, Fiddlin ‘Joe Martin and Leroy Williams.

    After murdering a man, in alleged self-defense for him, he spent time in the Mississippi State Prison, during the years 1928 and 1929.

    Son House made recordings in 1930 for the record company Paramount Records and for Alan Lomax (belonging to the Library of Congress) in 1941 and 1942. He later disappeared from the music scene until the 1960s (a period characterized by the resurgence of country blues). , when, after a search by Nick Perls, Dick Waterman and Phil Spiro in the Mississippi Delta region, it was “rediscovered” in 1964 in Rochester, New York, where it had lived since 1943; House was retired from the music scene and working for the New York Central Railroad, being completely oblivious to the international enthusiasm that reigned for the reissue of his early recordings. Due to this, he began a series of musical tours through the United States and Europe, made recordings for the CBS company. Like Mississippi John Hurt, he performed at the Newport Folk Festival in 1964, at the New York Folk Festival in 1965, on the 1970 summer European tour with Skip James and Bukka White, and at the Montreux Jazz Festival there. same year.

    The last years of his life were characterized by the disease, retiring again from the music scene in 1974, moving to Detroit, Michigan, where he would reside until his death due to laryngeal cancer. He was buried at Mt. Hazel Cemetery. Members of the Detroit Blues Society held a series of benefit concerts to raise money to build a statue at the Son House tomb.

    Musical style and influation.

    The innovative musical style of House is characterized by using strong, marked and repetitive rhythms, together with a way of singing that recalls the laments of the chain gang (groups of prisoners). House greatly influenced Muddy Waters and Robert Johnson, the latter being the one who would bring House’s music to other audiences; It was precisely House who, in a conversation with fans in the 1960s, expanded the legend that Johnson had sold his soul to the devil in exchange for being able to play the guitar masterfully. House has influenced current musicians like White Stripes, who performed a cover of their song “Death Letter” on the album “De Stijl”, performing that song at the 2004 Grammy Awards ceremony. The White Stripes also incorporated sections from the traditional Son House song “John the Revelator” to the song “Cannon” from their album “The White Stripes”.

    blues music t-shirts

  • Son House – John the Revelator (Charlie Beale Remix)

    Son House – John the Revelator (Charlie Beale Remix)

    Love it or hate it Son House “John the Revelator” remixed with chill-out sounds by Charlie Beale. Not my style at all, but maybe it is the way to introduce blues music to younger people.

    Son House

    House was born in Riverton, a town near Clarksdale, Mississippi, being the middle brother of 17. At the age of eight, and after the separation of his parents, he moved to Tallulah, Louisiana, with his mother. During his teens, he wanted to become a Baptist preacher, starting at age fifteen. Inspired by the work of Willie Wilson, House was drawn to the blues, despite opposition from the Church about this musical style because of the sins that surrounded him, beginning to play guitar in the mid-1920s. until 1942 in Robinsonville, Mississippi, with musicians such as Charley Patton, Willie Brown, Robert Johnson, Fiddlin ‘Joe Martin and Leroy Williams.

    After murdering a man, in alleged self-defense for him, he spent time in the Mississippi State Prison, during the years 1928 and 1929.

    Son House made recordings in 1930 for the record company Paramount Records and for Alan Lomax (belonging to the Library of Congress) in 1941 and 1942. He later disappeared from the music scene until the 1960s (a period characterized by the resurgence of country blues). , when, after a search by Nick Perls, Dick Waterman and Phil Spiro in the Mississippi Delta region, it was “rediscovered” in 1964 in Rochester, New York, where it had lived since 1943; House was retired from the music scene and working for the New York Central Railroad, being completely oblivious to the international enthusiasm that reigned for the reissue of his early recordings. Due to this, he began a series of musical tours through the United States and Europe, made recordings for the CBS company. Like Mississippi John Hurt, he performed at the Newport Folk Festival in 1964, at the New York Folk Festival in 1965, on the 1970 summer European tour with Skip James and Bukka White, and at the Montreux Jazz Festival there. same year.

    The last years of his life were characterized by the disease, retiring again from the music scene in 1974, moving to Detroit, Michigan, where he would reside until his death due to laryngeal cancer. He was buried at Mt. Hazel Cemetery. Members of the Detroit Blues Society held a series of benefit concerts to raise money to build a statue at the Son House tomb.

    Musical style and influation.

    The innovative musical style of House is characterized by using strong, marked and repetitive rhythms, together with a way of singing that recalls the laments of the chain gang (groups of prisoners). House greatly influenced Muddy Waters and Robert Johnson, the latter being the one who would bring House’s music to other audiences; It was precisely House who, in a conversation with fans in the 1960s, expanded the legend that Johnson had sold his soul to the devil in exchange for being able to play the guitar masterfully. House has influenced current musicians like White Stripes, who performed a cover of their song “Death Letter” on the album “De Stijl”, performing that song at the 2004 Grammy Awards ceremony. The White Stripes also incorporated sections from the traditional Son House song “John the Revelator” to the song “Cannon” from their album “The White Stripes”.
    Now, for comparison, and calming the original version. Good old Delta Blues…

    Son House – John the Revelator
    Son House – John the Revelator

    blues music t-shirts

  • Son House – Downhearted Blues

    Son House – Downhearted Blues

    Son House – his voice is just amazing. Gets across so much emotion with it.

    The guitar is out of tune slightly. Even for open G, but his guitar was always out of tune, it was on purpose, it went well with his voice.

    He holds the slide diagonally across the strings, instead of straight across. It will make the guitar sound out of tune. I think he’s getting the sound he wants by doing it.

    Just an awesome amount of soul. I can’t think of anyone who can sing like that today.

    Son House

    House was born in Riverton, a town near Clarksdale, Mississippi, being the middle brother of 17. At the age of eight, and after the separation of his parents, he moved to Tallulah, Louisiana, with his mother. During his teens, he wanted to become a Baptist preacher, starting at age fifteen. Inspired by the work of Willie Wilson, House was drawn to the blues, despite opposition from the Church about this musical style because of the sins that surrounded him, beginning to play guitar in the mid-1920s. until 1942 in Robinsonville, Mississippi, with musicians such as Charley Patton, Willie Brown, Robert Johnson, Fiddlin ‘Joe Martin and Leroy Williams.

    After murdering a man, in alleged self-defense for him, he spent time in the Mississippi State Prison, during the years 1928 and 1929.

    Son House made recordings in 1930 for the record company Paramount Records and for Alan Lomax (belonging to the Library of Congress) in 1941 and 1942. He later disappeared from the music scene until the 1960s (a period characterized by the resurgence of country blues). , when, after a search by Nick Perls, Dick Waterman and Phil Spiro in the Mississippi Delta region, it was “rediscovered” in 1964 in Rochester, New York, where it had lived since 1943; House was retired from the music scene and working for the New York Central Railroad, being completely oblivious to the international enthusiasm that reigned for the reissue of his early recordings. Due to this, he began a series of musical tours through the United States and Europe, made recordings for the CBS company. Like Mississippi John Hurt, he performed at the Newport Folk Festival in 1964, at the New York Folk Festival in 1965, on the 1970 summer European tour with Skip James and Bukka White, and at the Montreux Jazz Festival there. same year.

    The last years of his life were characterized by the disease, retiring again from the music scene in 1974, moving to Detroit, Michigan, where he would reside until his death due to laryngeal cancer. He was buried at Mt. Hazel Cemetery. Members of the Detroit Blues Society held a series of benefit concerts to raise money to build a statue at the Son House tomb.

    Musical style and influation.

    The innovative musical style of House is characterized by using strong, marked and repetitive rhythms, together with a way of singing that recalls the laments of the chain gang (groups of prisoners). House greatly influenced Muddy Waters and Robert Johnson, the latter being the one who would bring House’s music to other audiences; It was precisely House who, in a conversation with fans in the 1960s, expanded the legend that Johnson had sold his soul to the devil in exchange for being able to play the guitar masterfully. House has influenced current musicians like White Stripes, who performed a cover of their song “Death Letter” on the album “De Stijl”, performing that song at the 2004 Grammy Awards ceremony. The White Stripes also incorporated sections from the traditional Son House song “John the Revelator” to the song “Cannon” from their album “The White Stripes”.

    blues music t-shirts

  • Son House – Scary Delta Blues

    Son House – Scary Delta Blues

    Engage your senses: Press play on the video, then stimulate your brain with the article.

    Eddie James – Son House was an American blues singer and guitarist, noted for his highly emotional style of singing and slide guitar playing.

    After years of hostility to secular music, as a preacher, and for a few years also as a church pastor, he turned to blues performance at the age of 25. He quickly developed a unique style by applying the rhythmic drive, vocal power and emotional intensity of his preaching to the newly learned idiom. In a short career interrupted by a spell in Parchman Farm penitentiary, he developed to the point that Charley Patton, the foremost blues artist of the Mississippi Delta region, invited him to share engagements, and to accompany him to a 1930 recording session for Paramount Records.

    Issued at the start of The Great Depression, the records did not sell and did not lead to national recognition. Locally, Son remained popular, and in the 1930s, together with Patton’s associate, Willie Brown, he was the leading musician of Coahoma County. There he was a formative influence on Robert Johnson and Muddy Waters. In 1941 and 1942, House and the members of his band were recorded by Alan Lomax and John W. Work for Library of Congress and Fisk University. The following year, he left the Delta for Rochester, New York, and gave up music.

    In 1964, a group of young record collectors discovered House, whom they knew of from his records issued by Paramount and by the Library of Congress. With their encouragement, he relearned his style and repertoire and enjoyed a career as an entertainer to young white audiences in the coffee houses, folk festivals and concert tours of the American folk music revival billed as a “folk blues” singer. He recorded several albums, and some informally taped concerts have also been issued as albums. Son House died in 1988.

    In addition to his early influence on Robert Johnson and Muddy Waters, he became an inspiration to John Hammond, Alan Wilson (of Canned Heat), Bonnie Raitt, The White Stripes, Dallas Green and John Mooney. (source: wikipedia)

    Top Albums by Son House read more…

  • Son House – Downhearted Blues

    Son House – Downhearted Blues

    Son House – his voice is just unique. Gets across so much emotion with it.

    The guitar is out of tune slightly. Even for open G, his guitar was always out of tune, it was on purpose, and it went well with his voice.

    He holds the slide diagonally across the strings, instead of straight across. It will make the guitar sound out of tune. I think he’s getting the sound he wants by doing it.

    Just an awesome amount of soul. I can’t think of anyone who can sing like that today.

    Son House

    House was born in Riverton, a town near Clarksdale, Mississippi, being the middle brother of 17. At the age of eight, and after the separation of his parents, he moved to Tallulah, Louisiana, with his mother. During his teens, he wanted to become a Baptist preacher, starting at age fifteen. Inspired by the work of Willie Wilson, House was drawn to the blues, despite opposition from the Church about this musical style because of the sins that surrounded him, beginning to play guitar in the mid-1920s. until 1942 in Robinsonville, Mississippi, with musicians such as Charley Patton, Willie Brown, Robert Johnson, Fiddlin ‘Joe Martin, and Leroy Williams.

    After murdering a man in alleged self-defense, he spent time in the Mississippi State Prison, between 1928 and 1929.

    Son House made recordings in 1930 for the record company Paramount Records and for Alan Lomax (belonging to the Library of Congress) in 1941 and 1942. He later disappeared from the music scene until the 1960s (a period characterized by the resurgence of country blues). , when, after a search by Nick Perls, Dick Waterman and Phil Spiro in the Mississippi Delta region, it was “rediscovered” in 1964 in Rochester, New York, where it had lived since 1943; House was retired from the music scene and working for the New York Central Railroad, being completely oblivious to the international enthusiasm that reigned for the reissue of his early recordings. Due to this, he began a series of musical tours through the United States and Europe, made recordings for the CBS company. Like Mississippi John Hurt, he performed at the Newport Folk Festival in 1964, at the New York Folk Festival in 1965, on the 1970 summer European tour with Skip James and Bukka White, and at the Montreux Jazz Festival there. same year.

    The last years of his life were characterized by the disease, retiring again from the music scene in 1974, moving to Detroit, Michigan, where he would reside until his death due to laryngeal cancer. He was buried at Mt. Hazel Cemetery. Members of the Detroit Blues Society held a series of benefit concerts to raise money to build a statue at the Son House tomb.

    Musical style

    The innovative musical style of House is characterized by using strong, marked and repetitive rhythms, together with a way of singing that recalls the laments of the chain gang (groups of prisoners). House greatly influenced Muddy Waters and Robert Johnson, the latter being the one who would bring House’s music to other audiences; It was precisely House who, in a conversation with fans in the 1960s, expanded the legend that Johnson had sold his soul to the devil in exchange for being able to play the guitar masterfully. House has influenced current musicians like White Stripes, who performed a cover of their song “Death Letter” on the album “De Stijl”, performing that song at the 2004 Grammy Awards ceremony. The White Stripes also incorporated sections from the traditional Son House song “John the Revelator” to the song “Cannon” from their album “The White Stripes”.

    blues music t-shirts