Source: LL (from CD)
Released: 2000
Styles: Blues
Time: 67:59
Size: 156,7 MB
Covers: Full
(3:48) 1. Levee Camp Blues
(6:52) 2. Government Fleet Blues
(6:43) 3. Walking Blues
(3:30) 4. Shetland Pony Blues
(3:50) 5. Fo' Clock Blues
(2:29) 6. Camp Hollers
(5:21) 7. Delta Blues
(0:44) 8. Special Rider Blues
(3:07) 9. Special Rider Blues
(4:57) 10. Low-Down Dirty Blues
(2:56) 11. Depot Blues
(1:34) 12. The Key of Minor
(2:55) 13. American Defense
(1:48) 14. Am I Right or Wrong
(2:59) 15. Walking Blues
(2:12) 16. County Farm Blues
(4:15) 17. The Pony Blues
(3:28) 18. The Jinx Blues, Pt. 1
(4:22) 19. The Jinx Blues, Pt. 2
This classic release features 19 blues recordings from Mississippi Delta bluesman Son House recorded in 1941-42. 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. These recordings are the only ones ever made of Eddie "Son" House playing with a band: Son House is on guitar & vocals, joined by Willie Brown, Fiddlin' Joe Martin & Leory Williams. These tracks were cut in the back room of Clack's country store in Robinsonville by Lake Cormorant. At one point, you can actually hear a train passing by outside. 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 a mandolin being picked 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 remaining numbers (which include a 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, grinding, strongly rhytmic playing, filled with wailing slide riffs, was the perfect background for his huge voice and emotionally charged singing.
The Complete Library of Congress Sessions 1941-1942
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