Son House

Father of Folk Blues

★★★

Age can have various effects on people. Some spoil and wither, while others age like wine and only improve in their musical talents. By learning new talents or expanding upon their established musical style. Son House seems to own a mix of both qualities, in various quantities. His voice has suffered, gaining a considerable amount of grit and staining from the vices of his life. And his playing feels a bit tight like he's putting all his focus into playing ALL the right notes. Those negatives are countered by some unexpected positives that are only clear after listening to this album multiple times. Some of those include the slight sweetness his voice seems to take on, and each song is amplified by what they mean to Son House. Through his life experiences, the lyrics in the song have more meaning; he's lived it all out and is here to tell it how it is.

The majority of this is solo guitar and singing, but when House is joined by Al Wilson on guitar and harmonica, I think the music is elevated into a more saturated field of the Blues. Otherwise this record is really bare bone, and that attribute really embodies the spirit of the music. House doesn't keep the music strictly Delta Blues though, he includes even a couple a Capella spirituals that help keep the album moving along without ever seeming too boring. Songs like the opener, "Death Letter Blues" and "Empire State Express" display a certain fierceness and confidence that help House sound revitalized and refreshing to my ears. While the a Capella Blues version of "Real Friends" (I'm sorry for that comparison), called "Grinnin' in Your Face", will be stuck in your head for the rest of the day and has a message that is as old as the Blues itself. 

The Blues can be a challenge to listen to sometimes, and I really need to be in a certain mood for it. Maybe this hasn't quite hit me at the right time and place, but perhaps that can change in the future. Besides the two short, a Capella songs, I can forget a lot of how these songs sound. There are a couple exceptions, such as the nine minute burner "Levee Camp Moan", but in general I find myself thinking a lot of this is forgettable. I would like to dive into his earlier recordings though, maybe get to hear him at his young and vital prime. 

I think something else that is a bit sour is the context behind how this record was made. During this time everyone was trying to cash-in on the revivalist Blues movement and this included recording the artists from the 30's and 40's who were now bordering on retirement age. While Son House spent the majority of life toiling away at meager and lowly jobs to simply sustain himself, White artists copied him and others and became rich quick. Of course this is nothing new, and it's great that House is now paid respect by many new fans thanks to this record. Yet, what else could've happened if he was given proper treatment and a chance to succeed in the musical world of the time.

Favorite Song: Empire State Express