Son House: A Biography

Son House: A Biography

Introduction

Edward James “Son” House Jr. (1902-1988) was an American Delta blues singer and guitarist, renowned for his deeply emotional singing style and powerful slide guitar playing. His life story is a compelling narrative of spiritual conflict, musical innovation, and a remarkable rediscovery that brought his profound artistry to new generations. Born in rural Mississippi, House’s early life was marked by a strong religious upbringing, leading him to preach before he embraced the blues. His unique approach to the genre, blending the fervor of his sermons with the raw intensity of Delta blues, left an indelible mark on the landscape of American music, influencing legends such as Robert Johnson and Muddy Waters. This biography will delve into the various chapters of his life, from his formative years to his significant contributions to the blues, his period of obscurity, and his eventual resurgence, culminating in his enduring legacy.

Childhood

Born Edward James House Jr. on March 21, 1902, in Lyon, Mississippi, Son House was the second of three brothers. His parents were Eddie House Sr. and Maggie House. He grew up in the rural Mississippi Delta, a region that would profoundly shape his musical and spiritual journey. Despite being born into a family with some musical inclination, Eddie had an early and strong pull towards the church. From a young age, he was a devoted gospel singer and initially rejected secular music and musical instruments, viewing them as sinful. This early religious conviction would remain a central theme throughout his life, often creating a tension with his later embrace of the blues.

Youth

During his youth, Son House’s religious convictions deepened. His family moved to Louisiana, where, at the age of 15, he became a preacher. He later returned to Mississippi, serving as a pastor in the Baptist Church and then in the Colored Methodist Episcopal Church. This period of his life was marked by a fervent dedication to his faith and a strong aversion to the blues, which he considered “devil’s music.” However, around 1927, a pivotal shift occurred. He was exposed to the slide guitar work of James McCoy and Willie Wilson, which ignited a passion for the blues within him. Despite his earlier religious stance, House began to learn the guitar, quickly developing his own distinctive bottleneck slide style. His vocal delivery, deeply influenced by the emotional intensity of his preaching, seamlessly transitioned into his blues performances. This newfound musical path, however, created an internal conflict and ultimately led him to give up his pastorate, as the tension between his spiritual obligations and his burgeoning musical career became irreconcilable.

Adulthood

Son House’s adult life was a complex interplay of his deep-seated religious beliefs and his burgeoning career as a blues musician. In 1930, he made his first recordings for Paramount Records, alongside Charley Patton, a pivotal figure in Delta blues. However, these recordings saw minimal sales due to the onset of the Great Depression. Despite this, House remained a significant local figure in the Mississippi Delta, performing at weekend suppers and dances in sharecroppers’ houses. He continued to grapple with the dichotomy of his life, often preaching in churches during the day and playing the blues in juke joints at night. This internal conflict was a defining characteristic of his artistry, infusing his blues with a raw, spiritual intensity.

His influence during this period was immense, particularly on younger blues musicians. Robert Johnson and Muddy Waters, two giants of the blues, both cited Son House as a formative influence. In 1941 and 1942, Alan Lomax and John Work III recorded House for the Library of Congress and Fisk University, capturing his powerful performances for posterity. These recordings, made in the heart of the Delta, are invaluable documents of his early style. In 1943, House moved to Rochester, New York, and largely retired from music, entering a period of obscurity that would last for over two decades.

Rediscovery and Later Career

The 1960s folk blues revival brought about a remarkable rediscovery of Son House. In 1964, a group of blues enthusiasts, including Dick Waterman, tracked him down in Rochester. Initially, House had largely forgotten his repertoire, but with encouragement and effort, he relearned his songs and returned to performing. His comeback was widely reported, including in Newsweek, and he quickly gained international prominence. He performed for new, predominantly white audiences in coffeehouses, at folk festivals, and on concert tours, captivating them with his intense, trance-like performances. His 1965 Columbia LP, Father of Folk Blues, became a landmark recording of the blues revival. House continued to perform until the early 1970s, when his health began to decline. From 1976 until his death, he lived in Detroit with his wife, Evie.

Major Compositions

Son House’s recorded output, though not extensive, includes several seminal blues compositions that have profoundly influenced subsequent generations of musicians. His early recordings for Paramount Records in 1930 featured tracks like “My Black Mama – Part I” and “My Black Mama – Part II,” along with the powerful “Preachin’ the Blues – Part I” and “Preachin’ the Blues – Part II.” These songs showcased his raw, intense vocal style and his distinctive slide guitar work, often characterized by a percussive, rhythmic drive.

After his rediscovery in the 1960s, House re-recorded many of his earlier pieces and introduced new interpretations. “Death Letter Blues,” a haunting and emotionally charged song, became one of his most iconic compositions, often considered a re-working of his earlier “My Black Mama.” Other significant songs from his later career include “John the Revelator,” a gospel-infused blues piece that highlights his religious background, and “Grinnin’ in Your Face,” an a cappella performance that demonstrates his vocal prowess and the depth of his emotional expression. “Walking Blues” is another notable composition, showcasing his mastery of the Delta blues style. These compositions, whether from his early or later periods, stand as testaments to Son House’s unique artistry and his enduring impact on the blues genre.

Death

After a period of declining health, exacerbated by Alzheimer’s disease, Son House passed away on October 19, 1988, in Detroit, Michigan, at the age of 86. He had retired from performing in the early 1970s and spent his final years living with his wife, Evie. His death marked the end of an era for the Delta blues, but his legacy as a foundational figure in the genre, a powerful vocalist, and an innovative slide guitarist continues to resonate. He is buried in Detroit, leaving behind a profound musical heritage that has inspired countless musicians and captivated audiences worldwide.

Conclusion

Edward James “Son” House Jr. stands as a towering figure in the history of American blues music. His life, a compelling journey from preacher to bluesman, was characterized by a unique blend of spiritual fervor and raw musical intensity. He not only helped shape the Delta blues sound but also profoundly influenced a generation of blues legends, including Robert Johnson and Muddy Waters. His powerful vocals and innovative slide guitar technique, often reflecting the internal struggle between the sacred and the secular, created a deeply emotional and authentic musical experience.

Despite periods of obscurity and a long hiatus from music, his rediscovery in the 1960s brought his extraordinary talent to a wider audience, solidifying his place as a master of the blues. Son House’s legacy extends far beyond his recorded works; it lies in the enduring power of his performances, the depth of his emotional expression, and his unwavering commitment to his unique artistic vision. He remains an essential voice in the pantheon of blues artists, his music continuing to inspire and move listeners, a testament to the timeless power of the Delta blues.