This disc features the ferocious intensity and masterful singing, not to mention beautiful lyrics, of Son House. This material is different than both his original Paramount Recordings and his stuff from the 1960s. He is in great form on this record, and although the liner notes are skimpy and the cd looks like it could have been manufactured by a fourteen year old boy who downloads Country Blues all day (reminds me of me, just a decade or so ago!), the disc is not only well-worth owning, but is one of the greatest Country Blues cds that I can think of. Every song is excellent, and the driving intensity is relentless. This disc is strongly recommended.

These 1941-1942 recordings are the only ones ever made of Eddie "Son" House playing with a band, and this 19-track disc collects all 15 songs originally issued on Biograph's "Delta Blues" album and adds four more tracks, none of which are sung by House ("Fo' Clock Blues", "Camp Hollers", an incomplete "Special Rider Blues", and the instrumental "Key Of Minor").

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 - the first four tracks on this album plus "Delta Blues".
Now, 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 Joe Martin picking his mandolin, 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 1941 recordings were cut in the back room of Clack's country store in Robinsonville by Lake Cormorant in Mississippi, with guitarist Willie Brown (another former playing partner of Charley Patton), "Fiddlin'" Joe Martin - who actually played mandolin - and harpist Leroy Williams. At one point, you can actually hear a train passing by outside.

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.

Among the highlights of this collection are "Delta Blues", superbly performed with only Leroy Williams backing House up, "Low Down Dirty Dog Blues" and "Depot Blues", which features some of the most impressive guitar playing House ever comitted to tape, "Walking Blues" (especially the 1941 version), and "The Jinx Blues", set to an effective shuffle beat. Just listen to the way House snaps his bass string against the fretboard!
This collection is one of the all-time great documents on early Delta blues. The sound is as good as can be expected, and this is a worthy testament to one of the most important figures in modern popular music.

Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.

So Like Muddy Waters, I would like you to know that
Son House is the real deal.
Listen and learn

Son House is the most important and influential Delta Bluesman to ever live he was a major influence to Muddy Waters & Robert Johnson and every one else including me. Buy this C.D. it is very essential stuff this is hardcore Delta Blues there are some trks with Son House in a band setting with Willie Brown and others (perfect example of what a DeltaBlues jam session probally sounded like). These are field recordings and I mean they were actually recorded outside on trk.4 "Shetland Pony Blues" you actually hear a steam locomotive (train) go buy in the background. If your a aspiring blues guitar player get this if your a fan of the Blues your C.D. collection is seriously lacking if this is not part of it. also get "Masters of the Delta Blues, The Friends of Charlie Patton" all of Son Houses earliest recorings are on there (1930) with some other Delta Blues Legends

This collection is essential to any blues collection...you cannot truly appreciate the blues until you've heard these recordings.

Son House is my favorite blues performer. No one--not even his proteges Robert Johnson or Muddy Waters--could match him when it came to the raw emotion. Sure, Robert inspired later blues-rock giants like the Rolling Stones, Eric Clapton, Led Zeppelin, Aerosmith, Stevie Ray Vaughn (to name a few...) and Muddy revolutionized the blues by 'inventing' electricity. But this collection, when coupled with the album "The Complete Recorded Works of Son House & the Great Delta Blues Singers" (ASIN: B000000J26--recorded in 1930; another essential disc), offers the listener a true glimpse into history.

The first few tracks include House singing and playing guitar with his band: Willie Brown (who has since attained legendary status as his name is mentioned in Robert Johnson's lyrics; he was also was the central character in the 1986 movie "Crossroads") on harmonica, and Fiddlin' Joe Martin on mandolin. These songs are amazing. The only word I can use to describe House's slide guitar technique is FEROCIOUS. His mixture of slams and slaps, when combined with the shouts, moans, and grunts of his vocals, is nothing short of frightening. "Walking Blues"--which, of course, was a hit for both Robert Johnson and Muddy Waters but was written by House--is one particular standout. It is nearly seven minutes long (House is famous for his "epic" performances...in concert, his songs were known to exceed twenty minutes), a relentless barrage of blues. "Levee Camp Moan" is another strong point. The rhythms and shouts are incomparable.

Perhaps the best analogy is "a frontal assault on the soul".

The remaining songs are House's solo efforts, although the striking force has not deminished at all. In fact, they may be even more powerful--it's hard to believe that only ONE guy is singing...!

When House was rediscovered during the '60s blues revival, he recorded his first and only studio album in 1965 ("Father of the Delta Blues"--ASIN: B000002877) for the Columbia label. Most who have heard of Son House know him based on these recordings alone. There is no arguement that this is a magnificent album--the emotional quality has only increased with is age. But while the sound quality is definitely better than these early field recordings (mono recordings into a single microphone in the stockyard of a train depot--you can even hear railway sounds in the background!!), House's old age hindered the ferocity of his slide guitar playing, forcing his tempo to slow down. If you want to hear the true capabilities of the man who I think is the greatest bluesman who ever lived, you must listen to these Library of Congress recordings (and then check out "...and the Great Delta Blues Singers").