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Son House The Original Delta Blues Rarities
Son House The Original Delta Blues Rare
Son House The Original Delta Blues Rarely

Without a doubt, when it comes to blues music and its legacy,guitarist

Robert Johnson
1911 - 1938
vocalist

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Mar 18, 2016 Son House - 1990 - Son House And The Great Delta Blues Singers (1928-1929) He began playing alongside Charley Patton, Willie Brown, Robert Johnson, Fiddlin' Joe Martin, and Leroy.

'>Robert Johnson is its preeminent performer and a key figure. For many, he is the greatest blues man of all time, certainly the most well regarded by modern popular culture. As such, his place in the vanguard of that pantheon has been secured. But his influence involves more than that and was never limited exclusively to blues, but touched all popular music, more so than any other blues figure. As a matter of fact, it was Johnson who laid the groundwork for the forthcoming rock and roll years, probably eons before the term had been invented. All of that can be attributed to the artist's recorded legacy, and mythology that has endured for almost a century.
As the folk tale goes, Johnson cut a deal with the devil at some rural crossroads in Mississippi in exchange for his soul, and thus acquired his rare gift, a talent for guitar playing and the wherewithal to present it that no man possessed. Such was the world that those communities of Afro Americans lived in. Johnson's music was probably too powerful and otherworldly to be explained other than by superstition. In Deep South folklore, it seems the supernatural menace of a night- engulfed crossroads has loomed large. Such tales resonated strongly among black communities, and consequently with a wider world, more than eager to understand the source of this music's appeal. One of his spiritual disciples, guitarist

Eric Clapton
b.1945
guitar

'>Eric Clapton

Son House The Original Delta Blues Rarities

, discarded the myth, saying superstition and mystification have just cheapened Johnson's real guitar skills. If it had been as easy as that then anyone could have done such Faustian deal.
As a boy, Johnson took up the Jew's harp and harmonica, and regularly snuck off to 'jooks' in the Robinsonville area to listen and learn from such musicians as

Charley Patton
1891 - 1934
guitar

'>Charley Patton, Willie Brown and

Son House
1902 - 1988
guitar, slide

'>Son House. Next, he got a guitar and followed people, pestering them to show chord and fingering techniques. He scrutinized solo and group playing, and even tried to join in, but no one heard much promise. In 1929 he married, sadly, his wife died in childbirth a year later, along with his son. At that moment, his roots in the world were ripped out and he became a drifter. He faded from sight in his community and then resurfaced in Robinsonville a year later. Johnson had become so scary good that he played the blues with canny ferocity and left Charley Patton, Willie Brown and Son House stupefied. That was the moment when rumors started circulating.
Regardless of Johnson's excellent skills, during his brief life he didn't record very often. What he did was hit the treacherous hobo trail, either alone or often with fellow bluesmen like guitarists Johnny Shines and David 'Honeyboy' Edwards. They traveled across the US to Memphis, Chicago, New York, Canada, Kentucky and Indiana. The reputation Johnson had for communion with the supernatural was further enhanced by his frequent habit of altering his appearance and manner, and adopting a host of aliases. He was known to drop out of sight in a moment's notice, sometimes in the middle of a performance, then not turn up for days or months. All this left people wondering if they'd met the real Johnson or some impersonator. But regardless of his personal features and habits, one thing his disciples, such as

Elmore James
1918 - 1963
guitar, slide

'>Elmore James,

Muddy Waters
1915 - 1983
guitar

'>Muddy Waters,

Sonny Boy Williamson II
1897 - 1965
harmonica

'>Sonny Boy Williamson II, were very sure of was the veracity of his talent. Yet, at the time, the ambition of every blues musician was to get on to records. In the late 1920s, it was common for scouts to move through the deep south in search of artists for the 'race records' label. By use of portable recording equipment, they would capture performances of rural blues men whose songs had become hits locally. After all, these performers saw themselves as entertainers whose target audience was their local following, rather than in bigger city markets.
Johnson was introduced to Ernie Oertle, a scout for the American Record Company and the Vocalion label; by music shop owner H.C.Speir. Johnson was invited in San Antonio in 1936. In two sessions he cut 16 songs like 'Kind Hearted Woman,' 'I Believe I'll Dust My Broom,' 'Sweet Home Chicago,' 'Walking Blues,' 'Rambling on my Mind' and 'Walking Blues.' The Johnson Vocalion sessions, which took place in a hotel room, documented some of the most formidable blues of that or any other era. The song 'Terraplane Blues' was his first single, a lewd song that compared his woman to an automobile, something Led Zeppelin did later with 'Trampled Underfoot' (Physical Graffiti, 1975). While this song sold in sizeable amounts in the Delta and became his only real hit, other songs from these sessions didn't attain their status as classics until rediscovered by a new generation of bluesmen such as Muddy Waters during the Chicago blues boom heyday. Probably the most fearsome song was 'Crossroad Blues' where he sings of finding himself stuck on a darkened crossroads with Lucifer laughing in the wings. This song became one of Cream's signature songs and a mainstay on Clapton's set list to this very day.
In June 1937, Johnson did a session in a Dallas warehouse and recorded some of his most beautiful and poignant songs, such as 'From Four Till Late,' 'Malted Milk,' 'Drunken Hearted Man,' 'Love in Vain,' or more hair-raising anthems of dashed hopes like 'Hellhound on my Trail' and 'Me and the Devil Blues.' 'Hellhound on my Trail' is an eerie song with lyrics and a staggering melody pattern that sums up the horrors of trying to escape a lynch mob. With its poetic imagery and intense emotionalism, it may well be Johnson's crowning achievement.
Still, whether his reputation resulted from a Faustian bargain or he was simply a natural talent enhanced by practice and patience, Johnson sang songs that hit a chord with many listeners. What made his music so different from that of his contemporaries is equally a mystery. His lifestyle as a bluesman is shrouded in the superstition that every great blues artist had an otherworldly tutor who taught them to arrest listeners with the inky side of their souls; a secret handshake with the Angel of Death who enabled them to live so recklessly while drawing others into their damning web. Johnson wrote songs about sinister women, nights of nameless terror, the nearness of Satan's grip. He sang of 'conjurers' who worked spells or 'mojos.' There is some daredevilry in his technical mastery that still makes musicians wonder in disbelief how he achieved it. His prowess on guitar, the high-pitched and expressive voice, the themes and th