Levee Camp Moan - Son House - The Oberlin College Concert (CD, Album)
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In just a few years, rock'n'roll went from the blasphemous fever of punk-rock to the traditional rhythms of roots-rock. The difference between and was that in the s the "realignment" took place a little bit at a time. It actually began in a disguised form, with the emergence of punk bands that disfigured the traditional styles, such as X, Dream Syndicate and Gun Club.
The idea led to the phenomenon of "cow-punks", punks who played country music but set their stories into the milieu of the misfits, the way Gram Parsons had done a generation earlier. North Carolina's Fetchin Bones 12 were, by far, the most spectacular "cow-punks" of the era.
The band played epileptic garage-rock that bordered on the nervous breakdown, blurring the line between rockabilly, slam-dance and hoe-downs. The rhythmic emphasis and the double guitar noise got even more crude and irreverent on Bad Pumpkinwhile Galaxy was mostly a tour de force by the vocalist. Johnette Napolitano led her Concrete Blonde through the rustic and populist rock'n'roll of Concrete Blonde Ohio's Great Plains, led by nasal vocalist Ron House and featuring organist Mark Wyatt, entertained the colleges with a bouncy, witty and catchy mixture of cow-punk and folk-rock on Born in a Barn How Will The Wolf Survive was possibly the first album to find the common denominator among accordion, bajo sexto, rock guitar and drums.
And it did so with the spirit of punk music: Cesar Rosas' incendiary guitar fugues, David Hidalgo's thundering tenor and drummer Louie Perez's uncontrollable urge created an explosive blend. They repeated that orgy of rhythms only once, with the demonic shuffle Shakin' Shakin' Shakesbecause they were maturing as romantic bards of the barrio and as eclectic calligrahic scholars of musical styles.
The touching The Neighborhood and Kiko were simultaneously pensive and encyclopedic. On one hand, the songs plunged the listener into the world of the chicanos. Los Lobos' caustic, fatalistic and nostalgic social melodrama had become the soundtrack of the USA's melting-pot and of the "American dream". In the same city, Treat Her Right, Mark Sandman's first band, told haunting stories on Tied To The Tracks using the blues as a vehicle but a blues that was almost too slick to still be blues.
Among the great New York-based populist voices of the second half of the decade, the leaders were the Del-Lords 2formed by ex-Dictators guitarist Scott Kempner. Refining that idea with a deeper sense of identification with its anti-heroes, Johnny Comes Marching Home sounded like a cycle of solemn odes to the town, in the spirit of Springsteen's Born In The USA and Petty's Southern Accents, while Album) continuing the quest for a compromise between the Blasters and the Fleshtones and furthermore set in Nashville.
If the hard-rock sound of Based On A True Story sounded out of context, Lovers Who Wander was a touching, almost philosophical swan-song that wrapped up the group's mission in a blaze of glory. Elizabeth Brown's Absolute Grey 1also from New York, assembled carefully dramatized issues on What Remainsas well as on its successor Sand Down The Moon that would not be released for three years.
The Silos' second album, Cubawas a good example of how this generation could be derivative of the classics without sounding like the classics at all. Few roots-rock outfits managed to fuse the domestic tone and the epic tone the way Seattle's Walkabouts 2 did. Chris Eckman's melancholy elegies, Carla Torgeson's solemn and mournful harmonies, and a folk-rock sound that recalled a noisier Fairport Convention, led to the vibrant Cataract and to the prophetic and desolate Scavenger The vast fresco of New West Motel began a progression towards ever more eccentric arrangements.
West Coast roots-rock Piero Scaruffi The Bay Area was terrorized by the craziest of all roots-rockers, Santa Cruz-based Camper Van Beethoven 23one of the most brilliant and influential bands of the decade, led by vocalist and guitarist David Lowery and multi-instrumentalist Jonathan Segel.
The hilarious Telephone Free Landslide Victory offered a merry blend of ska, country, surf, rock'n'roll, and, last but not least, fake world-music, with a spirit that drew from at least punk, the novelty numbers of the s, the music-hall, jug-bands of the s, Ennio Morricone's soundtracks, and the psychedelic freaks of the s. Their third album, Camper Van Beethoven was no longer a send-up of world-music but a new kind of world-music.
By merging the psychotic verve of the first album and the erudite ultra-fusion of the second album, Camper Van Beethoven had produced the ultimate folk blasphemy. They finally adopted a more mainstream sound on Our Beloved Revolutionary Sweetheartwithout sacrificing the idea of mixing untouchable genres but vastly reducing their musical negligence, and a serious, adult tone on Key Lime Piea collection of relatively subdued ballads that evoke Neil Young and Bob Dylan. San Francisco's scene offered a wealth of folk-rock bands.
Samuel Coomes' Donner Party 1 specialized in eclectic and mildly psychedelic roots-rock on their two self-titled albums, Donner Party and Donner Partyparticularly the latter, just a bit more elegiac and nostalgic. Hubba was a gentle infusion of country, blues and folk, while Submarine experimented with neoclassical arrangements and hard-rock guitars.
Zanandrea and Clarin's It Thing was the ideal continuation of the Catheads: The Ode relished in the juxtaposition of pop and rock, of tradition and new wave, of ethereal and aggressive. Thin White Rope 2from nearby Davis, displayed the strongest psychedelic overtones, which their best albums, Exploring The Axis and Sack Full Of Silverwed to Guy Kyser's existential angst, releasing visions of a majestic wasteland amid gales of hypnotic quasi-raga country-rock.
American Music Club 13 stood apart as one of the groups that transformed roots-rock into an intimate, almost transcendental experience. Mark Eitzel's laconic pessimism, halfway between Gram Parsons's calm despair, Nick Drake's funereal lament, and Tim Buckley's dreamy agony, acted as the center of mass for the atmospheric psychodramas of Engine The dialectics between instruments including hazy snippets of strings and keyboards and vocals punctuated the otherwise evanescent melodies of Big Night, At My Mercy, Album) This Bar, in a manner that was also reminiscent of Van Morrison.
Eitzel's stream of consciousness reached for a visceral tension on Californiaa work that was both more austere and more introverted. The band indulged in psychological impressionism, letting Eitzel's words fluctuate in a mist of emotions. It was also a vocal tour de force of Eitzel, who followed his stories modulating both anger and romance, impersonating both the crooner and the shouter.
The bleak and lyrical United Kingdom seemed to complete Eitzel's spiritual self-flagellation, besides absorbing more of the jazz, soul and gospel eloquence for tracks as adventurous as The Hula Maiden and Heaven Of Your Hands. The nightmare relented on Everclearthe album that marked a transition from the "closed" landscape of the first phase to the "open" landscape of the second phase.
Less intense but more humane, only a couple of moments The Confidential Agent and Miracle On 8th Street recalled past agonies, but the playing was more accomplished and the arrangements more articulate. The more complex, dense and atmospheric sound Mercurywhich features The Hopes And Dreams of Heaven's 10, Whores, and the sophisticated soul-pop of San Franciscocapitalized on Eitzel's ability to merge elegant melancholy and roaring passion.
Texas roots-rock Piero Scaruffi Texas bands, on the other hand, were more on the "cow" side than the "punk" side of the equation.
Centered on intellectual Austin, they were seriously trying to be part of a tradition, even when they still embodied the punk ethos. Texas Instruments concocted one of the best synthesis of folk-rock and punk-rock with Sun Tunnels On albums such as Hello Young LoversGlass Eye 1 concocted a unique jazz-country-rock fusion that was both brainy and detached, the antithesis of their era. Wisconsin, where the Violent Femmes had changed forever the meaning of "roots-rock", was particularly fertile.
Minneapolis, the new Mecca of hardcore after the renaissance led by Husker Du and the Replacements, was equally fecund. However, Minneapolis' success story was that of Soul Asylum 2originally disciples of Husker Du, whose Made To Be Broken retained the verve of pop-core while adopting the romantic cliches of power-pop and folk-rock.
As guitarist Dan Murphy and vocalist Dave Pirner matured, the band's style veered towards a melodic hard-rock tinged with the Replacements' epos on Hang Time The mainstream sound of And The Horse They Rode In led to Runaway Traintheir best compromise between generational anthem and power-ballad. In Ohio, Greg Dulli's Afghan Whigs 1who had begun as punks with Big Top Halloween and pseudo-grunge rockers with Up In Itan abrasive blend of Replacements and Dinosaur Jr, rediscovered soul music and the rhythm'n'blues ballad on Congregationa calmer and catchier collection.
Despite the sell-out, Gentlemen was not only meticulously well-crafted but also Dulli's most sinister and disturbing confession. One of the most original and radical revisions of the blues and country tradition was carried out by a Canadian group, the Cowboy Junkies 1led by siblings Michael guitar and songwriting and Margo vocals Timmins.
Trinity Session paraded melancholy spectral dirges whispered in noir-film atmospheres by a vocalist who sounded like the chanteuse of a cocktail lounge or a Marlene Dietrich of a Frontier brothel. Following the melancholy and nostalgic Jayhawks and Blue Earththe Jayhawks 1formed in Minnesota by vocalist Mark Olson and guitarist Gary Louris, made an album inspired by Neil Young and Gram Parsons, Hollywood Town Hallthat embodied the ethos of the urban population in search of rural candor.
Chicago's Souled American 2formed by singer-songwriters Joe Adducci and Chris Grigoroff, featuring guitarist Scott Tuma, and inspired by Camper Van Beethoven, penned one of the most lunatic albums of the era, Fean idiosyncratic stew of country, blues, jazz, reggae and zydeco, delivered at the lazy, lethargic tempos of the Cowboy Junkies. The whackiness was replaced by technical dexterity on Flubberbut the lugubrious lethargy of Frozen and Notes Campfireboth eroded by lengthy nightmarish tracks and stripped-down texture-oriented instrumental jamming, Levee Camp Moan - Son House - The Oberlin College Concert (CD their sound around Tuma's guitar.
Nashville, Piero Scaruffi In the second half of the decade, Nashville underwent a generational renewal of its own. The "urban cowboys" of the s Kenny Rogers, Dolly Parton, Barbara Mandrellwho had turned country music into a commodity, were increasingly out of touch with the younger generation. The gap was bridged by the "new-traditionalist" movement, that harked back to honky tonk and the outlaws, and sometimes borrowed the casual and angry aesthetic of punk-rock.
Ricky Skaggs shocked the world of country music with Waiting For The Sun to Shineon which he played high-speed bluegrass instrumentals and rigmaroles with the casual demeanor of a southern-rock band. However, it was Garth Brooks who became the superstar of the neo-traditionalists with the numerous hits off No Fences and Ropin' the Wind These were the stars.
Others never made the charts, but were no less fluent in the new idiom, for example, Jim Lauderdale, a prolific songwriter whose best album was probably Planet of Love The music of Lyle Lovett 1 was hardly country music at all.
His debut, Lyle Lovettborrowed from country, rock, rhythm'n'blues, jazz, folk and pop. Pontiac achieved a formidable balance of atmosphere, tunesmith, rhythm and melody. Lovett even embraced big-band jazz with His Large Band Guitar Townby Steve Earle 2shocked the scene with its loud and frantic sound that mixed rockabilly, honky-tonk and blues, borrowing the attitude from the Rolling Stones and the emphasis from Bruce Springsteen's populist rock; while the mature statement of Transcendental Blues emanated the ethereal and mystical quality of John Fahey's music.
Dwight Yoakam 1who had debuted in in an acoustic, unadorned style, matured with the eclectic and introverted If There Was a Way and This Timefinally helped by adequate arrangements. Junior Brown 1 was a virtuoso whose guitar playing turned 12 Shades of Brown into one of the most inventive country albums of all times.
Washington-based Mary Chapin Carpenter emerged as the ultimate crossover singer-songwriter, blending country, folk, pop, rock and feminism on Hometown and contributing to the renewal of the Nashville sound with Come On Come On before turning philosophical on Time Sex Love Blues, Piero Scaruffi The blues phenomenon of the s was Georgia-born guitarist Robert Cray, who introduced a sensual soul-tinged vocal phrasing and a virtuoso jazzy style, influenced by Albert Collins.
His progression from Bad Influencecontaining mostly original material, Strong Persuaderhis best-seller, corresponded with the maturation of his populist vision. Wilson Pickett's guitarist Robert Ward, who was only discovered at 52 for Fear No Evilwas the neo-traditionalist of this generation. Instrumental roots, Piero Scaruffi Surf music and instrumental music of the Sixties were best represented by Shadowy Men On A Shadowy Planet 11but it took a while for guitarist Brian Connelly and his cohorts to release a full-length album.
A sequel of superb EPs, such as Love Without WordsWow Flutter Hiss and Schlagersrefined their approach to the genre, which is a mixture of nostalgic and neurotic, of old-fashioned and post-modernist. Their instrumental vignettes drew from blues, pop, country, rockabilly, surf, Ennio Morricone, Duan Eddy, and many other sonic icons of the past without ever quoting them "literally".
Those vignettes were like metaphors imprinted in a collective subconscious. Sport Fishin' was slightly more serious and less effervescent. The composition in question is "Crossroads", written by Robert Johnson. This haunting piece is one of the best-known examples of the Delta Blues and it has subsequently been re-recorded by hundreds of artists. But in a strange twist of fate, some would say that the song is cursed. Although Johnson's recording career was very brief, his life story has taken Levee Camp Moan - Son House - The Oberlin College Concert (CD mythical proportions in the years since his death.
In rural folklore, the intersection of two roads was often regarded as an evil place, the site of black magic. This notion dated back to early mythology in Africa and Europe. As these pagan cultures were forcibly assimilated by Christian society, some of their original beliefs were blended with the new religion. So according to the legend, Johnson went down to the crossroads and made a pact with Satan. The devil promised to fulfill his dreams, thus Johnson traded his eternal soul for his extraordinary talents.
Of course, the devil wouldn't allow him to enjoy his success and the lord of the underworld soon claimed his prize. Even though Johnson's musical legacy would eventually earn worldwide acclaim, he never had a chance to enjoy the fruits of his labor. But while the legend of Robert Johnson is interesting enough on its own, there is much more to the story of "Crossroads". In addition to the bluesman's untimely death, there have been a string of tragedies associated with musicians who have performed the song over the years.
Eric Clapton, Lynyrd Skynyrd, and the Allman Brothers Band have all experienced the loss of group members or loved ones. My website will also delve into these other occurrences. Personally, I don't believe that this song is actually cursed. While there have certainly been some terrible misfortunes associated with a number of the artists who have recorded the composition, I think these are merely coincidences. Nonetheless, it's another fascinating aspect of the "Crossroads" legend.
Even now, this tale from American folklore still endures. He was the illegitimate son of Julia Dodd and Noah Johnson, a man whom he would never know. Steady work was scarce, so he and his mother were forced to move often, as she sought employment in Memphis and various parts of the Delta.
While he was still just a young boy, he went to work in the cotton fields on a plantation near Robinsonville, MS. It was a bleak existence, so he turned to music for comfort. At the age of seventeen, he married his childhood sweetheart, Virginia Travis. He loved his young bride dearly, but their romance was short-lived. In April oflittle more than a year after they were wed, his wife died during childbirth. Johnson was absolutely grief-stricken and this incident marked a turning point in his life.
From then on, he traveled constantly, devoting all his time and energy to his music. He and his friend Willie Brown would often sit on tombstones, writing ominous melodies and drinking moonshine. Although he could not read music, he had a keen ear and often imitated the styles of other musicians. From watching fellow guitarist Son House, he was inspired to develop his own bottleneck slide technique.
But Johnson was quite ambitious and he was not satisified with the moderate acclaim he had received. Since many of his contemporaries were envious of his musicianship, this may have led them to spread false rumors about him, whispering that he had gladly paid the Devil's price to satisfy his own ambition. More often than not, his legend has obscured the few grains of truth which can be discerned. According to the myth, the young bluesman desperately longed for fame and fortune.
Johnson was not satisified with his own musical abilities and felt that he needed more talent to achieve success. He was already bitter toward his creator, blaming God for the death of his beloved wife and unborn child.
Despondent and irrational, he made a momentous decision. At the stroke of midnight, he walked down to the windswept crossroads at the junction of Highways 61 and 49 in Clarksdale, MS. Reciting an ancient incantation, he called upon Satan himself to rise from the fires of Hell.
In exchange for Johnson's immortal soul, the devil tuned his guitar, thereby giving him the abilities which he so desired. From then on, the young bluesman played his instrument with an unearthly style, his fingers dancing over the strings. His voice moaned and wailed, expressing the deepest sorrows of a condemned sinner.
Johnson played some of his own compositions and also modified the work of other artists, recording seventeen songs on November 23rd, 26th, and 27th. If he was not fully satisfied with his performance, he would record an alternate version. But Johnson was a confident musician and he had been playing these compositions for years.
As a result, most of the songs were recorded on the first take. While in town, he was arrested for vagrancy and thrown in jail. At the station, the police beat him and smashed his guitar. Rather than risk further abuse at the hands of the officers, Johnson asked them to contact Law. The producer verified the bluesman's story and subsequently posted his bail. Although this incident might have seemed quite traumatic, it apparently had little effect on Johnson.
After recording "Crossroad Blues" and several more songs in the days that followed, he left San Antonio and resumed his wandering lifestyle. On June 19th and 20th, Johnson performed twelve more songs for Don Law.
Once again, a handful of alternate versions were also recorded. As before, Johnson received a modest cash payment and no royalties. Although the producer was already making plans to conduct some additional sessions in the future, he would never see Johnson again. The troubled bluesman had a date with destiny. Just as the story of Johnson's life is filled with contradictions, the circumstances of his death also remain murky at best. The most likely explanation is that the bluesman was poisoned with strychnine by a jealous husband, after Johnson unsuccessfully attempted to rekindle an old romance with the Levee Camp Moan - Son House - The Oberlin College Concert (CD wife.
Following his spurned overture, he was drinking at a juke joint with Sonny Boy Williamson. His friend strongly cautioned him not to drink from an open whiskey bottle on the table, but Johnson paid him no mind. He suffered terrible convulsions and died several days later, on August 16, Even in death however, Johnson could not find any lasting peace. To this day, his final resting place is still the subject of considerable debate.
In Mississippi, there are actually two different grave sites which bear his name. During the decades since his death, Robert Johnson's music has influenced countless other artists. In the most immediate sense, his style was adopted and imitated by the blues musicians who followed in his footsteps. Then in turn, these artists had an effect on subsequent generations. And in recent years, he has finally begun to receive the credit he so richly deserves.
Further recognition came when the U. Post Office issued a commemorative stamp in his honor on September 17, It is impossible to calculate the full impact of Johnson's music, as the ripple effect continues to spread outwards.
But clearly the lonely bluesman from Mississippi has achieved the fame which he craved during his short life. Early this mornin' When you knocked upon my door Early this mornin', ooh When you knocked upon my door And I said, "Hello Satan, I believe it's time to go. Last edited by a moderator: Jul 13, His landmark recordings in and display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians.
Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime.
It was only after the reissue of his recordings in on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived. Julia was married to Charles Dodds born Februarya relatively prosperous landowner and furniture maker with whom she had ten children.
Charles Dodds had been forced by a mob to leave Hazlehurst following a dispute with white landowners. Julia left Hazlehurst with baby Robert but after some two years sent him to live in Memphis with her husband, who had changed his name to Charles Spencer.
CircaRobert rejoined his mother in the Mississippi Delta area around Tunica and Robinsonville. Julia's new husband was known as Dusty Willis; he was 24 years her junior.
Robert was at school in and  and the quality of his signature on his marriage certificate suggests that he was relatively well educated for a boy of his background.
One school friend, Willie Coffee, has been discovered and filmed, recalling that Robert was already noted for playing the harmonica and jaw harp. He also remembers Robert was absent for long periods, which suggests that he may have been living and studying in Memphis. After school, Robert adopted the surname of his natural father, signing himself as Robert Johnson on the certificate of his marriage to sixteen-year-old Virginia Travis in February She died in childbirth shortly after.
McCormick believes that Johnson himself accepted the phrase as a description of his resolve to abandon the settled life of a husband and farmer to become a full-time blues musician. Around this time, the noted blues musician Son House moved to Robinsonville where his musical partner, Willie Brown, lived. Late in life, House remembered Johnson as a 'little boy' who was a competent harmonica player but an embarrassingly bad guitarist. Soon after, Johnson left Robinsonville for the area around Martinsville, close to his birthplace Hazlehurst, possibly searching for his natural father.
Here he perfected the guitar style of Son House and learned other styles from Isaiah "Ike" Zinnerman. He was asked whether he attributed Johnson's technique to this pact, and his equivocal answers have been taken as confirmation. He also married Caletta Craft in May Inthe couple moved to Clarksdale in the Delta. Here Caletta died of childbirth and Johnson left for a career as a 'walking' itinerant musician.
Itinerant musician From until his death inJohnson moved frequently between large cities like Memphis, Tennessee and Helena, Arkansas and the smaller towns of the Mississippi Delta and neighboring regions of Mississippi and Arkansas. In other places he stayed with a woman seduced at his first performance.
He used different names in different places, employing at least eight distinct surnames. Biographers have looked for consistency from musicians who knew Johnson in different contexts: Shines, who traveled extensively with him; Lockwood who knew him as his mother's partner; David "Honeyboy" Edwards whose cousin Willie Mae Powell had a relationship with Johnson. Musical associates have said that in live performances Johnson often did not focus on his dark and complex original compositions, but instead pleased audiences by performing more well-known pop standards of the day — and not necessarily blues.
Oxford University Press, Frighten all them money men like a rattlesnake in his curl. Well, I stood in my back yard, wrung my hands and scream…. I stood in my back yard, I wrung my hands and scream. Oh, Lord, have mercy if You please! Oh, Lord, have mercy if You please…. These blues, these blues is worthwhile to be heard…. Oh, these blues, worthwhile to be heard. Blues Unlimited, Julp.
I promised not to holler now, now mama, hmmmm, hey-ey-hey. Eeeeh, laying in jail now with my back turned to the wall. And I laid in jail, my back turned, bmmmm, to the wall.
And I was laying in jail now with my back turned to the wall. And she brought me coffee, and she brought me tea. And she brought me coffee, Lord, and she brought me tea. She brought everything now but that low down jail house key. I promised not to holler now, now mama, now, hey-ey-hey. And my mama told me, my papa told me too…. And my mama told me, and my papa stood and cried:. You got too many women now, now, buddy, for your size! I looked at my mama, and I hung my head and cried.
Well, I solemnly swear, Lord, I raise my right hand. That I'm gonna get me a woman, you get you another man. I solemnly swear, Lord, I raise my right hand. That I'm gonna get me a woman, baby, you get you another man. In at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, Son heard one of his drinking companions, either James McCoy or Willie Wilson his recollections differedplaying bottleneck guitara style he had never heard before.
He immediately changed his attitude to blues, bought a guitar from a musician called Frank Hoskins, and within weeks was playing with Hoskins, McCoy and Wilson. Another source of inspiration was Reuben Lacya much better known performer who had recorded for Columbia Records in no titles released and for Paramount Records in two titles released.
In an astonishing short time, with only these four musicians as models, House developed to professional standard a blues style based on his religious singing and simple bottleneck guitar style. After allegedly killing a man in self-defense, he spent time in prison in and The official story on the killing is that sometime around orhe was playing in a juke joint when a man went on a shooting spree.
Son was wounded in the leg, and shot the man dead. He received a year sentence at the Mississippi State Penitentiary Parchman Farmof which he served two years. House gave different accounts to different interviewers and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the Mississippi Department of Corrections. On his release in or earlySon was strongly advised to leave Clarksdale and stay away.
He walked to Jonestown and caught a train to the small town of Lula, Mississippisixteen miles north of Clarksdale, and eight miles from the blues hub of Helena, Arkansas. Coincidentally, the great star of Delta Blues, Charley Patton was also in virtual exile in Lula, having been expelled from his base in the Dockery Plantation. With his partner Willie BrownPatton dominated the local market for professional blues performance. Patton watched House busking when he arrived penniless at Lula station, but did not approach him.
Son formed a liaison with Knight, and both musicians profited from association with her bootlegging activities. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula.
Along with Patton came House, Brown, and pianist Louise Johnson, who would all end up recording sides for the label. House recorded nine songs during that session, eight of which were released; but these were commercial failures, and House would not record again commercially in 35 years.
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