Skip to main content

There is a house in New Orleans ...



Recently I read that Dave Von Ronk was given credit for the definitive version of the song, which Dylan swiped from him before he had a chance to record it.  Then came the Animals classic version in 1964, which Alan Price claimed was from a 16th century English folk song about a Soho brothel,but in the song the band specifically referenced New Orleans.   You have to figure Alan heard Dylan sing it, as it was on his 1962 debut album.

As it turns out, the song does have deep roots but is generally perceived to be an American folk song first recorded by an Appalachian duo in 1934, and soon after by Alan Lomax in 1937, also in the Appalachian region. Both refer to a house in New Orleans.  It was known as The Rising Sun Blues.  Along the way, Woodie Guthrie, Josh White, Leadbelly and Pete Seeger all covered the song.  Even Andy Griffith sampled it in 1959.  Von Ronk says it was the Lomax recording that inspired him, but you figure he heard these other versions too.  I have to say I like the Josh White version the best.

Ted Anthony charts the long journey in Chasing the Rising Sun, illustrating how a folk song like this drifts through time and becomes part of the great American folk treasury and in turn adopted abroad.  Gregory Issacs did a Reggae version of the song in 1992.

One of my favorite versions is The Blind Boys of Alabama using the music behind the lyrics of Amazing Grace, turning it into a spiritual.  Most see the House of the Rising Son as referring to a brothel, but I suppose you can find salvation in the lowliest of places.

There may or may not have been a brothel like that described in the song.  I haven't read Anthony's book to find out.   It doesn't really matter.  It is one of those songs that evokes so many images, like those of E.J. Bellocq.

Share your favorite versions!

Comments

Popular posts from this blog

The Triangle Shirtwaist Factory Fire

  Welcome to this month's reading group selection.  David Von Drehle mentions The Melting Pot , a play by Israel Zangwill, that premiered on Broadway in 1908.  At that time theater was accessible to a broad section of the public, not the exclusive domain it has become over the decades.  Zangwill carried a hopeful message that America was a place where old hatreds and prejudices were pointless, and that in this new country immigrants would find a more open society.  I suppose the reference was more an ironic one for Von Drehle, as he notes the racial and ethnic hatreds were on display everywhere, and at best Zangwill's play helped persons forget for a moment how deep these divides ran.  Nevertheless, "the melting pot" made its way into the American lexicon, even if New York could best be describing as a boiling cauldron in the early twentieth century. Triangle: The Fire That Changed America takes a broad view of events that led up the notorious fire, not...

Team of Rivals Reading Group

''Team of Rivals" is also an America ''coming-of-age" saga. Lincoln, Seward, Chase et al. are sketched as being part of a ''restless generation," born when Founding Fathers occupied the White House and the Louisiana Purchase netted nearly 530 million new acres to be explored. The Western Expansion motto of this burgeoning generation, in fact, was cleverly captured in two lines of Stephen Vincent Benet's verse: ''The stream uncrossed, the promise still untried / The metal sleeping in the mountainside." None of the protagonists in ''Team of Rivals" hailed from the Deep South or Great Plains. _______________________________ From a review by Douglas Brinkley, 2005

The Searchers

You are invited to join us in a discussion of  The Searchers , a new book on John Ford's boldest Western, which cast John Wayne against type as the vengeful Ethan Edwards who spends eight years tracking down a notorious Comanche warrior, who had killed his cousins and abducted a 9 year old girl.  The film has had its fair share of detractors as well as fans over the years, but is consistently ranked in most critics'  Top Ten Greatest Films . Glenn Frankel examines the origins of the story as well as the film itself, breaking his book down into four parts.  The first two parts deal with Cynthia Ann Parker and her son Quanah, perhaps the most famous of the 19th century abduction stories.  The short third part focuses on the author of the novel, Alan Le May, and how he came to write The Searchers. The final part is about Pappy and the Duke and the making of the film. Frankel noted that Le May researched 60+ abduction stories, fusing them together into a nar...