‘I don’t know where Son [House] took me. Down dusty roads, along a railroad track, into the back of an ageing country grocery store that smelt of liquorice and dill pickles and snuff. Of all of my times with the blues this was the best one, better than Leadbelly, better than Josh White, Son Terry, and all the rest of them. There was a harmonica player who howled and whined through his instrument like a hound dog on a hot trail. There was a mandolin player who did not pick his instrument delicately, but trailed cascades of blue-silver chords that lit up the harmonica’s chase like the hot moonlight of Southern midsummer nights. A second guitarist picked bass-string obbligato to the big country feet that whoomped out the rhythm and turned the whole frame building into a huge African drum. At the centre of all this was Son House, a man transformed, no longer the quiet affable person I had met, but possessed by the song, as Gypsies in Spain are possessed, gone blind with music and poetry.’
Alan Lomax, The Land Where The Blues Began
Fiddling Joe Martin played mandolin, Leroy Jones played harmonica, and, to my surprise, William Brown turned up to play second guitar.