The “House of the Rising Sun” is a song shrouded in mystery, its origins debated and authorship unknown. Unlike many popular tunes with clear creators, this iconic melody emerges from the depths of American musical folklore. Pinpointing an “original” version proves elusive, yet we can trace its known history back to the early 1930s, with the earliest recording surfacing in September 1933.
According to historical records, Appalachian musicians Clarence “Tom” Ashley and Gwen Foster are credited with the oldest known recording, released under the title “Rising Sun Blues.” Ashley himself indicated that he learned the song from his grandfather, Enoch Ashley, who was married around the time of the American Civil War. This detail suggests the song’s potential composition well before the 20th century. The lyrics themselves fuel further speculation, particularly concerning the enigmatic “House of the Rising Sun” in New Orleans. Was it a brothel? A women’s prison? Or perhaps something else entirely, lost to the annals of time? The ambiguity remains part of the song’s captivating allure.
The narrative of “House of the Rising Sun” takes another fascinating turn with folklorist Alan Lomax. Lomax, a tireless chronicler of American folk music, journeyed extensively through the US, particularly the South, in the late 1930s. His mission was to capture and preserve the voices of largely unknown folk musicians. Among his discoveries was Georgia Turner, the 16-year-old daughter of a Kentucky miner. In the late 30s, Lomax recorded Turner’s rendition, also titled “The Rising Sun Blues,” further cementing the song’s presence within Appalachian folk traditions.
Matt Marshall, a blogger for American Blues Scene, highlights a remarkable geographical aspect of these early versions. Despite hailing from Appalachia, Clarence Ashley was from Tennessee, while Georgia Turner was from Kentucky – locations over 100 miles apart in the 1930s. This distance, considerable in an era with limited transportation, underscores the pervasive reach of “House of the Rising Sun,” as both artists sang strikingly similar versions. This begs the question: in a pre-mass media age, how did songs like “House of the Rising Sun” disseminate so widely? Before widespread radio access and personal record players, and decades before the interstate highway system, the mechanisms of musical transmission were more organic and mysterious. The Great Depression era of the 1930s offers a potential clue: the movement of people. Hobos riding trains, and traveling minstrel shows could have acted as conduits, carrying songs like “House of the Rising Sun” across geographical divides, much like the “traveling minstrel show” referenced in Steely Dan’s lyrics.
As “House of the Rising Sun” journeyed, it was absorbed and reinterpreted by a growing number of folk artists. Folk singer Dave Van Ronk played a pivotal role in shaping a later, influential version. He recounts how Bob Dylan, in a manner Van Ronk humorously terms “Jimmy Page’d it,” adopted his arrangement. Van Ronk explains, “I put a different spin on it by altering the chords and using a bass line that descended in half steps—a common enough progression in jazz, but unusual among folksingers.” By the early 1960s, Van Ronk’s distinctive arrangement had become a signature piece, an audience expectation at his performances.
The story takes a turn when Bob Dylan enters the scene. Van Ronk describes a 1962 encounter at the Kettle of Fish bar where Dylan, fresh from recording his first album at Columbia studios with John Hammond, inquired about recording Van Ronk’s arrangement of “House of the Rising Sun.” Van Ronk, planning to record it himself, expressed hesitation. Dylan’s sheepish “Uh-oh” revealed the song had already been recorded. This anecdote might fuel Joni Mitchell’s later accusations of plagiarism against Dylan. Dylan’s rendition notably shifts the perspective, using “many a poor girl” and adopting a female viewpoint, which some consider the song’s original and “correct” interpretation.
Listen to Bob Dylan’s version on Spotify
However, it was The Animals who catapulted “House of the Rising Sun” to international fame. While touring England with Chuck Berry in May 1964, The Animals included the song in their setlist. Its powerful audience reception prompted an impromptu recording session amidst the tour. Eric Burdon, The Animals’ lead singer, declared, “‘House of the Rising Sun’ is a song that I was just fated to. It was made for me and I was made for it.” He recognized its power to connect with audiences without directly imitating Chuck Berry, describing it as both a “great trick” and a “great recording.” Remarkably, The Animals’ version was captured in a single take, honed by countless live performances.
Released in 1964, The Animals’ rendition of “House of the Rising Sun,” a pioneering folk-rock track, soared to the top of charts in both the US and UK. Popular music lore suggests Dylan’s move towards electric instrumentation was inspired by hearing The Animals’ electric version. While this narrative adds a neat circularity, it’s equally plausible that Dylan’s folk persona, rooted in Woody Guthrie influences, had simply reached its natural evolution.
Listen to The Animals’ version on Spotify
Adding a final, poignant layer to the song’s rich tapestry is Joni Mitchell’s version. Unearthed from archive recordings, Mitchell’s interpretation is described as hauntingly beautiful and pure. It offers yet another facet to the enduring appeal of “House of the Rising Sun,” showcasing its versatility across genres and artists. (Unfortunately, no Spotify link is available for Joni Mitchell’s version in the original article).
A curious footnote regarding The Animals’ version concerns songwriting credits. Sheet music often incorrectly attributes “Words and Music by Alan Price,” The Animals’ keyboardist. Eric Burdon clarified that this was a matter of record label space limitations; listing all five band members was impractical, and Alan Price’s name was alphabetically first. However, this led to Price receiving all songwriter royalties, a point of contention among the band members. The irony, as the original article points out, is that none of The Animals wrote the song in the first place, highlighting the folk process of adaptation and reinterpretation that defines the history of “House of the Rising Sun.”
The journey of “House of the Rising Sun” is a testament to the power of folk music, its capacity to evolve, travel, and resonate across generations. From its obscure beginnings in Appalachian traditions to its global rock and roll fame, the song remains an enduring enigma, its lyrical and melodic power continuing to captivate listeners and inspire artists to this day.
