[Image: The Animals (original image doctored up by Jude Kane and found on Freakoutville Xpress). And they looked like such nice boys…]
To get it out of the way right up front: no house in New Orleans called the “Rising Sun” ever existed.* Or rather, more precisely: never definitively, and no one establishment. Furthermore, it may or may not have been a brothel, which is fitting… because to find one in the song’s house of the rising sun we have to read between the lines, nudging that meaning into place with the words draped over it. (Not that we have to nudge too hard.)
I was surprised to learn that it began life as a folk song, first recorded (as far as we know) in 1934 by a Clarence “Tom” Ashley, in a version alternatively titled “Risin’ Sun Blues.” (Wikipedia does its usual brisk, reliably good job in documenting the song’s performance history, and outlines the several theories about the real (or otherwise) house in question.) My surprise is 100% Boomer-centric: You mean history happened at some time other than my own?!? Inconceivable! But yes, Eric Burdon and the Animals were pretty far down in the chronological list of performers. Nevertheless, they did succeed in putting their stamp on it; I doubt that I’m the only one who knew it first, and presumably always, as the vehicle for Eric Burdon’s howling vocals and that maddeningly relentless guitar. (The latter can likely induce motion sickness in sensitive individuals.)
To get back to the real (or otherwise) house of the title: it’s been claimed, variously, to have been a brothel, maybe a proto-casino or prison, dating back as early as 1821. That site was excavated by archaeologists within the last few years, which turned up evidence that it in fact may have been a bordello, or at least a house where “gentlemen” could “relax.”
The Times-Picayune of New Orleans, back in 2003, ran this letter on the issue:
Fact: It’s Been the Ruin of Many a Poor Myth
As a reference librarian for many years specializing in local history and lore, as well as a long-time fan of The Animals and that group’s rendition of “House of the Rising Sun,” I was very interested in Chris Rose’s Jan. 12 article, “The rising son.” I have made a study of the history of prostitution in New Orleans and have often confronted the perennial question, “Where is the House of the Rising Sun?” without finding a satisfactory answer. Although it is generally assumed that the singer is referring to a brothel, there is actually nothing in the lyrics that indicate that the “house” is a brothel. Many knowledgeable persons have conjectured that a better case can be made for either a gambling hall or a prison; however, to paraphrase Freud: sometimes lyrics are just lyrics.
After having discussed the “rising sun,” a popular decorative device, with a colleague who has just completed her doctoral work on the history of prostitution in New Orleans and a historian who has written about Shreveport’s red-light district, as well as being personally familiar with a number of general works on the “oldest profession,” there is no evidence or even a mention of the use of a rising sun as a universally recognized symbol of prostitution.
In examining property records for 826-832 St. Louis Street and numerous other resources on prominent pre-Storyville madams and prostitution in the Crescent City, I find it interesting, too, that any reference at all to the “notorious” House of the Rising Sun is conspicuously missing. Public records simply don’t confirm it.
Pamela D. Arceneaux
(“Sometimes lyrics are just lyrics”: love it. That whooshing you hear is a collective sigh of relief of from a thousand songwriters.)
If you’re interested in the definitive answers to the song’s mysteries, you might find them in Ted Anthony’s 2007 book, Chasing the Rising Sun [Amazon / Google Books]. Disclaimer: I haven’t read it myself! However, he does include this little item towards the end of the book (from “January 27, 1821, on page two of a New Orleans newspaper called the Louisiana Gazette“):
Rising Sun
Hotel,
Conti Street,
Nearly Opposite the State Bank.
The undersigned inform their friends and the public that they have bought out the interest of JOHN HULL & CO. in the above establishment. No pains or expence will be spared by the new proprietors to give general satisfaction, and maintain the character of giving the best entertainment, which this house has enjoyed for twenty years past.
Gentlemen may here rely upon finding attentive Servants. The bar will be supplied with genuine good Liquors; and at the Table, the fare will be of the best the market or the season will afford.
The business will be carried on under the firm of L.S. Hotchkiss & Co.
Jan.27
“Attentive Servants”; “general satisfaction” and “best entertainment”… Mmm-hmm.
[Below, click Play button to begin The House of the Rising Sun. While audio is playing, volume control appears at left — a row of little vertical bars. This clip is 4:24 long.]
[Lyrics]
One interesting thing about the song’s lyrics over time: they’ve switched genders. Early versions were often sung by women, about the ruination not of “poor boys” but “poor girls.” I don’t want to guess what it says about our culture — even in the “enlightened” world of 1960s rock — that in the song’s most successful version the real victims of such places can be found among the patrons.
_______________________________
* Well, as it happens, there is a house in New Orleans they call the Rising Sun: it’s a bed-and-breakfast (apparently quite nice) which opened its doors in 1999. (WARNING: Before following that link, you should know that the song will start playing, unbidden and fairly loudly; it took me a while to find the little audio-control widget which controls it, but it’s over in the left-hand sidebar, close to the top.) Their site includes a good page of information on the various legends about the “real” (or otherwise) Rising Sun, and the song which commemorates it. And I had to laugh when I read this:
We named our former bed & breakfast the “House of the Rising Sun” for the obvious reason… the way the song starts. What else could we call it… “Dunroamin”?
I’m not sure what they mean by “former” — as far as I can tell, it’s getting along just fine — but you’ve gotta give credit to business owners who poke fun at their own naked commercial moxie. :)
Ashleigh Burroughs says
Gambling…. prostitution….alcohol…. all with good service and attention to details. I could listen to those guitars all afternoon….
a/b
John says
I find depravity much better in long perspective — a few decades, say — than it seemed the day after.
Glad to know that this touched the depraved corners of your own soul. :)
[Aside: holy cow, reCaptcha just offered me a PHOTOGRAPH of a text string…!]
Froog says
I’m too young to have caught The Animals’ version at the time, but was introduced to it by a friend at university in the ’80s, and it – and the band – instantly became a great favourite.
Shortly afterwards, I discovered the demented Oxfordshire pub rocker John Otway, who’s been playing 100-odd gigs a year (mostly in small upstairs rooms at pubs, although he has played at larger venues occasionally – including the Royal Albert Hall once or twice). House of the Rising Sun has been a mainstay of his set from his earliest days; and somehow or other it quickly became a tradition among his cult fanbase that the audience will interrupt every half-line or so with a facetious question prompting the next fragment of lyric. I’ve never found an account of how this started. In fact, I asked Otway himself once, and he claimed he couldn’t remember exactly, just that someone started to heckle and it seemed funny, so he played up to it. I imagine he’d stumbled over a lyric, and someone yelled out a reminder. Great (silly) oaks from little acorns grow.
I once went to a rather thinly attended gig of his in Toronto (it hadn’t been well promoted, and it happened to fall on the first weekend of spring weather, when lots of people out of town to air out their country cottages for the summer) where I had to lead this “interruption” gag because the couple of dozen other people there were all innocent newbies who had no idea what was going on with the show. When he plays in the UK, the audiences often aren’t much bigger, but they’re 90% made up of uber-fans who’ve seen him dozens or hundreds of times before. It’s hard to capture the atmosphere of that in a video, but here’s one of several now on Youtube.
John says
Have to love that Otway shtick. I imagine see how it must play out in a pub full of well-lubricated celebrants — sort of like the midnight Rocky Horror screenings.
Froog says
Another convert! Beware – there’s such a lot of his stuff on Youtube now, you could easily get sucked in. He plays a Theremin sometimes as well.
Froog says
Ah, my attempt to embed a clip there failed (a privilege reserved for the blog owner?), but here’s
a link tothat idiosyncratic John Otway ‘call-and-response’ version.I also found a very scratchy 1930s recording of the song – with the original gender orientation – from a blues singer called Georgia Turner.
John says
Right — WordPress doesn’t lets only admins embed media in comments. (Although there may be a plugin which lets that be overridden.)
Fixed it for you. :)
Jayne says
Haha! And they looked like such nice boys… Oh, Eric Burdon–what a bad, bad boy face he had back then. Still does. I’ve always loved The Animals’ rendition of this song–Burdon’s voice is perfect for the song’s, um, sentiment.
“Cajun & Cockney hospitality.” A yeah. NOLA can’t help herself.
Jayne says
Oh, jeez, I’m still climbing the HTML learning curve…
John says
Fixed the HTML for ya. Obviously you were too distracted by the bad, bad boy face. :)