Blind Willie Johnson 1927-1930 (1965 RBF Vinyl LP VPI Cleaned Playtested RBF-10)

$

29

COLLECTION

VPI MACHINE CLEANED & PLAYTESTED

Band: Blind Willie Johnson

Album Title: 1927-1930

Edited and Introduction by: Samuel Charters

Catalogue Number: RBF-10(on jacket) and RF-10 (on the LP label)

Year/Record Company: 1965 Record Book & Film Sales, Inc.

1 LP - 12 inch vinyl record - 33 1/3

This is the authentic release & not a pirated, bootlegged or copied version.  This LP record album comes from my personal collection & has been VPI machine cleaned & playtested.  It is stored under temperature & humidity regulated, smoke and pet free conditions.

LP Condition: very good+

Shine: most

Scratches: a few light

Label Wear: very minimal

Label: see photos

Spindle Hole Wear: minimal

LP Sound: very good (no skips, no hang-ups, no missing audio)

Surface Noise: light

Jacket Condition: very good+ (textured jacket, no booklet)

Shrink Wrap: none

Wear To Seams: light (no splits, no tape)

Back Ring Wear: very minimal

Front Ring Wear: very minimal

Ink or Pencil Marks: none

Water Stains: none

Drill Holes: none

Saw Cuts: none

Stamps/Stickers: none

Sleeve Type: new blank sleeve

Cover: Ronald Clyne

Song List:

Side One

Jesus Make Up My Dying Bed

God Don't Never Change

Trouble Soon Be Over

Let Your Light Shine On Me

The Rain Don't Fall On Me

I Know His Blood Can Make Me Whole

I'm Gonna Run To The City Of Refuge

Side Two

Lord I Just Can't Keep From Crying

Everybody Ought To Treat A Stranger Right

Jesus Is Coming Soon

Keep Your Lamp Trimmed And Burning

Church I'm Fully Saved Today

Bye And Bye I'm Going To See The King

Can't Nobody Hide From God

Blind Willie Johnson (January 25, 1897 – September 18, 1945) was an American gospel blues singer and guitarist and evangelist. His landmark recordings completed between 1927 and 1930—thirty songs in total—display a combination of powerful "chest voice" singing, slide guitar skills, and originality that has influenced later generations of musicians. Even though Johnson's records sold well, as a street performer and preacher he had little wealth in his lifetime. His life was poorly documented, but over time music historians such as Samuel Charters have uncovered more about Johnson and his five recording sessions.

A revival of interest in Johnson's music began in the 1960s, following his inclusion on Harry Smith's Anthology of American Folk Music, and by the efforts of the blues guitarist Reverend Gary Davis. Johnson's work has become more accessible through compilation albums such as Blind Willie Johnson 1927–1930 and The Complete Willie Johnson, both spearheaded by Charters. As a result, Johnson is credited as one of the most influential practitioners of the blues, and his slide guitar playing, particularly on his hymn "Dark Was the Night, Cold Was the Ground", is highly acclaimed. Other recordings by Johnson include "Jesus Make Up My Dying Bed", "It's Nobody's Fault But Mine", and "John The Revelator".

An important aspect of Johnson's recordings was his mastering of the bottleneck guitar technique, which was immediately influential on Robert Johnson and Howlin' Wolf. He punctuated his selections with tonal control and sense of timing, often using the guitar as a part of his harmonic phrasing, particularly on "Dark Was the Night, Cold Was the Ground". By most accounts, including one by the reputable blues guitarist Blind Willie McTell, Johnson used a knife as a slide, but other claims by Harris and the bluesman Thom Shaw also state he used a thumb pick or brass ring on his recordings. The music historian Steve Calt said of Johnson's style: "opposed to other bottleneck artists he varies the speed of his vibrato drastically, often speeding up as he slides into a note. He is also one of the few bottleneck artists with the ability to consistently sound 3 or 4 discreet melody notes upon striking a string once, a skill that reflects uncanny left-handed strength, accuracy and agility".

Johnson sang in a harsh, gravelly bass voice that was meant to be powerful enough to be heard by passersby on the streets. His vocal interplay was described by the blues writer Mark Makin as "fierce" and "not unlike the 'Hell and Damnation' of a Baptist preacher such as a fired-up Reverend A. W. Nix". On some instances in his recordings, Johnson also delivered vocals in his natural tenor voice. The only known influence on Johnson's singing style is the blind musician Madkin Butler, who, like Johnson, sang his religious message on the streets of Texas cities. (source: Wikipedia)

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