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Rating: At the age of five, he built his first guitar from a cigar box; at seven, while observing a solar eclipse, he lost his sight and since then became the little "Blind" Willie Johnson (there's also the stepmother story, but neither is certain, though I prefer the one I chose).
From a young age, Johnson played on the streets, even during winters, and his voice became increasingly rougher. In 1926 (or '27), while singing a hymn, a girl nearby was following him and singing the same song; it was Willie B. Harris, who invited him to her home to continue playing. The next day, Johnson established an unregistered marriage (he already had a wife).
From then on, Harris would occasionally accompany him not only on the streets but also on some of his most significant recordings.
In Johnson's recordings, the use of the guitar is primarily rhythmic, showcasing his great mastery of the slide style. Moreover, legend has it that he didn't use the classic bottleneck but rather a knife (so early recordings don’t reveal the mystery).
His style alternates between guitar sounds and voice, a voice that seems to come from the underground or, better yet, directly from the underworld, almost a counterpoint to the gospel-derived blues he interpreted (vocally the father of my beloved Howlin' Wolf and Captain Beefheart, but not just them, of course).
In my view, Johnson remains the best interpreter of gospel blues, who managed to maintain the light of black church songs with the dark magma of the rawest blues.
Speaking of a few tracks, I'll start with one of the most famous, if only due to the Led Zeppelin cover (more "spectacular" but decidedly less intense), namely "It's Nobody's Fault But Mine", recorded on December 3, 1927. The first thing that catches the ear is the vibrant guitar riff that opens the piece, immediately followed by the voice which, like a harsh lion's roar, almost makes that same ear bleed; the rawness is served, even the choice not to finish sentences entirely and let the guitar continue them is a notably innovative touch for the time.
Another masterpiece recorded on the same day, also very well known, is "Dark Was The Night, Cold Was The Ground"; we're in a different field here, where melancholy reigns supreme. There are no words, but a voice making gasps and moans (another innovative idea), at times the voice is rough, but mostly subdued and suffering, the crying-like guitar follows or alternates with the moans of the voice. It should be noted how, for Blind, innovation is not an end but a means always serving the message, which is to focus on a man's suffering soul.
Another recording I write about (only because I mentioned it the line above) is "The Soul Of A Man" recorded on April 20, 1930; Johnson is accompanied vocally by the aforementioned Willie B. Harris and together they sing "Want somebody tell me, what is the soul of a man?" she is delicate, almost shy; he is rough, the guitar rhythmically accompanies them in counterpoint, it is another pearl among pearls.
I’ll write a few general words about the recordings (14 to be precise) with Harris; it’s interesting how her voice remains more distant, deliberately in the background compared to Johnson’s voice and guitar, she was deliberately positioned further from the microphone. Harris is sweet, calm, while Blind is always harsh and roaring (although in a few pieces he can be more delicate), also here a functional counterpoint to provide a coloring of contrasts, lights, and shadows, the duality fused as never before between gospel and blues (and as it never happened again).
I stress that beyond the recording qualities, his style is far from outdated.
I’ll end because I’ve already written too much. I leave it to those who want to discover this immense bluesman the pleasure of surprise when listening, for those who already know him certainly do not need my words to appreciate him.
Tracklist Lyrics and Videos
14 John the Revelator (03:19)
Well, who's that a-writing? John The Revelator
Who's that a-writing? John The Revelator
Who's that a-writing? John The Revelator
A book of the seven seals.
Tell me what's John a-writing? Ask The Revelator
What's John a-writing? Ask The Revelator
What's John a-writing? Ask The Revelator
A book of the seven seals.
Father, who art worthy, (undecipherable) and holy
Bound up for some, Son of our God
Daughter of Zion, Judas the Lion
He redeemed us, and He bought us with his blood.
CHORUS
John the Revelator, great advocator
Gets'em on the battle of Zion
Lord, tellin' the story, risin' in glory
Cried: Lord, (undecipherable)
CHORUS
Well Moses to Moses, Watching the flock
Saw the bush where they had to stop
God told Moses, pull off your shoes
Out of the flock, a-well a-you I choose
CHORUS
Father, who art worthy, (undecipherable) and holy
Bound up for some, Son of our God
Daughter of Zion, Judas the Lion
He redeemed us, and he bought us with his blood.
CHORUS
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