Robert Johnson's recording sessions
Mots students who want to learn how to play the blues have the style of Johnson in mind. Around 1936, Johnson sought out H. C. Speir in Jackson, Mississippi, who ran a general store and doubled as a talent scout. Speir put Johnson in touch with Ernie Oertle, who offered to record the young musician in San Antonio, Texas. At the recording session, held November 23, 1936 in room 414 at the Gunter Hotel in San Antonio which Brunswick Records had set up as a temporary studio, Johnson reportedly performed facing the wall. This has been cited as evidence he was a shy man and reserved performer, a conclusion played up in the inaccurate liner notes of the 1961 album King of the Delta Blues Singers. In the ensuing three-day session, Johnson played sixteen selections, and recorded alternate takes for most of these.
Among the songs Johnson recorded in San Antonio were "Come On In My Kitchen", "Kind Hearted Woman Blues", "I Believe I'll Dust My Broom" and "Cross Road Blues". The first songs to appear were "Terraplane Blues" and "Last Fair Deal Gone Down", probably the only recordings of his that he would live to hear. "Terraplane Blues" became a moderate regional hit, selling 5,000 copies.
His first recorded song, "Kind Hearted Woman Blues", was part of a
cycle of spin-offs and response songs that began with Leroy Carr's
"Mean Mistreater Mama" (1934). According to Wald, it was "the most
musically complex in the cycle" and stood apart from most rural blues as a through-composed lyric,
rather than an arbitrary collection of more-or-less unrelated verses.
In contrast to most Delta players, Johnson had absorbed the idea of
fitting a composed song into the three minutes of a 78 RPM side. Most of
Johnson's "somber and introspective" songs and performances come from
his second recording session.
In 1937, Johnson traveled to Dallas, Texas, to play the blues for another recording session in a makeshift studio at the Brunswick Record Building, 508 Park Avenue. Eleven records from this session would be released within the following year. Because Johnson did two takes of most songs during these sessions, and recordings of those takes survived, more opportunity exists to compare different performances of a single song by Johnson than for any other blues guitar player of his time and place.
By the time he died, at least six of his records had been released in the South as race records.
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