Robert Johnson, Steady Rollin' Man Page 3

As mind-boggling as it now sounds, the first obstacle Johnson's recordings had to clear just to survive were the pressures of capitalism and fascism run amok.

"There were two big bloodbaths in the vault at RCA, and probably Decca and Columbia," Brooks says. "In the Depression, they melted stuff down just to get some money in. And then WWII, for the scrap drive. What they did in WWII, they looked at sales figures—so blues, country, and a lot of jazz, it only sold 500 copies, who the hell's gonna want these? Out. How some of these survived, I don't know. It's arbitrary. I think what happened is that both John Hammond and George Avakian, who's still with us, came back on leave more or less at the same time, saw what was going on, and said, 'Oh no, you can't scrap these.' But by that time, an awful lot of stuff was gone. In the case of RCA, I've found over the years [that], very often, the alternate is there and the issued take isn't, even of something that was a big seller. So the alternate may have been on another shelf or another warehouse."

Another longstanding issue related to Robert Johnson's storied catalog that has ebbed and flowed over the years and recently flared anew, thanks to a very dodgy May 2010 article in the UK newspaper The Guardian, is the conspiracy theory that Johnson's recordings were deliberately cut and issued at a speed five to twenty percent faster than he actually played.

Berkowitz and Brooks, who expected this line of questioning that both are anxious to dismiss, smile and shake their heads. "What's cut is done, and everything after that is a mechanical process," Berkowitz says. "You don't alter that. Make a mold, then you plate, then you press it. Nothing changes. Nothing moves, nothing happens."

"This is nonsense," Brooks says with a wave of the hand. "When we decided to do the Also Playing disc, we said, 'Let's get in stuff that was done the same day. So we got stuff in; it was Mexican, it was country, it was gospel. The speed is constant throughout, on every session."

"Mobile recording in 1936 was not a very advanced science," exclaims the excitable and occasionally eloquent Berkowitz. "The idea that the record company or someone would speed it up for the purpose of a hit record is some kind of made-up, revisionist, anti–record-company rap. First of all, I don't think Uncle Art Satherly or Don Law in 1936 thought they were having a big hit record here" Berkowitz says. "I think they were both fans of music and big music aficionados, and they wanted to record all kinds of music and sell all kinds of music for Columbia Records. That was the goal.

"The idea that you would make it faster and it would be a hit? Do you really think someone was thinking of that with a record that they pressed 300 copies of? Since it's a guitar and voice only, there's no other way to check the pitch. He [Johnson] may have been tuned up, he may have been tuned down, you don't know. And was the lathe running a little bit slow or a little bit fast? Maybe, but I would say that about every record made in the '20s, '30s, and '40s.

"If it is sped up, what are we going to do? Discredit the artist, that he couldn't really play this great? That he really couldn't throw down in this manner? That the devil didn't do a good enough job? I mean, what's the story here? Isn't the art the piece that's made? The pitch of what's being reissued now is the same as the original 78s. And the original 78s and the original metal parts are the documents. After that, it's all conjecture."

One thing that all agree on is the odd timelessness of Johnson's music, what Peter Guralnick described, in his Searching for Robert Johnson, as "the unabashedly apocalyptic effect of the music, the still startling and contemporary vision, the selective artistry of the work."

Berkowitz and Brooks have their own words. "He's bluesy and soulful in a way that no one else is," Berkowitz enthuses. "His voice is accusing, direct, so completely full of what seems to be passion at that moment, his expression of the lyrics. And the lyrics, it's not typical blues lyrics, he had a whole other use of language. 'Love in Vain' is a beautiful poem. And he sings it like that. It has that swing and drag to it that's completely unique. He's as great as the Beatles. He's as great as Beethoven. He's as great as Led Zeppelin."

"It was out of its time," Brooks says. "It's something like Citizen Kane, which didn't do anything when it came out. Or a couple of books, maybe The Great Gatsby. Suddenly, it moves into its other time. The time frame was wrong when it happened. He was ahead of his genre."

Article Contents
Share | |
Comments
Ariel Bitran's picture
Comment from "LD Pierce"

Submitted to Stereophile via email from LD Pierce:

******

Robert I read with interest your article about Robert Johnson
A long time audiophile I used to also sell on the vinyl/record show circuit in the texas area in the mid 1980s.  (to support my record collecting and audiophile habit)
I met an elderly woman from Mississippi at one of the shows and she kept
telling me how she still loved music and she had her moms record store surplus for sale. her mom had a record store in Tunica Ms in the 20s and 30s I guess all the way thru the 60s (more later about that)
 
A friend of mine Neil Ramos (Austin Tx) and I finally made the trip to Tunica and bought her recollection and filled up 2 cars with vinyl and headed back to Dallas tx.  In that batch of records we found TWO robert johnson 78 lp.  one was completely worn out. (the womans mother had a rental service she rented 78s to
people in Tunica in the early days (mainly black clientele) she charged five cents per day.   the 2nd robert johnson 78 was like brand new and appeared unplayed.  A good friend of mine Chuck (at collectors records in Dallas White Rock Lake area) bought all the 78s and helped us sell the 2 Robert johnson 78s seperate.  Our record find and the trip to and from Tuinica was even written up in a nice long article in the Dallas Times Herald Newspaper.  the article include a lot about our elderly friend who sold the collection and how we were selling our good copy of the robert johnson 78 to the Producer of the movie about Robert Johnson.   I cant find my copy I need to search out the newspaper morgue for the Dallas Times Herald.   At this time I cant remember what the cuts titles were.
 
anyway I cant even find a photo Neil and I had taken of ourselves holding the 2 robert Johnson 78 lps.   We sold the one clean perfect disc for $5000.  I wonder what it would be worth today.  I need to track down Niel and Chuck from Collectors and see if we can recall what the title of the songs were. I assume the used the transfer from that 78 lp in the soundtrack of the movie. (that was the plan we heard when we sold it) 
 
I guess her moms record store was open even thru the 60s as we found several autographed Elvis 45 rpm.  (my friend Neil kept them)
 
LD Pierce  audiophile age 57
rural Okla formerly Dallas Tx.

Site Map / Direct Links