Robert Johnson - King of the Delta Blues singers

Robert Johnson is a man wrapped in myth: until in 1973, no photo of him was known to exist; a legend persists that his extraordinary guitar style that looks like two men playing both was obtained when it Exchange technique for his eternal damnation to a crossroads lonely; There is a theory that he was fatally poisoned 27 years via the husband of a lover…

Yet while its production was limited to a small catalogue of records low sales, in the mid-1930s the esteem in the music of Johnson, which is held by a generation of musicians is built on something more than mystical. Eric Clapton, cream, Bob Dylan, Fleetwood Mac, the Rolling Stones and Led Zeppelin are some of the superstars to have covered the material of Johnson. Their common thread was the album, released in 1961 and containing about half of the work of Johnson. Therefore, its type of blues disturbed and disturbing helped rock in the shape of the 1960s, and everyone knows more Robert Johnson, that they think they are.

Listening to this collection of some of its "sides", many fans of the traditional artists he inspired will find their debt to astounding Johnson. This is not populist fare. It is old blues. Almost every first verse line is repeated, the 12 - bar structure is rigid, instrumentation is simply voice-guitar and the sound quality is hardly sparkling. Only the concentration gives the frills of lightning guitar work, your vocal inflection, sudden switches in tempo and humor sly that inspires devotion that Keith Richards is the proud possessor of a copy of the certificate of birth of the artist. This cutting well that two ways. A particular attention to the 32-20 Blues reveals it's a promise very accentuated nasty of family violence. Johnson seems to at least be recognizing its faults in his preoccupation with judgment in haunted songs like me and the devil Blues and Hellhound on My Trail. The refreshing Walkin' ' Blues and Preachine Blues, with guitar virtuoso work, are probably more immediately stopping tracks; but the rest, while only marginally differentiated, possess a hypnotic, dark class.

Although this album is that the reputation of Johnson, it lacks some of the compositions of Vol. II (1970) who became the songs of the signature through interpretations by others, such as love in Vain. One hundred years after the birth of Johnson, however, this is a historical record.