God Don't Never Change: The Songs Of Blind Willie Johnson (CD)
A stunning collection of artists and performances celebrate the timeless music of legendary gospel bluesman Blind Willie Johnson. From Derek Trucks’ and Susan Tedeschi’s reverent reading of Keep Your Lamp Trimmed And Burning to Lucinda Williams’ slide guitar-fueled lament in Nobody’s Fault But Mine, from Luther Dickinson’s spirited take on Bye And Bye I’m Going To See The King (with The Rising Star Fife & Drum Band) to Tom Waits’ virtual embodiment of Johnson himself on The Soul Of A Man and John The Revelator, this record is packed with incomparable recordings that speak as much to the greatness of the performers as they do the enduring legacy of Blind Willie Johnson.
The Soul Of A Man performed by Tom Waits
Tom Waits: Vocals • Casey Waits: Drums • Kathleen Brennan: Background Vocals
Produced by Tom Waits/Kathleen Brennan • Engineered by Karl Derfler • Production Coordinator: Jodie Wilson
Traditional: Blind Willie Johnson/Arranged by Tom Waits. © 2014 Jalma Music, ASCAP Tom Waits, Under License to Burning Rose Productions, Ltd.
Samples: Smith Casey “Country Rag (East Texas Rag)” from the John and Ruby Lomax Collection, American Folklife Center, Library of Congress. Used courtesy of Odyssey Productions, Inc.
It’s Nobody’s Fault But Mine performed by Lucinda Williams
Lucinda Williams: Vocals and Guitar • Doug Pettibone: Guitar • David Sutton: Bass • Butch Norton: Drums
Produced by Tom Overby and Lucinda Williams • Mixed and Engineered by David Bianco • Recorded at Dave’s Room, North Hollywood, CA
Keep Your Lamp Trimmed And Burning performed by Derek Trucks & Susan Tedeschi
Susan Tedeschi: Lead Vocal, Handclaps • Derek Trucks: Guitar, Handclaps • Mike Mattison: Vocal, Handclaps • Mark Rivers: Vocal, Handclaps
Recorded and Mixed at Swamp Raga by Bobby Tis
Jesus Is Coming Soon performed by Cowboy Junkies
Margo Timmins: Vocals • Michael Timmins: Guitars • Peter Timmins: Drums • Alan Anton: Bass
Produced, Recorded and Mixed by Michael Timmins at The Hangar, Toronto, ON
Includes a sample of Blind Willie Johnson “Jesus is Coming Soon.” Used courtesy of Document Records, Ltd.
Mother’s Children Have A Hard Time performed by Blind Boys Of Alabama
Jimmy Carter and Billy Bowers: Lead Vocals • Jason Isbell: Slide Guitar
Joey Williams: Guitar • Peter Levin: Keyboards • Jimbo Hart: Bass • Chad Gamble: Drums
Produced by Jason Isbell • Engineered and Mixed by Jimmy Nutt • Recorded at Fame Recording Studios, Muscle Shoals, AL
Trouble Will Soon Be Over performed by Sinead O’Connor
Sinéad O’Connor: Vocals • Kenneth Papenfus: Guitars, Backing Vocals • Carl Papenfus: Drums, Bass, Backing Vocals
Additional Backing Vocals by Joanne Papenfus and Nicola Papenfus
Engineered, Produced and Mixed by Kenneth Papenfus and Carl Papenfus
Bye And Bye I’m Going To See The King performed by Luther Dickinson featuring The Rising Star Fife & Drum Band
Luther Dickinson: Guitar, Vocal • Shardé Thomas: Vocal, Fife, Drums • Amy Lavere: Upright Bass, Vocals
Recorded at Zebra Ranch by Kevin Houston
God Don’t Never Change performed by Lucinda Williams
Lucinda Williams: Vocals and Guitar • Doug Pettibone: Guitar • David Sutton: Bass • Butch Norton: Drums
Produced by Tom Overby & Lucinda Williams • Mixed and Engineered by David Bianco • Recorded at Dave’s Room, North Hollywood, CA
John The Revelator performed by Tom Waits
Tom Waits: Vocals, Cigar Box Banjo • Casey Waits: Drums
Produced by Waits/Brennan • Engineered by Karl Derfler • Production Coordinator: Jodie Wilson
Traditional/Arranged by Tom Waits, Adapted by Son House. © 2015, Jalma Music, ASCAP, Sondick Music, BMI P Tom Waits, Under License to Burning Rose Productions, Ltd.
Let Your Light Shine On Me performed by Maria McKee
Maria McKee: Vocals, Guitar, Piano, Organ, Percussion
Recorded and Mixed by Jim Akin
Dark Was the Night–Cold Was the Ground performed by Rickie Lee Jones
Rickie Lee Jones: Vocals, Guitar, Tambourine • Lee Thornburg: Horns
Engineered, Produced and Mixed by Sheldon Gomberg • Recorded at The Carriage House, Los Angeles, CA
Musical arrangement by Rickie Lee Jones © 2014, used by permission.
Produced by Jeffrey Gaskill
Executive Producers: Jeffrey Gaskill, Burning Rose Productions, Ltd. and Mila Bagry
Associate Producer: Michael B Borofsky
Sequenced at Jiminy Peak, Hancock, MA
Mastered by Toby Mountain at Northeastern Digital, Southboro, MA
Cover illustration by Marc Burckhardt
Packaging design by Kevin Niemiec
Photos courtesy of Jeffrey Gaskill
Business and Legal Affairs: Michael C. Lesser, Esq.
Legal: Sawnie “Trip” Aldredge, Esq.
All songs Public Domain except as noted
VERY SPECIAL THANKS: Pam K. Kelly and Judge R. Steven Sharp of Marlin, Texas, USA
THANK YOU: Cary Baker, Michael Corcoran, Paul Gaskill, Ginny Gaskill, Chris Goldsmith, Dan Griffin, John Hanssen, Sarah Hanssen, Andy Kaulkin and Anti-, Ray Charles Lang, R.R. Macleod, Scott Marshall, Robert “Mack” McCormick, Regina McCrary, Brian O'Neal, Tom Overby, Jeff Rosen, Sandrine Sheon, Todd Solomon and James Truesdale
ARTIST REPRESENTATION: Michael Andrews, Simon Napier-Bell, Kathleen Brennan, Blake Budney, Julianne Deery, Charles Driebe, Zach Hundley, Ryan Kingsbury, Tom Overby, Mark Spector, Peter Wark, Björn de Water, Simon Watson, and Jodie Wilson
In 1977, NASA sent the Voyager 1 spacecraft on a one-way trip out of our galaxy and into the far recesses of outer space. The hope was that one day some other lifeform would come upon it and gain some insight into the essence of mankind. To that end, a gold record and player were included, featuring sounds and music to illuminate the human condition. Included on that record—along with a recording of a human heartbeat and music by Beethoven and Bach—was Blind Willie Johnson’s haunting and ethereal “Dark Was The Night—Cold Was The Ground,” a timeless representation of the humanity of Earth’s inhabitants.
Appropriately, a newly recorded version of “Dark Was The Night—Cold Was The Ground” (performed by Rickie Lee Jones) closes God Don’t Never Change: The Songs Of Blind Willie Johnson. The eleven-track album features inspired interpretations of the iconic slide guitarist/vocalist’s most seminal material. Tom Waits, Lucinda Williams, Derek Trucks and Susan Tedeschi, Cowboy Junkies, The Blind Boys Of Alabama (accompanied by Jason Isbell), Sinéad O’Connor, Luther Dickinson with The Rising Star Fife & Drum Band, Maria McKee, and Rickie Lee Jones all deliver deeply moving and highly personal reinventions of Johnson’s otherworldly “gospel blues” music.
Blind Boys Of Alabama - Mother’s Children Have a Hard Time
Blind Willie Johnson recorded a total of 30 tracks for Columbia between 1927 and 1930, creating a priceless legacy. He created unforgettable music by marrying the raw gospel fervor of his vocals with the steely blues fire of his guitar. His songs were mostly traditional or came from hymnals, but when Johnson performed them, his soul-shaking voice and amazing slide guitar transformed each one into something wholly original. Johnson was among the best-selling black gospel artists of the era, but the Great Depression ended his recording career.
Rock fans will no doubt recognize many of Johnson’s songs, which have been recorded over the years by artists ranging from Led Zeppelin to Eric Clapton to Bob Dylan. Johnson’s recording of “John The Revelator” was included in The Anthology Of American Folk Music, archivist Harry Smith’s six-LP collection released in 1952, that set the folk music revival of the 1950s and 1960s into motion.
According to Luther Dickinson, “Blind Willie Johnson touches everybody. His music is so of the earth that it still sounds completely modern. It’s timeless and like nothing else ever recorded. If we could hip anybody to Blind Willie Johnson, their lives would be enriched for sure.”
Derek Trucks wholeheartedly agrees, saying, “I never heard a slide player, even to this day, play with that much emotion. I’ve only heard a few things that have hit me quite that strongly. There’s something so honest about his recordings. He’s one of the few handful of musicians whose music really feels sacred to me. Johnson’s songs, lyrics and the ability to pair the slide with the voice were amazing. It feels like it came out of a different world.”
Derek Trucks & Susan Tedeschi - Keep Your Lamp Trimmed And Burning
Produced by Jeffrey Gaskill (producer of the twice Grammy-nominated compilation, Gotta Serve Somebody: The Gospel Songs of Bob Dylan), God Don’t Never Change: The Songs Of Blind Willie Johnson highlights the music of one of the most charismatic and influential slide guitarists and vocalists who ever walked the Earth. As Gaskill states, “Blind Willie Johnson’s music is imperishable. His music speaks to us as it laments the human condition; it speaks to us as it praises the steadfastness of an unchanging God. It travels through time with the same bold call of repentance that was once delivered to listeners on Texas street corners. Ultimately, it is the message that endures.” God Don’t Never Change: The Songs Of Blind Willie Johnson is, according to Gaskill, “my life’s work.” The project was years in the making, and Gaskill is thrilled that it’s finally ready to be released. “You gotta serve somebody,” he says, referencing his earlier compilation, “and I got the songs of Blind Willie Johnson.”
Johnson’s life has been shrouded in mystery, but scholars, most notably the album’s liner notes author, Michael Corcoran, have unearthed a few details. Born in Pendleton, Texas in 1897, Johnson grew up around Marlin, Texas. A legendary story has his stepmother, in a fit of rage, throwing lye in his face when he was a child, blinding him for life. From his teenage years, he traveled the region as a street singer, moving between Dallas, Galveston, Houston, Corpus Christi, San Antonio (even travelling as far as New York City) and finally settling in Beaumont, where he thundered out his street corner evangelism, spreading his sacred message through his transfixing music. He died in 1945 in Beaumont, Texas at the age of 48.
On God Don’t Never Change: The Songs Of Blind Willie Johnson, each artist sounds as if he or she was born to preach Johnson’s gospel. The collective work is much more than a simple ‘tribute’ album. These eleven performances are a powerful and cohesive affirmation of faith as deep as the soul of a man, with an eternal message that is as boundless as the dark, cold night at the farthest edge of the universe.
An Imperishable Message
Like John the Baptist, Blind Willie Johnson was an itinerant preacher, a voice of one crying in the wilderness.
When you listen to Willie Johnson, first and foremost you are impressed by the musicianship and the unsurpassed guitar work. Then you recognize that this man is onto something deep, down-to-the-core deep. Johnson made music of substance and purpose. He had an important message, and he sang that message loudly from street corners, not so much to his fellow man as at him: ‘Prepare the way for the Lord; make straight paths for him.’
In 2002, while I was finishing my first compilation, Gotta Serve Somebody: The Gospel Songs of Bob Dylan, a friend mentioned a 1920s gospel singer who played in a bluesy style. I hadn’t yet heard of Johnson, but I soon discovered I was more than a little familiar with most of his 30 songs. How had I overlooked the master musician responsible for “Dark Was The Night—Cold Was The Ground,” “John The Revelator” and “Mother’s Children?” How could this man have had such an impact on American music yet be so invisible, hidden in plain sight?
By the spring of 2003, I was on a pilgrimage. I found myself in Beaumont, Texas where, like others, I “discovered” the death certificate of one Willie Johnson, blind musician. I found an empty lot at 1440 Forrest Street that in 1945 had been the home and House of Prayer of Rev. William J. Johnson. As the sun went down, I was on the outskirts of town at the African-American Blanchard Cemetery, Johnson’s most likely burial site. It was an overgrown ruin, fittingly overlooked, inhabited by tall weeds and what I imagined as large, unwelcoming snakes.
In 2008, I began inviting a number of artists to participate in a tribute to Blind Willie Johnson and what is now God Don’t Never Change—The Blind Boys of Alabama, a group that started in 1939; Cowboy Junkies, who radiate that haunting, ethereal feel of the early blues; Luther Dickinson, whose work both as a solo artist and with the North Mississippi Allstars exudes the influence of Blind Willie Johnson; Lucinda Williams, who comes from the part of the country where Louisiana meets Texas; Derek Trucks and Susan Tedeschi, to bring out the best in his sweet slide and her bluesy voice; and Rickie Lee Jones, who would reveal the words to Johnson’s acclaimed song “Dark Was The Night" with her raw emotional depth. Sinéad O’Connor was sure to conjure magic here, as was Maria McKee, and of course one can easily compare the rough, gravelly voice of Tom Waits to that of Willie Johnson. I quickly had all of these enthusiastic artists as well as a number of record labels excited, but unfortunately, given the changing economics of the music industry, moving forward at that time wasn’t feasible.
Then, in 2010, I found myself back in Beaumont, when an historical marker was being placed at Forrest Street and a memorial erected in what was now a well-groomed graveyard. On this second pilgrimage, I also made my way to Marlin, Texas, and the abandoned Hunter Street home once occupied by Johnson and his then wife and singing partner Willie B. Harris. It was in Marlin that blues researcher Dan Williams discovered and visited Harris in the 70s and journalist Michael Corcoran interviewed Johnson's only known daughter, Sam Faye Kelly, shortly before her death in 2005. Local historians place Johnson performing at the corner of Wood and Commerce Streets as well as attending the Powerhouse Church of God in Christ a few blocks away on Commerce.
Even then, it wasn’t until January of 2013 that I had the vague notion of what would eventually prove to be the seeds of a successful Kickstarter campaign that helped make this compilation a reality. With the extraordinarily kind help of local historian Pam K. Kelly and County Judge R. Steven Sharp, I was able to obtain three boards that had fallen free from the dilapidated structure that Willie Johnson once called home. I delivered that hallowed wood into the capable hands of George Brin in Putnam, Connecticut. George carefully cleaned up this aged Southern Yellow Pine and hand crafted magnificent finger jointed boxes, book matched front and back to create ten extraordinary cigar box guitars. While these rare guitars of “The Blind Pilgrim Collection” went to the highest backers, without the support of each and every one of the project’s 956 champions, this compilation would not have been possible.
And finally, in 2015, this album found a similar reception among Bruce Iglauer and his faithful custodians of the blues at Alligator Records. I cannot thank them enough for helping me turn the corner and deliver this work to your ears.
Like Bob Dylan’s gospel music, Blind Willie Johnson’s music is imperishable. His music speaks to us as it laments the human condition; it speaks to us as it praises the steadfastness of an unchanging God. It travels through time with the same bold call of repentance that was once delivered to listeners on Texas street corners. As each of these extraordinary artists delivers their own unique rendition of a Blind Willie Johnson song, ultimately, it is the message that endures.
Blind Willie Johnson: Revelations in the Dark
By Michael Corcoran
Folks have been looking for Blind Willie Johnson since his “John The Revelator” jumped out of Harry Smith’s monumental Anthology of American Folk Music in 1952 like a Pentecostal preacher. “Well, who’s that writin’?,” Blind Willie called out in a fog-cutter bass, with his amen queen Willie B. Harris responding, “John The Revelator.” The repetition of those dissimilar, tent revival voices created a rhythm of dignified hardship, a struggle redeemed by faith. Thumb-picked guitar lines danced around the rough/smooth tension as the devil slid into the back pew.
This 1930 gospel recording about the Apostle who wrote the Book of Revelation was as lowdown dirty and hoppin’ as any blues or hillbilly number on Smith’s six-disc collection. Blind Willie didn’t even have to play any bottleneck guitar, which would become his signature on later reissues featuring “Nobody’s Fault But Mine,” “Mother’s Children Have A Hard Time,” “Keep Your Lamp Trimmed And Burning,” “God Moves On The Water” and others.
Johnson’s initial popularity on Columbia’s 14000-D “race records” series was such that he was one of the only gospel blues artists whose 78s were reissued during the Depression (four records in 1935). He recorded 18 months before the debut of the more celebrated Delta blues icon Charley Patton and perfected a slide guitar style with open D tuning that influenced everyone from Robert Johnson and Elmore James to Jimmy Page and Jack White. Vocally, you can be sure Patton understudy Chester Burnett took notice of Johnson’s wolf-like howl.
In just three years, Blind Willie Johnson produced a significant body of work that transports the listener from ancient Africa to modern times. And yet by the release of Harry Smith’s gateway drug, almost nothing was known of “the other Blind Willie” (not McTell) except that he recorded for Columbia Records from 1927 through1930. There were 30 tracks total, with ten each recorded in Dallas, New Orleans and Atlanta.
Just as the Book of Revelation was written on a scroll fastened by seven seals, Blind Willie’s story was one that begged to be unlocked. The first to try was 24-year-old Samuel Charters (1929-2015), who set out for Texas in 1953 to see what he could find about two bluesmen named Johnson, who made their first records there. But while the icy trail of Robert Johnson, who recorded in San Antonio in 1936 and Dallas the next year, made even hellhounds call it a day, Charters got lucky with the gospel Johnson. Sam and his wife Ann followed leads from Dallas to Beaumont, where they eventually met Blind Willie’s widow, Angeline Johnson.
The Charters-produced 1957 album Blind Willie Johnson: His Story (Folkways) reissued more of Johnson’s music, including “If I Had My Way, I’d Tear The Building Down,” which the Grateful Dead called “Samson And Delilah” when they recorded it on 1977’s Terrapin Station. Side one concentrated on Johnson’s biography, with spoken remembrances from people who knew Blind Willie, most prominently Angeline.
Rather than detail what was wrong in some of those eyewitness reports, let’s tell you what we now know to be certain about Blind Willie Johnson, who died in Beaumont at age 48 on September 18, 1945. The truth starts with a 1918 WWI draft registration card which popped up on ancestry.com around 2007. The card’s 21-year-old Willie Johnson lived in Houston’s Fourth Ward, in the red light district nicknamed “The Reservation,” which seemed strange for a gospel musician. But recent findings conclude that this Willie Johnson, blind, was, indeed, the Blind Willie Johnson who would bring a previously unheard intensity to music on six classics of gospel blues recorded on his first day ever in a studio.
We know draft card Willie is our guy because the 1935 Temple City Directory lists a “Willie Johnson, musician” living at the same 308 S. Fifth St. address as four other children of the man listed as his father in 1918. When Willie Johnson and Willie B. Harris had a daughter, Sam Faye, in 1931, he said he was born in Temple. His death certificate incorrectly lists his place of birth as Independence, Texas.
Blind Willie’s parents were Dock Johnson and Mary King, married May 2, 1894 in Meridian, Texas, the town closest to the ranch where famed folklorist John A. Lomax grew up. The Johnsons moved about 50 miles south, to Bell County, before Willie Johnson was born in January 1897 in Pendleton. That year, Lomax was living in Austin, where he would graduate from the University of Texas in June. But the Lomax name would be forever connected to Blind Willie Johnson in 1977, when John’s son Alan Lomax selected Willie’s wordless symphony of loneliness, “Dark Was The Night, Cold Was The Ground,” to be placed on the Voyager I flying time capsule that is now 13 billion miles away. The otherworldly music of Blind Willie Johnson is on its way home.
“He’s one of only a handful of musicians who really feel like sacred music to me,” says guitarist Derek Trucks, who performs “Keep Your Lamp Trimmed And Burning” with Susan Tedeschi on God Don’t Never Change.
A Haunting Masterpiece
Blind Willie sang in three distinctive voices: the gruff false bass, the soulful natural tenor and through his expressive slide guitar, which often finished verses for him. They were the father, the son and the Holy Ghost of his music. Johnson was a one-man Holy Trinity on “Dark Was The Night,” as his guitar preached and his congregation hummed in response.
“That record just scared the hell out of me,” Memphis record producer Jim Dickinson said in 2003. He first heard “Dark Was The Night” in 1960 as a freshman at Baylor University, with the hums and slurs from the library headphones haunting himwith a sadness and a strength he said he never really got over. More than 55 years later, his son Luther Dickinson is one of the artists on God Don’t Never Change: The Songs of Blind Willie Johnson,an album of covers by such admirers as Tom Waits, Sinead O’Connor, Lucinda Williams and many more. His father had told him about Blind Willie, of course, but Luther truly discovered the slide master when he delved into the roots of nascent North Mississippi bluesman Fred McDowell. “It’s so of the earth, but still sounds modern to my ear,” Luther Dickinson says of Johnson’s gospel blues.
There are no words in Blind Willie’s “Dark Was The Night,” but there are lyrics to the Baptist hymn where it originated. It’s about the Garden of Gethsemane, where Jesus was arrested and tormented on the night before the crucifixion. “Dark was the night and cold was the ground/On which the Lord was laid/His sweat like drops of blood ran down/In agony He prayed,” wrote Thomas Haweis in 1792.
It’s a song about the Passion and Blind Willie nailed it on the first take on December 3, 1927 in Dallas. It’s a one-of-a-kind recording that’s set a mood in several films, first in Pier Paolo Pasolini’s 1964 Italian classic The Gospel According To St. Matthew. Basing his soundtrack of Paris, Texas on “Dark,” Ry Cooder called it “the most soulful, transcendent piece in all of American music.”
You have to wonder what Columbia’s Frank B. Walker, who produced the Dallas sessions, might have been thinking when this fully-formed blind artist came in out of nowhere to lay down that pure, primal sound. Even though Walker had discovered and signed blues superstar Bessie Smith in 1923, he probably wasn’t ready for Blind Willie’s wails and moans in that voice from the depths.
An overlooked record business giant, Walker also signed great hillbilly acts like Charlie Poole and Gid Tanner and organized 1928’s influential “Johnson City Sessions” in Tennessee. His title was A&R president, but he was really in the D&S business, with the discovery and signing of Hank Williams to MGM in 1947 putting Walker’s resume in bold.
The East Coast record men, who made frequent trips to Dallas, Memphis, New Orleans and Atlanta between 1927 and 1930, sometimes set up makeshift studios in hotels. But because Walker and his engineer (“Freiberg” on label notes) were using the new Viva-Tonal! electrical recording process, those first sessions probably took place in the friendly confines of the Columbia Records complex, which covered three storefronts (2000- 2004) on North Lamar St. in Dallas’ West End.
Other acts who recorded at that first Dallas session, which went from December 2-6, 1927 were Washington Phillips (“Denomination Blues”), Lillian Glinn, backed by Willie Tyson on piano, mandolinist Coley Jones and the Dallas String Band, blues singers William McCoy, Hattie Hudson and Gertrude Perkins, plus Billiken Johnson, whose popular Deep Ellum act consisted of train impersonations (“Interurban Blues”) and other sound effects. Walker told Mike Seeger in 1962 that the acts auditioned in the morning, rehearsed in the afternoon and recorded in the evening.
Johnson was not the first gospel singer to play slide guitar on record. He was beaten to the studio by a year and a half by Pittsburgh preacher Edward W. Clayborn and Delta player Sam “Boll Weevil Jackson” Butler. Those guys were crafty and talented, but when Blind Willie started playing slide it’s like he invented the dunk. He paired gifts for improvisation and control, the melody and the rhythm, in a way that’s unsurpassed. “Anybody who’s ever played the bottleneck guitar with some degree of accomplishment is quoting Blind Willie to this day,” said Austin slide guitarist Steve James.
Johnson grew up one county over from Blind Lemon Jefferson and they often played on opposite street corners in Hearne, according to Adam Booker, the Brenham preacher interviewed by Charters in 1955. Yet Blind Willie sounds little like the first national star of country blues. They played in the same general genre, with religious vs. secular lyrics being the core difference, but had their own styles. Jefferson didn’t play the slide. And Johnson didn’t make the people dance like Blind Lemon did.
Together and apart, these two black, blind icons from Central Texas led the way in the country blues guitar field (religion optional). They taught, through example, Reverend Gary B. Davis and Mance Lipscomb, who each brought songs from the Blind Willie Johnson canon to the ‘60s folk revival.
Johnson & Johnson, Gospel And Blues
Jefferson and Johnson also inspired Robert Johnson, who laid out the blueprint for Chicago blues and its offspring in November 1936 at the Gunter Hotel in San Antonio. Johnson’s debut session, on the 23rd, produced eight tracks for Vocalion Records, including “I Believe I’ll Dust My Broom,” “Sweet Home Chicago,” “Ramblin’ On My Mind,” “Come On In My Kitchen” and “Terraplane Blues.” There’s your Big Bang.
Though not as influential, you can put the artistic results of Blind Willie Johnson’s December 3, 1927 session in the same league of Best Studio Days Ever - and it was nine years earlier! Blind Willie Johnson’s six tracks included “Jesus Make Up My Dying Bed” (covered by Bob Dylan as “In My Time Of Dying” in his 1962 debut LP), “Nobody’s Fault But Mine” (Led Zeppelin), “Mother’s Children Have A Hard Time” (Eric Clapton) and “If I Had My Way” (Peter, Paul & Mary’s debut LP).
Even though his playing, always on a Stella guitar, inspired a host of Delta blues men, Blind Willie refused to sing the blues, that style of music preferred by collectors and historians. Unlike the “songsters” who mixed blues and gospel, Johnson sang only religious songs, which explains a big part of his relative obscurity. His raspy evangelical bark and dramatic guitar were designed to draw in milling, mulling masses on street corners, not to charm casual roots rock fans decades later.
But he had his time. When Willie Johnson was booked for the December 1928 sessions for Columbia, he had already sold an average of 15,000 copies of his first three 78s (at 75 cents each) and so he was treated with an earner’s respect. He had a car and driver and the label put him and Willie B. up at the Delmonico Hotel at 302 N. Central Avenue in Deep Ellum.
The couple proved to be vocal soulmates on four tracks recorded on December 5, 1928, including “Jesus Is Coming Soon” (about the 1918 Spanish Flu epidemic) and “Keep Your Lamp Trimmed And Burning.” The Columbia recording logs also list two tracks, unnamed and unreleased, as being by “Blind Texas Marlin” and the speculation was that Blind Texas Marlin was Blind Willie Johnson, singing some blues on the side. We’ll never know. The notes and papers of Frank Buckley Walker disappeared, he said in the interview with Seeger. A big chunk of music history gone. Columbia lost or threw away the Blind Willie Johnson masters long ago and all his CD reissues were made by digitizing 78 RPM records loaned by collectors.
The search goes on, but what we still don’t know about Blind Willie Johnson could sink the Titanic. The mystery has made him more spirit than mortal, a folk hero.
The most legendary story about Blind Willie, which Angeline told to Charters in 1955, was that he was blinded by a stepmother who “throwed lye water in Willie’s face and put his eyes out.” Angeline said Willie’s mother had died when he was a boy and his father remarried.
Dock Johnson, indeed, took a new wife, Catherine Garrett, in June 1908. But in the 1911 Temple Directory, Dock Johnson was living with a wife named Mary, before going back to Catherine two years later.
That may have something to do with the blinding of Willie Johnson. The years match with the draft card if Willie became blind at age 13 (instead of 13 years earlier--there’s some ambiguity). That would be 1910, the census year Willie Johnson was not living in Temple with father Dock, Catherine and his brothers and sisters Wallace, Carl, Robert and Mary (who they called Jettie.) Did he stay with a relative? Did Dock break up with Catherine and go back to Willie’s mother because of the blinding, or the infidelity and the beating that, according to Angeline, led to it?
By 1915, everything seemed patched up, as Willie Johnson was listed as living with Dock and Catherine at 316 W. Avenue D in Temple, just 100 yards from the train depot. He wouldn’t stay long.
He was 18 and ready to make some money on the streets of Texas with a pocket knife, a tin cup and beat-up old guitar.
“Where the Cotton South Meets the Cattle West”
Temple is named after Bernard Temple, who was chief engineer of the Gulf, Colorado & Santa Fe Railway when the town was formed in 1881 out of 200 acres of farmland the railroad had purchased. It became even more of a railroad town when the Missouri, Kansas & Texas Railway (“the Katy”) laid tracks through Temple in 1882. The Santa Fe had 55 miles of track in Bell County and went up to Fort Worth and down to Galveston, while the Katy was the main route between Dallas and San Antonio. Ragtime king Scott Joplin, from Texarkana, lived circa 1895 in Temple, where he wrote and published his first sheet music pieces on a commission from the MK&T. The railroads made Temple an urban hub between Waco and Austin.
The town was also in cotton country, on the western border of the Black Waxy Prairie, so-nicknamed because of the dark and sticky soil. The crop was so identified with Bell County that the semi-pro baseball team of 1905-1907 was called the Temple Boll Weevils, after the infestation of the 1890s.
Mississippi has its Delta and in Texas the blues cradle was the basin lands between the Brazos and Trinity Rivers, east of Dallas and north of Houston. Henry “Ragtime Texas” Thomas (Big Sandy), Blind Lemon Jefferson (Wortham), Texas Alexander (Jewett), Lillian Glinn (Hillsboro), Lightnin’ Hopkins (Centerville), Frankie Lee Sims (Marshall) and Mance Lipscomb (Navasota) all came from that area, as did gospel acts The Soul Stirrers (Trinity), F.W. McGee (Hillsboro) and Wash Phillips (Simsboro).
The busy season for corner singers was when the cotton came in and the streets were full of folks ready to party. Such money-making opportunities took Johnson to Hearne, Marlin, Brenham and Navasota, as well as the big cities. Because he was blind, he rode the train at reduced fare, if he had to pay at all. “Play us that ‘Titanic’ song!” was probably enough to carry Blind Willie wherever he wanted to go.
Blind Willie’s first marriage took him to Houston in 1917, if later census numbers are correct. According to the 1930 census, the musician said he was married at age 20 and divorced. That’s approximately when the draft card said he was living in Houston, where there was plenty of work for a musician in the “anything goes” district where Johnson lived. Usually it was playing in whorehouses or medicine shows, but after the 1915 Panama Pacific Expo in San Francisco, Hawaiian steel guitar was all the rage, with the Victor label releasing 140 Hawaiian records in 1916 alone. It’s quite possible Blind Willie made money for a spell with his guitar in his lap, but his slide playing on record is more percussive, attacking, than the Island style.
Songster Mance Lipscomb (1895- 1976), who enjoyed a late-life discovery by the hippie/folk crowd thanks to music historian Mack McCormick and Arhoolie Records, recalled seeing Johnson play in front of Tex’s Radio Shop in Navasota, 90 miles northwest of Houston, as early as 1916. “He just had people from here to the highway. Jes’ hunnuds a people standing right on the streets,” Lipscomb said in his oral autobiography I Say Me For a Parable. “White and black. Old colored folks and young ones as well. Listenin’ at his voice.” Lipscomb said Johnson walked with a stick and traveled with a darker-skinned blind man. That was most likely Madkin Butler.
In the beginning God created the heaven and the earth. And the earth was without form and void;
and darkness was upon the face of the deep. And the spirit of God moved upon the face of the waters.
- The Book of Genesis
The dominant Texas preacher of the era was John L. “Sin Killer” Griffin, who toured all over the state and possessed, according to a Houston newspaper in 1911, a voice with the power of “thunder’s sullen roar.” But Blind Willie had a more direct model for his pulpit-shaking bellow in the singing preacher they called Blind Butler (1873- 1936). Madkin Butler showed the kid, 24 years his junior, how to make his voice heard above a crowd by flipping it inside out with authority. Butler was most likely the writer of “God Moves On The Water,” one of Blind Willie’s greatest recordings, which Waco folklorist Dorothy Scarborough published in 1919’s From A Southern Porch folklore collection. Lipscomb recalled a night in Houston when he sang “Titanic,” as he called “God Moves,” with Ophelia Butler, who he was told by McCormick, was the widow of the man who wrote it.
A singer and fiddle player who was never recorded that we know of, Madkin Butler was also probably the “blind singer from Hearne” who taught John A. Lomax “Boll Weevil” in 1909. Willie B. Harris, who grew up in Franklin, next to Hearne, said Blind Butler was the most highly regarded singer in Robertson County.
Harris talked about the Butler/Johnson mentorship when she was interviewed in the ‘70s by Dallas artist and blues collector Dan Williams. “She told me they played music on the train together,” Williams recalled.
As many have done before and since, Williams trekked to Marlin to find out whatever he could about that mysterious, intense, Blind Willie Johnson. “I approached a group of elderly black people near the town square and one of them said he was related to Blind Willie's ex-wife, the one who sang on his records, and I thought I was going to meet Angeline Johnson,” Williams recalled in 2003. “Nobody knew anything about a Willie B. Harris.”
After hearing Harris sing along to Blind Willie’s recording of “Church I’m Fully Saved Today,” from their final session in Atlanta on April 20, 1930, Williams was sure Harris was the duet partner. “She talked about meeting Blind Willie McTell in Atlanta and I did some research and found out that, sure enough, McTell recorded at the same sessions,” said Williams.
Charters inaccurately credited Angeline Johnson as the female background singer in his chapter on Blind Willie in 1959’s seminal The Country Blues, but made the correction, crediting Harris, in the liner notes for a 1993 CD reissue for Sony Legacy. Still, it’s possible that the more flamboyant Angeline was Willie’s unidentified backup singer at the sessions in New Orleans in December 1929 that produced the enduring “Let Your Light Shine On Me,” the first song Johnson recorded in standard guitar tuning. Columbia’s Walker set up a session in Dallas a week earlier, but Blind Willie chose to record in New Orleans, so he was probably living in the closer city of Beaumont as early as 1929, which is what Angeline had been saying.
When you add up all the dates and testimony, it’s very possible that Johnson was “married” to both Angeline in Beaumont and Willie B. in Marlin at the same time. There is no official record of those marriages, aside from newborn daughter Sam Faye listed as legitimate in Marlin in 1931, but couples “jumping the broom” together was a common matrimonial procedure for poor folks back then. Because of a December 2, 1932 entry in the San Antonio Register black newspaper, we do know Willie was married to a Mary Brown for a spell. Then, the 1937 Corpus Christi City Directory has Willie Johnson, musician, living there with wife Annie (as Angeline was known by some). That makes sense because of what McCormick said in 2003: “(Blind Willie) left memories in Corpus Christi during WWII when there was a fear about Nazi submarines prowling the Gulf of Mexico. Someone must have told him submarines often listened to radio stations to triangulate their position. He went on the air with new verses to one of his songs, probably ‘God Moves On The Water’ about the Titanic, offering grace to his audience, then followed with a dire warning to the crew of any listening U-boat with ‘Can’t Nobody Hide From God.’”
Blind Willie and Angeline moved to Beaumont for good in the early ‘40s, when the gospel singer found a fan in a circus band leader with a famous trumpet-playing son. “Harry James’ father Everett spoke very highly of Blind Willie Johnson,” said McCormick, who began his musicology career as a jazz fanatic. It’s not known if Johnson ever sat in with the Mighty Haag Circus Band led by Everett James, but the possibility is mind-blowing.
In the 1945 Beaumont City Directory Johnson is listed as a Reverend living at The House of Prayer at 1440 Forest. According to his death certificate later that year, Johnson died from malarial fever, with syphilis and blindness as contributing factors.
But Angeline Johnson painted an even bleaker picture of Willie Johnson’s final days. She told Charters that her husband died from pneumonia after sleeping on wet newspapers the night after a fire. His life could’ve been saved, she said, except he was refused service at the hospital because he was black and blind. But such a scenario was “highly unlikely…,” said McCormick, who had worked in a Houston emergency room in the Jim Crow era of legalized discrimination. “He would not have been turned away.”
The charred 1440 Forest Avenue house stood until 1970, when it was torn down to make room for I-10.
The “malarial fever” cause of death seemed strange for East Texas and led many to believe Angeline Johnson’s pneumonia story. But before penicillin became available to the public in the late ‘40s, doctors sometimes treated degenerative syphilis with injections of malaria. The high body temperatures could sometimes kill the syphilis bacteria, but the downside was that as many-- as high as 25% --of those treated died from malarial fever.
Marlin And Marriages
Between his years in Temple and Beaumont, there was Marlin, perhaps the town most connected to Blind Willie this many years later. Wood Street brought the street corner gospel singer to the town 37 miles east of Temple. With its wooden sidewalks, prostitutes hanging out of windows and music coming out of every doorway, Wood Street of the ‘20s and ‘30s featured the most happening street scene in black Central Texas. Marlin’s a nothing town today, but during the first half of the 20th Century, after hot mineral water with reputed healing powers was discovered and bathhouses built, it was a destination with a booming economy. The New York Giants held spring training in Marlin from 1908 through1918 and Conrad Hilton built the nine-story Falls Hotel there in 1929. There were plenty of jobs for black folks and on Saturday night, Wood Street was hopping.
Musicians played all up and down the street, according to a 94-year-old James Truesdale in 2010. “He could make that guitar talk to you,” the Lott native said of Blind Willie, describing a scene of people “falling out and hollerin’” to Johnson’s gospel music. Two blocks from the sin of Wood Street was the Falls Country Baptist Association, where Truesdale said Johnson and Butler often played in a makeshift venue called the Soul Station.
When she met her future husband, Willie B. Harris worked as a bathhouse attendant and belonged to the Power House Church of God In Christ. She told Williams that she and Blind Willie began performing together at the Pentecostal church. No doubt she’d dragged him with her with her, because Blind Willie has mainly been associated with the Baptist Church.
The last known venue of a Blind Willie Johnson concert still standing is the New Jerusalem Missionary Baptist Church in Shiner, Texas. Johnson came to Shiner from San Antonio in October 1933 to play the 100-capacity church for 10 cents a ticket. “Reserved seating for white people” it said in the newspaper. It’s conceivable Blind Willie had hundreds of shows like this after making his final recordings in April 1930. Playing music live was the only way he had to make a living since his recordings were “non-royalty,” according to Columbia session cards.
Also recently found is a clipping that describes the crowd at New York City’s Hippodrome becoming “deathlike” quiet while Blind Willie Johnson sang “Nobody’s Fault But Mine” circa 1938. In a 1940 interview with John A. Lomax, Blind Willie McTell said he and the other Blind Willie had been touring “from Maine to Mobile.” McTell paid homage to his old friend when he cut “Motherless Children” for Atlantic in 1949. That’s how long it took for word of Johnson’s death to reach many of those who knew him, one reason earlier biographies had him dying in ’49, not ’45.
There’s been only one photo found of Willie Johnson, wearing a suit and sitting at a piano with his guitar. His left pinkie appears to be straightened by a glass or steel cylinder, which is how Angeline’s brother, Brenham-raised blues guitarist L.C. Robinson, said Johnson played slide. “He used to come stay with us, two, three nights, and he’d sit there and play that guitar, religious songs,” Robinson told Living Blues in 1975 about his brother-in-law. “I was watching him with that bottle on there and started playing that way, too.”
But bluesman Thomas Shaw (1908-1977) told the magazine in 1972 that Blind Willie slid a pocketknife over the strings to play slide. “Willie lived in Temple and we'd go down there to play for the country dances and school openings and all and I'd stay with him,” said Shaw. “I learned that ‘Just Can't Keep From Cryin' from him but I learned to pick it 'cause I didn't like the knife on it."
Listening to Johnson fretting strings and playing rhythm along with his slide, it seems unlikely he played with a knife in the studio, but it could’ve been a cool street corner trick.
The Sounds Of Earth In Outer Space
Blind Willie’s songs were about the love of Jesus and the hope of salvation, with a touch of Old Testament vengeance. With his soul-tortured delivery, there’s a depth to the material not often heard in the records Brunswick, Columbia, Paramount and Victor put out in the “race records” decade ushered in by Mamie Smith’s sensational 1920 hit “Crazy Blues.”
But how many of those songs did he write? How many were adapted from public domain sources such as religious hymns and old “Negro spirituals”? It’s certainly a question to be determined once an estate for Blind Willie Johnson is finally established.
Precedents for “Nobody’s Fault But Mine,” “Motherless Children,” “Soul Of A Man” and the topical songs “Jesus Is Coming” and “When The War Is On” haven’t been found, so they can be classified as original compositions. But the majority of Johnson’s 29 recorded songs (he cut “You’ll Need Somebody On Your Bond” twice) came from other sources. According to Max Haymes’ “Roots of Blind Willie Johnson” research, the singer took three songs from the 1923 recordings of the Wiseman Sextette and covered T.E. Weems on “If I Had My Way,” Arizona Dranes on “Bye And Bye, I’m Going To See the King” and Blind Joe Taggart’s “Take Your Burden To The Lord.” But entertainment attorney William Krasilovsky said in 2003 that a Blind Willie estate could earn money by copyrighting his arrangements. “Does the work have distinctive fingerprints of originality that qualify for a new derivative copyright of public domain material?” he asked, reading from a copyright law book.
“Distinctive fingerprints” could be the title of a Blind Willie Johnson biography. In most cases, however, Johnson’s fingers left the slightest forensic evidence behind, which makes what they did with a guitar, under that powerful voice, all that matters. The music’s so supercharged with self-expression that the truth is right there for all to hear.
That’s why “Dark Was The Night” was chosen for the Golden Record aboard Voyager 1, which continues its journey to the galaxy’s back yard. The interstellar space probe left the solar system in 2012 and continues its mission to find intelligent life in other planetary systems.
Should aliens happen upon the spacecraft and, with the record player provided, listen to that eerie, moaning, steel-sliding memorial to the Crucifixion, they will know that we are a spiritual people, that we hurt and we heal, that we do indeed have souls that live long after we’re buried.
Michael Corcoran has been on the trail of Blind Willie Johnson since 2003. His Austin American-Statesman article on the guitar evangelist was included in Da Capo's "Best Music Writing of 2004" anthology. Corcoran's 2012 monograph on Arizona Dranes helped Tompkins Square Records earn a Grammy nomination for Best Historical Album. He's also done extensive primary research on Washington Phillips, completing the trilogy of 1920s Texas gospel pioneers. He lives in Smithville, Texas.
THANKS: To all the searchers, especially Sam and Ann Charters, Dan Williams, Jeffrey Gaskill, Michael Hall, Neil Blakely, Mack McCormick, Shane Ford and Anna Obek, whose hours saved me days.