Reviewed by Tony Cummings

The fact that a set of 70-year-old recordings could get a rave review in Q magazine says something for blind street corner evangelist Johnson's towering influence on future generations of rock and folk. Secular stars as diverse as Ry Cooder and Peter, Paul & Mary have covered Johnson's songs as too have CCM acts like Glenn Kaiser and Phil Keaggy. But as usually happens, the originals are best and these recordings, in all their raw, cathartic power, are amongst the most estraordinary in the history of 20th century music. Willie played the most gasp-inducing slide guitar, which conveyed a searing, smouldering atmosphere of awesome power. Ry Cooder called his breathtaking instrumental "Dark Was The Night", "the most transcendent piece in all American music" and used the same eery feel for his acclaimed soundtrack for the Paris Texas movie while Eric Clapton describes "It's Nobody's Fault But Mine" as "probably the finest slide guitar playing you'll ever hear." If Willie's extraordinary guitar technique wasn't enough he also possessed one of the most attention-grabbing voices in any era of music - a croaking rasp which makes Tom Waites sound like a smooth crooner, while his compositions flow with stark, poetic imagery. It's a sad indictment of the cultural ignorance of most Christian bookshops that while you'll be able to find this classic album in the blues racks of many secular record shops it's unlikely to turn up in a single Christian outlet. Don't let that deter you, if you enjoy blues gospel, this will soon be one of your most prized CDs.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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