The Complete Recordings | 
 enlarge | Artist: Robert Johnson
Label: Sony
Category: Music
List Price: $24.98
Buy New: $14.19
You Save: $10.79 (43%)
New (28) Used (21) Collectible (3) from $10.87
Rating:  131 reviews
Sales Rank: 3792
Format: Box Set
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 1
Dimensions (in): 12.3 x 6.1 x 1.5
MPN: 46222
UPC: 074644622225
EAN: 0074644622225
ASIN: B000002757
Release Date: August 20, 1990
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Brand new, factory sealed. Fast shipping!
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| Tracks:
Disc 1
| • | Kind Hearted Woman Blues | | • | Kind Hearted Woman Blues | | • | I Believe I'll Dust My Broom | | • | Sweet Home Chicago | | • | Rambling On My Mind | | • | Rambling On My Mind | | • | When You Got A Good Friend | | • | When You Got A Good Friend | | • | Come On In My Kitchen | | • | Come On In My Kitchen | | • | Terraplane Blues | | • | Phonograph Blues | | • | Phonograph Blues | | • | 32-20 Blues | | • | They're Red Hot | | • | Dead Shrimp Blues | | • | Cross Road Blues | | • | Cross Road Blues | | • | Walking Blues | | • | Last Fair Deal Gone Down |
Disc 2
| • | Preaching Blues (Up Jumped The Devil) | | • | If I Had Possession Over Judgment Day | | • | Stones In My Passway | | • | I'm A Steady Rollin' Man | | • | From Four Till Late | | • | Hellhound On My Trail | | • | Little Queen Of Spades | | • | Little Queen Of Spades | | • | Malted Milk | | • | Drunken Hearted Man | | • | Drunken Hearted Man | | • | Me & The Devil Blues | | • | Me & The Devil Blues | | • | Stop Breakin' Down Blues | | • | Stop Breakin' Down Blues | | • | Traveling Riverside Blues | | • | Honeymoon Blues | | • | Love In Vain | | • | Love In Vain | | • | Milkcow's Calf Blues | | • | Milkcow's Calf Blues |
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| Editorial Reviews:
Amazon.com
This two-CD box contains all 41 recordings Johnson made, including 12 alternate takes, and each cut remains a classic. This set's release in 1990 caused quite a stir, selling more than 500,000 copies, and, on the basis of endorsements from Eric Clapton and Keith Richards, introduced a great number of rock fans to Delta blues. Amazingly, Johnson built his enormous legacy on the strength of just two recording sessions: the first session, in November of 1936, produced among others "I Believe I'll Dust My Broom," "Sweet Home Chicago," "Cross Road Blues," and "Walkin' Blues," making it perhaps the most influential single session in blues history. --Marc Greilsamer
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| Customer Reviews:
 It's Great but... October 8, 2008
M. Delphia (USA)
I bought a single CD version of this same material (all the songs) for $9 at the local mall. Look around for better deals.
 Nice Tunes September 30, 2008
squid (Virginia, USA)
I deducted one star because the layout is all wrong--it's annoying that they didn't put the alternate takes on a seperate CD.
I took another star off because I really don't feel Johnson's music lives up to the hype. His influence over Rock and Roll is huge, but it's worth keeping in mind that in the Blues arena, he was decidedly less influential (an interesting take on this is included in wikipedia's article on the man, under the section "influence").
My problem is that for all the talk about how powerful and emotional his singing is, all I hear is an angsty whine. None of the emotion seems genuine to my ears. I have nothing against blues singers with high voices (I love Blind Willie McTell and Tommy Johnson, for instance), but with Robert Johnson, I get the impression that I am listening to a man who liked to sing and use his talent to impress women and not because he actually felt any inner torment. In fact the accompanying liner notes about his life seem to confirm my impression that he sang primarily to entertain and seduce, not out of any emotional need for the blues. Listen, for contrast, to an older Blues musician (say, 1960s Furry Lewis) and you will hear what authentic emotion sounds like--the emotion that accumulates over a long life of hard work and no recognition. Blind Willie Johnson is another example of what I feel is authentic, heartfelt singing. I listen to Robert Johnson and hear a young man living a fast lifestyle and enjoying it. I might be in the minority here, but that's what I hear.
I also think there are many better blues guitarists. He was rated number five in Rolling Stone's list of greatest guitarists, but can anyone honestly say he was more talented than Gary Davis, Mississippi John Hurt, or Blind Willie Johnson?
All my qualms aside, I do enjoy listening to his music. Even though he's not near the top of my blues list, I do think some of his songs are really good.
Encyclopedic catalog not for casual listeners September 6, 2008
OneLove (so fla)
3 1/2
There is no mistake when people speak of this man's influence on blues. Sadly his shadow has all but engulfed the frustrating confines around musical progressions he helped pioneer, and present them with a more natural and innovative grace then the next half plus century to follow. This essential collection for purists does contain enough variation on those hallowed scales to maintain a certain interest (even a handful of tracks that outshine their formulaic counterparts), although there is no denying those not well integrated into the genre will start hearing too much bleed-through track to track which may turn initial reverence for Johnson's vocal and instrumental prowess into sporadic annoyance.
It's the only Robert Johnson album you'll ever need. August 28, 2008
RockinRobin411
The story of Robert Johnson is that he sold his soul to the devil in exchange for the talent at playing blues. I personally don't believe the story because he really put his soul into the music, and it's very obvious. Maybe his deal with the devil was that the devil would take his soul when he died. Whether the story is true or not, he believed it, and he left with only 29 songs, 12 additional takes, 2 still photographs, and 1 incredible legacy.
I personally believe that every musician must own at least one actual blues album, no matter how far their music is from the blues, because the blues is probably the most soulful of all genres of music. This might explain why most classical musicians focus only on the technical part of the music, and they don't let their heart do any of the work. Most people would probably consider this the one blues album to get if you only get just one. What do I think? I think that this album is as good as any of them. If not this album, I would suggest a blues compilation.
I was fortunate to get the copy that a local radio station, that is now out of business, would use when they would play his music, as a birthday gift. My uncle told me that he found it at a yard sale.
What do I think of the album?
I personally agree with most people about how the alternate takes should have been at the end after everything else. However, the fact that just about all of his tracks are basically the same song, but he changes the words, makes it not as big a deal, for me at least. Because he does a great job playing the blues, probably due to the whole deal with the devil thing, it's not as boring. There are also several different rhythm styles that he uses.
Even more, there are a couple of songs that aren't blues, but of the pop music of that time, which adds a bit more variety. If "They're Red Hot" and "From Four Till Late" would have been put out as singles, in the way that songs now are released as singles, they both could have been crossover successes in the way that some of the black artists of the time were. However, people probably also wanted full orchestras.
I personally like the bareness of the music. It's hard to believe that just a person with a guitar can really do so much. However, I've been able to go far with nothing but myself and an acoustic guitar, so it's a bit weird that I myself am impressed by this.
About the sound quality, I feel that it isn't too hard to see past it, but I also feel that it adds a bit more mystery to who Robert Johnson was. The full set, also includes transcriptions of his lyrics, a biography, an essay by Rolling Stones guitarist Keith Richards, an essay by Eric Clapton, pictures of several different people and parts of his life, and of course, both pictures of him.
To conclude, I have to recommend this album.
A Deeper Look At Robert Johnson Is Needed August 20, 2008
Daniel B. Pepper (New York)
A deeper look at Robert Johnson is needed. He was obviously an extremely talented guitar player and had a real way with words; his lyrics were often quite beautiful, as in "From Four Til Late", "Hellhound On My Trail" and "Stones In My Passway". He is the most influential man in Blues history in terms of the proliferation of the "walking bass" sound. He died at just 27 years of age, which enhances his legend. However, now is the appropriate time to take a deeper look at Robert Johnson. The "walking bass" line he's forever associated with was originally used by the lesser-known and less-talented Johnnie Temple a few years before Robert recorded it. The songs which most white Blues fans associated with Robert- the ones about the Devil and hellhounds- are not the songs that strongly influenced black Bluesmen during and after Johnson's death. Instead, harmless party songs like "Sweet Home Chicago" and "I Believe I'll Dust My Broom" became standards for many Bluesmen and Blues bands. However, during Robert's short life, he was not an enormously popular star like Leroy Carr or Tampa Red, as Elijah Wald points out in detail in his "Escaping The Delta" book, which covers the history of Blues music, Robert Johnson's life and subsequent legend, and pop music in general. Robert Johnson purposely used the last name, "Johnson", on his recordings because of his love for the older, more talented (yes, more talented!) Lonnie Johnson. Lonnie Johnson was the inventor of Jazz guitar, performed some of the most dazzling and awe-inspiring guitar duets in history with Eddie Lang, came up with a completely original, striking, and ominous way of playing guitar accompaniment for the brilliant singer and lyricist, Texas Alexander, pioneered Rhythm & Blues ten years later, and, in his later years, performed popular songs and Jazz standards with the best of them, showing off his crooning skills. Robert Johnson will be forever eclipsed by Lonnie Johnson in the eyes of musicians and Blues fans with deep insight. Furthermore, Robert's traveling buddy and fellow Blues musician, Johnny Shines, possessed at least as much, if not more, talent than young Robert did. Johnny was one of the greatest singers in the history of the Country Blues, along with Son House and Texas Alexander. Throughout his life, he was able to perform Country Blues originals and standards, electric Chicago-style Blues standards and originals, Soul music, was able to out-do Otis Rush on Johnny's "My Love Can't Hide", which was highly influenced by Otis Rush's "My Love Will Never Die", and craft lyrics that were every bit as original and poetic as those that Robert Johnson sang on the 42 songs that he recorded. Unfortunately, during the 1960s, '70s, '80s and '90s, Johnny was constantly pestered by Blues fans and historians to talk about Robert Johnson, instead of Johnny Shines.
When Lomax went looking for Robert Johnson, he had trouble down south finding people who knew who Robert was. He wound up recording a young Muddy Waters. The fact that Robert Johnson was not a famous musician in the Mississippi Delta during his lifetime proves that it was the young, white, mostly-male, guitar-playing, Country Blues audience of the late 1950s and early 1960s, along with the Rolling Stones and Eric Clapton, who popularized the Johnson legend about Robert selling his soul at the Crossroads. In reality, the traditional belief is that one can sell his or her soul to Legba, the trickster deity, and not Satan/the Devil, at the crossroads at midnight. Tommy Johnson, who possessed one of the most beautiful falsetto voices in the history of American music, and wrote and recorded many Blues standards, such as "Canned Heat Blues", "Big Road Blues" and "Maggie Campbell Blues", was a much better singer than Robert Johnson, and his brother stated that Tommy often used the crossroads story to promote himself, back when Robert was just a little boy. Furthermore, the association between Robert Johnson and the Devil is made even more absurd by the fact that a Blues musician named Skip James, who recorded at the height of The Great Depression, was one hundred times more cryptic, bizarre, and spooky than young Robert. Skip James sang in an eerie falsetto, especially on his 1960s records, and openly expressed disdain towards his young white fans during the 1960s; he often stated that the mission of his music was to "deaden the minds" of his listeners. Skip's "I'm So Glad" also eclipses any of Robert's songs in terms of technical ability on the guitar. Blind Blake, Blind Lemon Jefferson, the aforementioned Lonnie Johnson, Reverend Gary Davis, and the under-recorded Willie Walker were all better guitar players than Robert Johnson. Furthermore, Robert Johnson was more of an amalgam of great Blues singers and guitar players who came before him than he was a person who came up with an entirely new style of Blues. He was a genius at taking all of these established ideas within Blues and composing songs. He was heavily influenced by Peetie Wheatstraw in terms of vocals, Robert's "Hellhound On My Trail" is his attempt at Skip James' "Devil Got My Woman", young Robert's guitar playing for "Malted Milk" and "Drunken Hearted Man" are directly borrowed from Lonnie Johnson, Leroy Carr & Scrapper Blackwell were a tremendous influence on the young man born in Hazelhurst, Mississippi in 1911, and Robert desperately wanted to play slide guitar as well as Kokomo Arnold, but failed in this respect. With all this being said, I'd like everyone to know that I don't dislike Robert Johnson or his music. In fact, I love his music, his lyrics, and his guitar playing. I'd give anything to be able to play guitar like the man. I just want everyone to dig deeper and take a look at the men who inspired Robert Johnson, men who were at least as talented as the supposed god of the Blues. In Bob Dylan's autobiography, he goes on and on about hearing Robert for the first time and being amazed, while Dave Van Ronk sat in his apartment and simply said that Johnson was very, very good, but far from the best. When I was in high school, I believed the hype completely and thought that Robert Johnson was the greatest thing since sliced bread. Since then, I've realized that there were many Country Blues artists who were just as wonderful as him, if not better, not to mention Post-War electric Blues geniuses like Earl Hooker, who is perhaps the greatest slide guitar player in history. I hope that everyone who reads this review reads my words carefully, takes a look at Elijah Wald's "Escaping The Delta", and buys cds via Amazon.com of Blind Willie McTell, Son House, Furry Lewis, Blind Blake, Blind Lemon Jefferson, Lonnie Johnson, etc. There is much more to the Country Blues than Robert Johnson, despite what Eric Clapton, Keith Richards and many young guitar players on Myspace.com seem to think. If you have any questions or comments for me, feel free to leave them beneath this review. Thank you for reading this, and I hope you now have a better understanding of Johnson's place in the history of the Blues.
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