Notes on the Robert Johnson recordings on CD
This document tries to make some sense out of what takes of Robert Johnson’s recordings have been released where. Please note this information is all gathered from the CDs themselves and any corresponding liner notes; I do not have access to any 78s (original releases nor test pressings), nor any Vocalion/ARC record cards (excepting Cross Road Blues, which is reproduced in the 2011 set’s booklet). The basis of this document is the notes at the rear of the booklet that came with the 1990 set. Additional information comes from the liner notes to the subsequent releases and from the actual audio on the CDs. These are the CD releases used for this research, referenced by the last two digits of their release year:
90 – The Complete Recordings, C2K 46222
94 – King Of The Delta Blues Singers, CK 52944 (gold/MasterSound edition)
96 – The Complete Recordings, C2K 64916
98 – King Of The Delta Blues Singers, CK 65746
04 – King Of The Delta Blues Singers (Vol. 2), CK 92579
11 – The Centennial Collection/The Complete Recordings, 88697 85907 2
Notes on the times – the times from the ’90 set come from the CD cases, and seem to be pretty accurate. For the other CDs, the time is from the beginning of the track to the end of the music, not counting additional time for fade out of surface noise. Note that the ’11 set in particular may have some extra time at the start of tracks due to fade-in of surface noise, and that the ’90 set does fade out some tracks quickly/early. The times listed on the back of the 1996 set are lifted directly from the 1990 set and are often incorrect.
Notes on take numbers – the 1990 and 1996 sets list take numbers with the lyrics where multiple takes were included. In the cases where only one take was included, take numbers were not listed; there is also no indication of take numbers in relation to the CD tracks, although in all cases (except Milkcow’s Calf Blues on the 1990 set), the CD tracks are in take order (take 1 followed by take 2). The 1998 CD does not list take numbers. The 1994, 2004 and 2011 CDs do list take numbers. Where discrepancies exist in numbering from one release to another, I have assumed the 2011 release to be correct. A few such discrepancies exist with the 1994 and 2004 CDs. The take and release information in the 1994 CD is reproduced verbatim from the original 1961 LP.
In some cases the notes to the ’90 set indicate a 78 r.p.m.
release while the notes to the ’11 set do not. I have noted those with a strikethrough.
Master takes, as indicated in the ’11 set, are noted in bold. Previous issues did not differentiate between master and
alternate takes.
Audio samples (40 seconds, FLAC) are linked from the track number/time entry for each track.
Please inform me of any additions or corrections. lukpac (at) gmail (dot) com.
Note from the ’90 set:
* These takes remain unfound, if ever issued; destroyed after being recorded (if ever); or otherwise unknown to collectors. In any event, they do not appear in this or any other album or collection.
Monday, November 23, 1936,
Kind Hearted Woman Blues
SA 2580-1 Vocalion 03416, ARC 7-03-56
90 – 1.01, 2:49
94 – 1.07, 2:49
96 – 1.01, 2:49
98 – 1.07, 2:51
11 – 1.01, 2:52 (grace note at start not present on other CDs)
SA 2580-2 Vocalion 03416, ARC 7-03-56
90 – 1.02, 2:31
96 – 1.02, 2:28
04 – 1.01, 2:30
11 – 1.17, 2:30
I Believe I’ll Dust My Broom
SA 2581-1 Vo 03475, ARC 7-04-81, Conqueror 8871
90 – 1.03, 2:56 (grace note at start missing)
96 – 1.03, 2:57
04 – 1.02, 2:59
11 – 1.02, 2:58
SA 2581-2 not known to have been issued*
Sweet Home
SA 2582-1 Vo 03601
90 – 1.04, 2:59
96 – 1.04, 2:56
04 – 1.03, 2:58
11 – 1.03, 2:57
SA 2582-2 reportedly issued on Vo 03601, but unconfirmed*
Ramblin’ On My Mind
SA 2583-1 Vo
03519, ARC 7-05-81
90 – 1.05, 2:51
94 – 1.11, 2:49 (labeled as -2, apparently incorrectly; correctly does not indicate release on Vocalion)
96 – 1.05, 2:50
98 – 1.11, 2:51
04 – 1.04, 2:51 (indicates release on Vo 03519, apparently incorrectly)
11 – 1.18, 2:50
SA 2583-2 Vo 03519, ARC 7-05-81
90 – 1.06, 2:20
96 – 1.06, 2:20 (significantly distorted compared to other transfers)
04 – 1.17, 2:22
11 – 1.04, 2:21
When You Got A Good Friend
SA 2584-1 previously unissued on 78 r.p.m.
90 – 1.07, 2:37
94 – 1.10, 2:36
96 – 1.07, 2:36
98 – 1.10, 2:38
11 – 1.05, 2:37
SA 2584-2 previously unissued on 78 r.p.m.
90 – 1.08, 2:50
96 – 1.08, 2:50
11 – 1.19, 2:52 (periodic surface noise not present on other CDs)
Come On In My Kitchen
SA 2585-1 previously unissued on 78 r.p.m.
90 – 1.09, 2:47 (grace note at start missing)
94 – 1.03, 2:50 (indicates release on Vo 03563, apparently incorrectly)
96 – 1.09, 2:49
98 – 1.03, 2:51
11 – 1.20, 2:50
SA 2585-2 Vo 03563, ARC 7-07-57
90 – 1.10, 2:35 (false start missing)
96 – 1.10, 2:42
11 – 1.06, 2:43
Terraplane Blues
SA 2586-1 Vo 03416, ARC 7-03-56
90 – 1.11, 3:00 (clip to illustrate lack of distortion present on 1998 CD)
94 – 1.02, 2:59 (clip to illustrate lack of distortion present on 1998 CD)
96 – 1.11, 2:58 (clip to illustrate lack of distortion present on 1998 CD)
98 – 1.02, 2:59 (significant distortion at 1:32, 1:41, 1:47, 1:56, 2:30)
11 – 1.07, 2:59 (clip to illustrate lack of distortion present on 1998 CD)
SA 2586-2 not known to have been issued*
Phonograph Blues
SA 2587-1 previously unissued on 78 r.p.m.
90 – 1.12, 2:37
96 – 1.12, 2:37
04 – 1.05, 2:39
11 – 1.08, 2:38 (mild periodic surface noise at start not present on other CDs)
SA 2587-2 previously unissued on 78 r.p.m.
90 – 1.13, 2:32
96 – 1.13, 2:31
11 – 1.21, 2:33
Thursday, November 26, 1936,
32-20 Blues
SA 2616-1 possibly issued on Vo 03445, ARC 7-04-60, but unconfirmed*
SA 2616-2 Vo 03445, ARC 7-04-60
90 – 1.14, 2:51
94 – 1.06, 2:50 (labeled as -1, apparently incorrectly)
96 – 1.14, 2:47 (first note edited from different source; second beat of song edited out)
98 – 1.06, 2:50 (seems to have noticeable NR)
11 – 1.09, 2:49
Friday, November 27, 1936,
They’re Red Hot
SA 2627-1 Vo 03563, ARC 7-07-57
90 – 1.15, 2:56
96 – 1.15, 2:56
04 – 1.06, 2:58
11 – 1.10, 2:57
SA 2627-2 not known to have been issued*
Dead Shrimp Blues
SA 2628-1 not known to have been issued*
SA 2628-2 Vo 03475, ARC 7-04-81, Cq 8871
90 – 1.16, 2:30
96 – 1.16, 2:29
04 – 1.07, 2:31
11 – 1.11, 2:30
SA 2629-1 Vo 03519, ARC 7-05-81
90 – 1.17, 2:39
96 – 1.17, 2:37
11 – 1.12, 2:39
SA 2629-2 previously unissued on 78 r.p.m.
90 – 1.18, 2:29
94 – 1.01, 2:29
96 – 1.18, 2:27
98 – 1.01, 2:29
11 – 1.22, 2:27 (periodic surface noise until about 0:50 not present on other transfers)
Walkin’ Blues
SA 2630-1 Vo 03601
90 – 1.19, 2:28
94 – 1.04, 2:28
96 – 1.19, 2:28
98 – 1.04, 2:29
11 – 1.13, 2:29
SA 2630-2 not known to have been issued*
Last Fair Deal Gone Down
SA 2631-1 Vo 03445, ARC 7-04-60
90 – 1.20, 2:39
94 – 1.05, 2:38
96 – 1.20, 2:37
98 – 1.05, 2:38
11 – 1.14, 2:37
SA 2631-2 reportedly issued on Vo 03445, ARC 7-04-60, but unconfirmed*
Preachin’ Blues (Up Jumped
The Devil)
SA 2632-1 Vo 04630
90 – 2.01, 2:50 (grace note at start missing)
94 – 1.09, 2:50 (does not indicate release on Vocalion, incorrectly; grace note at start missing)
96 – 2.01, 2:49
98 – 1.09, 2:51
04 – 1.08, 2:51
11 – 1.15, 2:50
SA 2632-2 previously unissued on 78 r.p.m.*
If I Had Possession Over
Judgment Day
SA 2633-1 previously unissued on 78 r.p.m.
90 – 2.02, 2:34
94 – 1.08, 2:33
96 – 2.02, 2:33
98 – 1.08, 2:34
11 – 1.16, 2:34
SA 2633-2 unissued*
Saturday, June 19, 1937,
Stones In My Passway
DAL 377-1 not known to have been issued*
DAL 377-2 Vo 03723, ARC 7-12-67, Cq 8973
90 – 2.03, 2:27
94 – 1.12, 2:26
96 – 2.03, 2:26
98 – 1.12, 2:29
11 – 2.01, 2:28
DAL 377-3 aurally identical to take 2 (electronically re-made 11/27/37)
I’m A Steady Rollin’ Man
DAL 378-1 Vo 03723, ARC 7-12-67, Cq 8973
90 – 2.04, 2:35
96 – 2.04, 2:34
04 – 1.09, 2:36
11 – 2.02, 2:35
DAL 378-2 not known to have been issued*
DAL 378-3 aurally identical to take 1 (electronically re-made 11/27/37)
From Four Until Late
DAL 379-1 Vo 03623, ARC 7-09-56
90 – 2.05, 2:23
96 – 2.05, 2:22
04 – 1.10, 2:24
11 – 2.03, 2:23
DAL 379-2 not known to have been issued*
Sunday, June 20, 1937,
Hell Hound On My Trail
DAL 394-1 not known to have been issued*
DAL 394-2 Vo 03623, ARC 7-09-56
90 – 2.06, 2:35 (grace note at start missing)
94 – 1.16, 2:34 (grace note at start missing; does not indicate release on Vocalion, incorrectly)
96 – 2.06, 2:34
98 – 1.16, 2:36
11 – 2.04, 2:36 (much better fidelity than other transfers)
Little Queen Of Spades
DAL 395-1 Vo 04108
90 – 2.07, 2:11
96 – 2.07, 2:10 (periodic surface noise not present on other transfers)
11 – 2.05, 2:11
DAL 395-2 Vo
04108
90 – 2.08, 2:15
96 – 2.08, 2:16
04 – 1.11, 2:20 (indicates release on Vo 04108, apparently incorrectly)
11 – 2.14, 2:19
Malted Milk
DAL 396-1 Vo 03665, ARC 7-10-65, Cq 8944
90 – 2.09, 2:17
96 – 2.09, 2:20
04 – 1.12, 2:21
11 – 2.06, 2:20
DAL 396-2 not known to have been issued*
Drunken Hearted Man
DAL 397-1 previously unissued on 78 r.p.m.
90 – 2.10, 2:24
96 – 2.10, 2:26
11 – 2.07, 2:29
DAL 397-2 previously unissued on 78 r.p.m.
90 – 2.11, 2:19 (grace note at start missing)
96 – 2.11, 2:25
04 – 1.13, 2:27 (labeled as -1, apparently incorrectly)
11 – 2.15, 2:26
Me And The Devil Blues
DAL 398-1 Vo 04108
90 – 2.12, 2:37
96 – 2.12, 2:32 (periodic surface noise not present on other transfers)
11 – 2.08, 2:34
DAL 398-2 Vo
04108
90 – 2.13, 2:29
94 – 1.15, 2:31
96 – 2.13, 2:31
98 – 1.15, 2:33 (periodic surface noise not present on other transfers)
11 – 2.16, 2:32
Stop Breakin’ Down Blues
DAL 399-1 Vo
04002
90 – 2.14, 2:16
96 – 2.14, 2:15
04 – 1.14, 2:16 (labeled as -2, apparently incorrectly; indicates release on Vo 04002, apparently incorrectly; periodic surface noise not present on other transfers)
11 – 2.17, 2:16
DAL 399-2 Vo 04002
90 – 2.15, 2:21
96 – 2.15, 2:21
11 – 2.09, 2:22
Traveling
DAL 400-1 previously unissued on 78 r.p.m.*
(1996 set does not have asterisk, indicating take 1 was located by that time,
but it was not included)
98 – 1.17, 2:38
11 – 2.10, 2:39
DAL 400-2 previously unissued on 78 r.p.m.
90 – 2.16, 2:47 (intro guitar warm-up, no car horn before start)
94 – 1.13, 2:43 (no intro or car horn; abruptly cuts off at end)
96 – 2.16, 2:43 (no intro or car horn)
98 – 1.13, 2:56 (no intro, car horn present)
11 – 2.18, 2:52 (intro guitar warm-up, one note more than on ’90 set, car horn present)
Honeymoon Blues
DAL 401-1 Vo 04002
90 – 2.17, 2:16
96 – 2.17, 2:16
04 – 1.15, 2:16
11 – 2.11, 2:16
DAL 401-2 not known to have been recorded*
Love In Vain Blues
DAL 402-1 previously unissued on 78 r.p.m.
90 – 2.18, 2:28 (spoken intro, few beats of fast playing followed by triplets)
96 – 2.18, 2:23 (spoken intro, grace note into opening triplets missing)
04 – 1.16, 2:21 (no intro, opens with triplets; labeled as -4, apparently incorrectly; indicates release on Vo 04630, apparently incorrectly)
11 – 2.19, 2:25 (spoken intro, opens with triplets)
DAL 402-2 not known to have been issued (see take
4)* (same performance as -4; 1996 and 2011 sets note release on Vo 04630)
96 – 2.19, 2:15
11 – 2.12, 2:17 (grates notes at start not present on other transfers)
DAL 402-3 not known to have been issued (possibly electronically re-made from take 1 on 2/2/39, see take 4)*
DAL 402-4 Vo 04630
(electronically re-made 2/2/39 from take 2 or 3)
90 – 2.19, 2:19 (same performance as -2)
Milkcow’s Calf Blues
DAL 403-1 not known to have been issued* (see take 3)
DAL 403-2 Vo 03665, ARC 7-10-65, Cq 8944
90 – 2.21, 2:20
96 – 2.21, 2:20
11 – 2.13, 2:20
DAL 403-3 Vo
03665, ARC 7-10-65, Cq 8944 (possibly electronically remade from
take 1)
90 – 2.20, 2:14
94 – 1.14, 2:15
96 – 2.20, 2:15 (labeled as take 1; acknowledgement that take 3 was remade from take 1? Or typo?)
98 – 1.14, 2:16
11 – 2.20, 2:16
The take history of this song is somewhat muddy. First, a clarification of the two takes (differences noted in bold):
Take 2:
Tell me, milk cow
what on Earth is wrong with you?
Te-hell me, milk cow
what on Earth is wrong with you?
Well, well, you have a new calf, hoo hoo
and your milk is turnin’ blue
Take 3:
Te-hell me, milk cow
what on Earth is wrong with you?
Ooo ooo eee, milk cow
what on Earth is wrong with you?
Now, you have a little calf, hoo hoo
and your milk is turning’ blue
The above corresponds to the lyrics and take numbers given in the booklet that accompanies the 1990 set. It also corresponds with the take numbers given in the MasterSound King Of The Delta Blues Singers CD (taken from the original LP) and The Centennial Collection CD set. However, the order of the actual recordings on the 1990 set is reversed: take 3 is track 20 and take 2 is track 21.
On the 1996 version of The Complete Recordings, the order of the lyrics in the booklet has been changed to match the order of the recordings on the CD. Take 3 is first, followed by take 2. In somewhat of a twist, take 3 is labeled “take 1”; it is unclear if this is a typo (because it preceded take 2) or if “take 1” was used because take 3 was apparently re-made from take 1. The 1996 booklet omits the “possibly” that precedes “electronically remade from take 1”; however, both sets contain an asterisk, indicating take 1 is/was unfound.
Both the 1990 and 1996 sets indicate take 3 was also issued on 78, which contradicts the 1994 and 2011 CDs.
On The Complete Original Masters: The Centennial Edition (a limited edition set that contains 45 RPM reproductions of the 78s; not yet noted above), the booklet indicates take 2 was utilized. However, the actual recording is that of take 3 as indicated above.
Collector Lars Svendsen has a copy of Malted Milk/Milkcow’s Calf Blues on Perfect (label scans, along with information about the “dime store” releases can be found here). The numbers stamped in the dead wax indicate it is take 2, stamper 3. However, as with The Complete Original Masters, the actual recording is what is called take 3 above. I have not yet been able to get in touch with somebody with a copy on Vocalion to verify which performance was released and what take number corresponds to it. If you have any knowledge in this regard, please contact me.
The releases:
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C2K 46222 © 1990 CBS Records Inc. All recordings originally
produced by DON LAW Roots ‘n’ Blues Series
Producer: Digital Restoration and
Engineering: Frank Abbey Reissue Producers: Stephen
LaVere and Frank Driggs Lps mastered by: Vlado
Meller Project Coordination: Gary
Pacheco, Mike Berniker, Amy Herot, and Steve Berkowitz Package Coordination: Tony
Tiller and Rosemary Mulligan Design: John Berg Special thanks to Johnathan
Horn, Joe McEwen, Peter Guralnick, Andy Franklin, Gregg Geller, and Gayle
Dean Wardlow Studio portrait of Robert Johnson – 1935 (Cover) ©
Stephen C. LaVere, 1989 Dime-store photo of Robert Johnson – early 1930s (p.
4) © Stephen C. LaVere, 1986 For more about the life and
world of Robert Johnson, see Peter Guralnick’s recent book, Searching for Robert Johnson (E.P.
Dutton) PRODUCER’S NOTE: Every
effort has been made to preserve the integrity of the original pre-stereo,
analog recordings. The listener should be aware, however, that these
transfers from metal or shellac parts contain imperfections which were inherent
in the recording equipment and techniques of that time. Original Mono
Recordings |
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King Of The Delta Blues Singers (gold/MasterSound
edition) CK 52944 Produced and edited by
Frank Driggs Recordings were taken from
available metal masters at The following have given
much of their time and consideration in the preparation of this album: Helene
Chmura, John Hammond, John Kelly and Don Law. Remastering: Cover Painting: Burt
Goldblatt MasterSound Edition: Reissue Producer: Mastered by Kevin Boutote,
Sony Music Studios, Producer’s Note: This CD has
been mastered from newly discovered, mint condition test pressings. These
test pressings were struck from the original metal parts. Each MasterSound disc is
guaranteed to have been manufactured from the first generation mastertapes,
actual session work tapes, or other original recording sources available.
Where possible, original producers, mastering engineers, or the artists
themselves have assisted in the production to insure the finest possible
sound. |
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C2K 64916 © 1990 Sony Music Entertainment Inc. All Recordings Originally
Produced by DON LAW Roots N’ Blues Series
Producer: Roots N’ Blues Series
Director: Adam Block Digital Restoration,
Engineering and Remastering by David Mitson, Sony Music Studios, Reissue Producers: Stephen
LaVere and Frank Driggs LPs Mastered by: Vlado
Meller Project Coordination: Gary
Pacheco, Mike Berniker, Amy Herot and Steve Berkowitz Package Coordination: Tony
Tiller and Rosemary Mulligan Design: John Berg Special thanks to Johnathan
Horn, Joe McEwen, Peter Guralnick, Andy Franklin, Gregg Geller, and Gayle
Dean Wardlow Studio portrait of Robert Johnson – 1935 (Cover)
© 1989 Delta Haze Corporation Photo booth self-portrait – early 1930s (p. 2) ©
1986 Delta Haze Corporation For more about the life and
world of Robert Johnson, see Peter Guralnick’s recent book, Searching for Robert Johnson (E.P.
Dutton) PRODUCER’S NOTE: Every
effort has been made to preserve the integrity of the original pre-stereo,
analog recordings. The listener should be aware, however, that these
transfers from metal or shellac parts contain imperfections which were
inherent in the recording equipment and techniques of that time. Original mono
recordings remastered using SBM Super Bit Mapping Additional notes: When producer Lawrence Cohn and engineer David Mitson discovered long-lost tapes of bluesman Robert Johnson, it was as if they had found the tomb of King Tut. Cohn and Mitson, the studio team
responsible for much of Sony label Legacy's Roots 'N Blues series, point out
that the Johnson tapes were stumbled upon, literally and figuratively, at Sony's
As Cohn tells it, two Sony producers leaned against something that turned out to be a hidden door. "Here was this sanctuary that no one at the facility knew about that had literally thousands of master tapes," he recalls with obvious glee. "The first box they tripped over were the Robert Johnson flat transfers." Consequently, the Robert Johnson boxed set, originally released by Sony Legacy in 1990, recently was remastered in its entirety from the flat transfer tapes that were produced by Frank Driggs in the '70s. For Mitson, who was not involved in the original boxed set, the discovery gave him an opportunity to realize a long-held dream. "I'd always wanted to redo the Robert Johnson (set) because it was the beta test of the archival reissue renaissance," says the 40-year-old Mitson. "You could hear the sound of the slide on the strings and rattles and clatters and throat noises," he says, beaming. "It was like Robert Johnson popped out of the tape machine in front of us." Even Cohn admits that the sound quality of the original boxed set, mastered from an equalized dub, left a lot to be desired. "To have undertaken a search for collectors' test pressings and 78s would have taken a year or two," he explains. "My fear at that time was the company would lose interest and close down the project." Cromer, Ben. "Robert Johnson Tapes Found; Set Remastered." Billboard 07 Dec. 1996: 39-40. Print. |
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King Of The Delta Blues Singers CK 65746 © 1998 Sony Music Entertainment Inc. Produced and edited by Frank Driggs Recordings were taken from
available metal masters at The following have given
much of their time and consideration in the preparation of this album: Helene
Chmura, John Hammond, John Kelly and Don Law. Original Remastering: Original Cover Painting by
Burt Goldblatt All Other Artwork Courtesy
of Original Recording
Producer: Don Law, American Record Corporation Original Recording
Engineer: Vincent Liebler Original Recording
Supervision: Art Satherly 1961 Reissue Album
Producer: Frank Driggs, Digital Transfer Producer:
Stephen C. LaVere, The Estate of Robert Johnson Original source material
provided by Stephen C. LaVere, Richard Nevins (track 14), and Alan Jabbour,
Library of Congress Archive of Folk Song (track 17) Disc to Digital Transfers:
Steven Lasker, Michael Donaldson (track 17) CEDAR restoration: Steven
Lasker, Sonic Advice: John R.T.
Davies Digital Masters by Robert
Vosgien, CMS Digital, Roots ‘n’ Blues Series
Producer: Project Direction: Adam
Block, John Jackson Legacy A&R: Steve
Berkowitz A&R Coordinator: Patti
Matheny Art Director: Carol Grobe Packaging Manager: Ari Kast This title contains
previously released material Thanks to: Jeff Jones, Tom
Cording, Randy Haecker, Darren Salmieri Steve LaVere’s special
thanks to: Steven Lasker for his tireless efforts in transferring
these performances so the world-at-large can hear Robert Johnson the way we
78-collectors do. Alan Jabbour for being so forthcoming in regard to
a previously unknown alternate take of “Traveling Riverside Blues.” Lawrence Cohn for being so instrumental in the
Robert Johnson phenomenon we are all presently enjoying. John Hammond and Frank Driggs for reissuing Robert
Johnson’s recordings in the 1960’s, and Art Satherly, Don Law, and Vinnie
Liebler for recording Robert Johnson in the first place. Producer’s Note: If you
know the location and/or present owner of the original Burt Goldblatt
painting used for the cover of this classic reissue, please contact Stephen
C. LaVere, in care of The Estate of Robert Johnson, |
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King Of The Delta Blues Singers (Vol. 2) CK 92579 © 2004 Sony Music Entertainment Inc. Original Recordings
Produced by Don Law Compilation Produced for LP
by Frank Driggs CD Reissue Produced by
Jerry Rappaport at Sony Music Studios, Mastered by Joseph M.
Palmaccio at Sony Music Studios, Legacy A&R: Steve
Berkowitz A&R Coordination:
Stacey Boyle Cover Art: Daily Planet/Tom
Typographical Design: Nick
Fasciano Art Direction: Howard
Fritzson Design: Lisa Wolf Special thanks to: Adam
Block, Stacey Boyle, Tom Cording, Randy Haecker, Jeff Jones, Mike Kull, James
Orofino, Michelle Scott |
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The Centennial Collection/The Complete Recordings 88697 85907 2 © 2011 Sony Music Entertainment All Original Recordings
Produced By Don Law Original Recording
Engineer: Vincent Liebler Original Recording
Supervision: Art Satherly Producer for 2011 CD:
Stephen C. LaVere Engineer: Steven Lasker Mastering Engineer: Seth
Winner Legacy A&R Supervision:
Steve Berkowitz 24-bit disc to digital
transfer and initial CEDAR CAMBRIDGE restoration*: Steven Lasker, *Except CD 2, Track 10:
Transfer courtesy of the Library Of Congress – Michael Donaldson, engineer Additional digital
restoration and final assembly of masters – Seth B. Winner Sound Studios,
Inc., Original source material
provided by Stephen C. LaVere, Richard Nevins, John Tefteller and Alan
Jabbour, Library of Congress, Archive of Folk Song Project Manager: Gretchen
Brennison Marketing Managers: Zak
Profera and Mandy Eidgah Art Direction: Jeff Schulz
at Menagerie Design: Jeff Schulz at
Menagerie Co. Thank You: Vic Anesini,
Adam Block, John Boncimino, Brady Brock, Michael Brooks, Larry Cohn, Didier
D. Deutsch, Frank Driggs, Michael Eaton, Adam Fells, Amy Finkle, Michael
Frank, Greg Geller, Trudy Greene, Allan Hammons, Bob Hoch, Randy Hoffman,
Jeremy Holiday, John Jackon, Patrick Jordan, Kathy Kane, Bob Kaus, Howard Lau,
Joe McCuen, Bob Merlis, Beth Miller, Ben Minnifield & Tanya Scott from
the Robert Johnson Blues Foundation, Paul Nelson, Andrew Pressner, Kim
Rappaport, Jane Rose, Jeffrey Schulberg, Maria Triana, Scooter Weintraub,
Donny Whitehead, Mark Wilder Special thanks to: Claud
and Steven Johnson; Kitchens Law Firm for the Robert Johnson Estate; and to
Stephen C. LaVere for invaluable contributions. Additional notes: Finally, it must be noted that the recordings appearing in this collection are all new digital transfers by the master of the medium, Steven Lasker. He has spent the last many years advancing a transfer technique that provides the most accurate capture yet devised of musical information from a concentric groove. The business end of the tone arm which he as adapted for this purpose looks like the head of a Rockhopper Penguin! Combining that with a seemingly endless range in size of conical and truncated, elliptical styli and you have the trappings of a sonic engineer madman-genius. Once Lasker adeptly retrieved the
true voice of Robert Johnson from the finest available original and test
pressings, another magician, in the person of Seth Winner, took over and
removed all the sonic noise from Lasker’s transfers – clicks, pops, stripped
grooves and other minor imperfections that were inherent to the original
pressings – absent the tonality of the disc surface hiss in full knowledge
that in removing it all, some of the upper range of the musical information
would be affected. What remains is every bit of the clarity of Robert
Johnson’s recordings made during those halcyon days in LaVere, Stephen C. (2011). A History of the Recorded
Masters. In The Centennial Collection
(p. 23) [CD liner notes]. "Hi Marc. The hiss was reduced, and most of the clicks and
crackle were removed, by a single pass of CEDAR CAMBRIDGE. Then the 24-bit
tapes went to Seth Winner, who spent some 50 hours intensively removing what
clicks and crackle remained with CEDAR retouch, along with considerable
120-cycle hum that came off of the original recording equipment in "I have something like 100 different styli to select from, and a
proper fit gives best sound. Then, too, I use a stylus with a sensitive
cantilever which picks up lots of musical information—and lots of non-musical
extraneous vibrations, which is why most transfer engineers settle for a
stylus with a stiffer cantilever. "I've also figured out how to tame the non-musical vibrations
with a tonearm stabilizer, a device of my own invention. This allows the
stylus to consistently track down the very center of a lateral groove, which
is where the small fractals are found. It allows me to track at a far lighter
tracking force. "This is important, because with a heavier tracking force,
separation is lessened. The equation is the greater the separation, the less
mud in a transfer. (The theory behind all this was first, at least to my
knowledge, explained in an article in the September 1939 issue of Fortune
magazine, which, among other things, attempted to explain why there was so
much greater separation and higher fidelity on vertical recordings as opposed
to lateral ones.) "Better mechanical playback technique results in higher fidelity
sound, it's that simple. By the way, there was next to no equalization
applied to these transfers other than turnover eq. "Thanks for the opportunity to share my thoughts about a subject
I'm passionate about: how to get the best sound out of a 78-rpm coarse
groove." Lasker, Steven. Interview by
Marc Myers. “Robert Johnson: Complete Tracks.” JAZZ.FM91. JAZZ.FM91, 26 Apr. 2011. Web. 02 Jul. 2011. |
