Here’s something you’ve just got to listen to.

I actually don’t know when I first heard one of Willie Johnson’s songs. It was probably when I bought Bob Dylan’s first record. In fact, I don’t think I bought Dylan’s first record until "Blood on the Tracks." On Dylan’s first record, he covers a song that has become attributed to Johnson "In My Time of Dying." As with so much of this music recorded from street singers in the south in the first third of the last century, who actually wrote what is sometimes shrouded in as much mystery as what the actual title of the song is. And just to confuse the matter even more, Dylan very well may have never heard Johnson’s version before recording it. The song may have very well have been handed down to him from someone like Dave Van Ronk or one of the other collectors of song from the folkscare. And God only knows where Led Zeppelin first heard it.

Although Willie Johnson doesn’t have the myth of Robert Johnson or Charlie Patton, his work has cast its influence on not only blues and rock, but his songs, like Mississippi John Hurt, have shown great influence on many contemporary songwriters. One CD of recent note is the latest by faux hollar-folkie/girl Gillian Welch. On Welch’s’ "Time (The Revelator)," Johnson’s ghost even makes an appearance in the title of the album. With a theme paying homage to Johnson’s "John the Revelator," Welch’s song "Revelator" amplifies on the semingly simple theme of "John the Revelator". Welch also burrows heavily from Johnson’s "God Moves on the Water" on both "April the 14th Part One" and "Ruination Day."

Johnson’s recordings are like many others from the same era. Rough, raw, real and sometimes explosive. Like Rev. Gary Davis, Willie Johnson draws on a blues tradition from his southern gospel roots. Often using a throat singing technique similar to Charlie Patton, Johnnson’s full force vocals seem to cut to the bone. Johnson often employs a slide technique with an alternate bass while following the vocal melody of the song with the slide. Johnson’s skill is simply mesmerizing. But along with the power and skill of his playing, it’s Johnson’s lyrics and melodies that cut to the bone.

It’s easy to see why Welch believes that "God Moves on the Water" was worthy of having an involvement in the inspiration of two of her songs. Written after the sinking of the Titanic, "God Moves on the Water" is at the same time a social and gospel commentary on what was undoubtedly as earth shattering an event in its day, as 9-11 is to us.

How many that leave they happy home

All that they possess

Lord Jesus will you help us now

Help in our distress

God knows

God Knows

God Knows

And the people that run and prayed

Johnson shows a depth to his songwriting that wasn’t often found in much of the songwriting of the rural blues. Like Charlie Patton’s "High Water," this Johnson tune deals with disaster using an introspective slant that’s unusual for 1920’s folk blues.

One thing that I find absolutely amazing is how for 15-20 bucks you can pick up a double CD set of Johnson’s complete works. Or even download it to your computer from what I like to call the "cut-out bin" of the internet, emusic. Even 20 years ago collecting Johnson’s songs on CD would have been a daunting task. So this month instead of laying down your hard earned cash on something contemporary, buy something classic and as real as a Texas tornado. The songs and music of Willie Johnson.