James (✓Lonnie) Johnson – 真実革命
1926年 1月19日 New York 録音 Lonnie Johnson
1926年 1月20日 New York録音 James ” Steady Roll” Johnson
8曲の修正が完了した。
新たに解読された録音回転数により素晴らしい演奏と唄声が蘇った。
1937年 38年のLonnie Johnson名義の録音 当社が保有しているメタルマザー 2010年にリリースした音源は全てやり直しとなりました。2025年の分析能で再検証しメタルマザー音源が新たな感動を呼ぶ。
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1963年のブルースリバイバル ロニー・ジョンソンの動画演奏も真実革命に修正されている。
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2011年リリースしたロニー・ジョンソンの真実革命音源集は,この12年で研究が進み全曲の見直しが必要となりました。さらにリアルなロニー・ジョンソンの唄声が蘇ります。
2023年度の真実革命検証により12年前に発表した音源集を自ら全否定する結果となり真実が塗り替えられた。 前回のCDは破棄するべき音源集と結論付ける。CDを所有している皆さんへは研究を継続した事で明らかとなった新真実をお伝えしたいと考えています。
Reissue タイトル変更 –JOHNSON BROTHERS
リイッシュ版は検証の結果アーティストクレジットが間違っている事が分かった為、アルバムタイトル変更となります。
リイッシュに至る経緯は Akira Kikuchi によるロニー・ジョンソンのチューニングの解明と演奏の再現があり、演奏キーの見直しが確実となったことにより修正が必要となりました。
ギター弦が揺れる音、唄声、ビブラート、息使いなど、これまでにない表現力で復元されることは間違いありません。Akira Kikuchiによるデモ演奏 Got the Blues For The West End をご確認下さい。
Swing Out Rhythm 1937年録音 - Johnson Tuning (Akira Kikuchi 解明）
Got the Blues For The West End 1937年録音- Johnson Tuning (Akira Kikuchi 解明）
Playing With The Strings 1928年録音 - Johnson Tuning (Akira Kikuchi 解明）
To Do This You Got To Know How 1926年録音 - Johnson Tuning (Akira Kikuchi 解明）
1927年の演奏と1937年の演奏は共通のジョンソン・チューニングで演奏できる事から同じ人物により同じ奏法で演奏された事が明確となりました。
「そして あの超絶ギターは あいつじゃない。」Akira Kikuchi 談
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| Akira’s Owning the metal masters of Decca Records | Akira calculates the detailed dimensions of Lonnie’s guitar from a photo. |
The Truth Revolution – The Johnson Brothers
James (✓Lonnie) Johnson: The Truth Revolution
- January 19, 1926 (New York): Lonnie Johnson
- January 20, 1926 (New York): James “Steady Roll” Johnson
The correction of eight tracks is now complete. Based on the newly decoded recording RPMs, the magnificent performances and vocals have been resurrected in their true form.
A Critical Update on Lonnie Johnson (1937–1938 Recordings) All recordings previously released in 2010—including those sourced from our own Metal Mothers—are now slated for a complete overhaul. Through the lens of our 2025 analytical capabilities, these Metal Mother sources are being re-verified to evoke an entirely new level of profound emotion.
Furthermore, the 1963 Blues Revival performance footage of Lonnie Johnson has also been corrected to align with the “Truth Revolution” standards.
The Total Nullification of the 2011 Release Over the twelve years since the 2011 release of the Lonnie Johnson True Revolution collection, my research has advanced to a point where every single track requires a total revision. Through the 2023–2025 “Truth Revolution” verification process, I have reached the conclusion that the collection I released twelve years ago must be completely disavowed.
For those who own the previous CD, I consider it an obsolete artifact. I feel a deep responsibility to share the “New Truth” that has only now become clear through this relentless pursuit of accuracy.
Reissue Title Change: “JOHNSON BROTHERS” As a direct result of this verification, it has become evident that the original artist credits were incorrect. Consequently, the album title for the reissue will be changed to reflect the truth of the Johnson Brothers.
The Path to the Reissue The impetus for this reissue lies in Akira Kikuchi’s definitive decoding of Lonnie Johnson’s tuning and his physical reproduction of the performances. With the musical keys now firmly established, a total correction was inevitable.
The restoration will undoubtedly capture unprecedented levels of expression—the subtle vibration of guitar strings, the true timbre of the voice, the nuances of vibrato, and the very breath of the artists. Please listen to the demo performance of “Got the Blues For The West End” by Akira Kikuchi to experience this for yourself.
The Decisive Revision of the Johnson Brothers
The Custodian of the Metal Mothers
Pan Records holds a unique and solemn responsibility in the global blues community as the custodian of original Decca Records metal masters—the direct, high-fidelity precursors to the original pressings. Among these are the invaluable masters of Lonnie Johnson. Owning these is not a matter of pride, but of duty: to ensure that the highest quality source material is used to restore the absolute truth of the music.
2025: The Year of Total Re-Verification
The “True Revolution” has entered its most profound phase. Leveraging my 2025 analytical capabilities, I have determined that my own 2011 release of the Lonnie Johnson collection was incomplete. In the pursuit of truth, there is no room for compromise—even when it means disavowing my own past work.
Twelve years of subsequent research into physical rhythm, tonal vibration, and performance keys have revealed that the previous pitch corrections were insufficient. The “True Revolution” is not a static project; it is an evolving mission that demands the total nullification of past errors.
Revealing the “Johnson Brothers”
The most startling discovery of this re-verification process is the misidentification of the artist himself. Through meticulous analysis of the playing style and historical timelines, I have identified that the virtuosic guitar work—previously credited solely to Lonnie Johnson—was in fact the work of his brother, James “Steady Roll” Johnson.
This conclusion is supported by the stark reality that this specific level of technical brilliance vanished from the recording world upon James’s death. The upcoming reissue will be correctly credited to the “Johnson Brothers,” finally giving James the recognition history denied him.
The Truth Unmasked: Beyond the “Female” Voice
One of the most telling examples of “Hayamawashi” (speed error) deception was the infamous “Sweet Lonnie” vocal. Long believed by critics to be a female guest vocalist, the corrected pitch has unmasked the truth: it was a male voice—Lonnie himself—performing a high-pitched caricature. Correcting the speed did more than fix the pitch; it stripped away a century-old illusion, revealing the artist’s true presence and his quirky studio reality.
A Sanctuary for the Authentic Sound
The refined versions of these recordings—capturing the true timbre, the vibration of the silver strings, and the actual breath of the performers—are currently held in the private archives of Pan Records. In a world that consumes music as a mere commodity, I have chosen to keep these “Correct Answers” protected. They exist now as a sanctuary for the authentic heartbeat of 1920s American music, preserved with a precision that brooks no error.
