"Go with Me to That Land" were chosen as the first single released from the session. However, the Great Depression had wiped out much of Johnson's audience, and consequently only 800 copies were pressed. Some of his songs were re-released by Vocalion Records in 1932, but Johnson never recorded again. Later life and death Johnson allegedly remarried, this time to Angeline Johnson, in the early 1930s, but, as with Harris, it is unlikely that the union was officially registered. Throughout the Great Depression and the 1940s, he performed in several cities and towns in Texas, including Beaumont. A city directory shows that in 1945, a Reverend W. J. Johnson—undoubtedly Blind Willie—operated the House of Prayer at 1440 Forrest Street, in Beaumont. In 1945, his home was destroyed by a fire, but, with nowhere else to go, Johnson continued to live in the ruins of his house, where he was exposed to the humidity. He contracted malarial fever, and no hospital would admit him, either because of his visual impairment or, as Angeline Johnson stated in an interview with Charters, because he was Black. Over the course of the year, his condition steadily worsened until he died, on September 18, 1945. His death certificate reported syphilis and blindness as contributing factors. According to his death certificate, he was buried in Blanchette Cemetery, in Beaumont. The location of the cemetery had been forgotten until it was rediscovered in 2009. His grave site remains unknown, but the researchers who identified the cemetery erected a monument there in his honor in 2010. Musical style Johnson is considered one of the masters of blues, particularly of the gospel blues style. Like his contemporary Blind Lemon Jefferson, Johnson channeled the expressiveness of the blues into his religious messages derived from hymnbooks. Samuel Charters, in the liner notes to the compilation album The Complete Blind Willie Johnson, wrote that, in fact, Johnson was not a bluesman in the traditional sense, "but here still is so much similarity between his relentless guitar rhythms and his harsh, insistent voice, and the same fierce intensities of the blues singers, that they become images of each other, seen in the mirror of the society that produced them". An important aspect of Johnson's recordings was his mastering of the bottleneck guitar technique, which was immediately influential on Robert Johnson and Howlin' Wolf. He punctuated his selections with tonal control and a sense