Robert Johnson (1911–1938) is the most venerated of all pre-war blues musicians; the veneration borders on hagiography. Recently published revisionist literature has constructed a sociologically realistic portrayal of a professional musician working among other musicians for a contemporary audience in a specific historical context. This has left unexplained, however, the veneration granted to his music by the audience for his records from the 1960s to today. This paper presents the case that these two bodies of fact can be connected and the one serve as an explanation for the other. As Robert Johnson learned his craft from records and radio, and polished his songs to be recorded, he effectively developed a ‘for-the-record’ aesthetic that made his music sound different to that of his Delta contemporaries and many others who used musical techniques honed in performance for an audience. Decades later, when a ‘for-the-record’ aesthetic was the taken-for-granted standard in popular musical culture, Robert Johnson's records sounded better than those of his contemporaries, and the audience from the 1960s to today has had a reason to think that he and his music were special.