An Inspiring Monument to Robert Johnson : Anthology: In just 29 songs recorded in 1936 and 1937, he coined the currency of the blues, and therefore of rock ‘n’ roll.

Imagine the Acropolis restored.

And while you’re at it, have a look at the blueprints.

That would be a profound rediscovery for Western culture, and it’s roughly what Robert Johnson’s “The Complete Recordings” represents to rock ‘n’ roll.

Until this Columbia Records compilation (which will be in stores Sept. 11), the blues titan’s recordings have been scattered on two Columbia collections and assorted anthologies, like fallen columns around the ruins. Gathered together and polished up on “The Complete Recordings,” they form an awe-inspiring monument.

In just 29 songs (12 alternate takes bring the track total to 41), Johnson coined the currency of the blues, and therefore of rock ‘n’ roll. It’s not just a matter of structure and technique, though he was a formidable technician--never more clearly so than on these digitally remastered recordings. (In his essay in the album booklet, Keith Richards recalls that the first time he heard Johnson he thought it was two guitarists.)

And it’s not just Johnson’s songs themselves--blues standards and rock staples like “Cross Road Blues,” “Love in Vain,” “Sweet Home Chicago,” “I Believe I’ll Dust My Broom.”

Most importantly, this shadowy figure redefined popular music’s expressive capacity, demonstrating just how much human truth can be transmitted from the soul into song. As Eric Clapton notes in his essay: “His music remains the most powerful cry that I think you can find in the human voice, really.”

Johnson played all around the Mississippi Delta region, an itinerant phantom influenced by popular bluesmen such as Charley Patton and Lonnie Johnson--but clearly with the genius to transcend all influences. His musical growth was so sudden and startling that people figured he sold his soul to the Devil. His entire recorded output was cut in five days in 1936 and ‘37, in San Antonio and Dallas, and the next year he died of pneumonia after being poisoned by a jealous husband at age 26.

What does the music of this misty legend actually sound like? Powerful, yes, but also elegant, almost dainty at times. Chomping the bass strings with his thumb while he dances all over up high, Johnson sings in a clenched, piping voice about his sexual prowess, true love, love in vain, evil women, fine women, hitting the road. And the devil.

It’s a voice you’ll follow even into chambers of despair. He warns that this music isn’t to be taken lightly:

The blues is a low-down shakin’ chill . . . A low-down achin’ heart disease

Like consumption killing me by degrees.

Though he makes the form bend to his emotions, this is still a lot of three-chord, 12-bar blues. Think of it as an epic poem of desire and dread in 41 cantos.

The Johnson set is the flagship of eight albums that compose the first release of Columbia’s “Roots ‘n’ Blues” series. The other seven will beat Johnson into the stores, arriving on Tuesday. Produced by Larry Cohn, who initiated the often-delayed Johnson collection in 1974, the series marks Columbia’s plunge into its significant blues and ethnic archives.

The initial release--all available in cassette, CD and limited-edition vinyl--features collections by Johnson, Big Bill Broonzy, Willie Dixon and Lonnie Johnson, three blues anthologies and a Cajun compilation. A Columbia spokesman said that the label plans to establish a schedule for the series of two releases a year, with six or eight volumes in each release. The next set is expected early in 1991.