Aside from being one of the first artists to record for Peacock Records of Houston in 1949 nothing much is known of Johnson. She’s got a decent voice and knows how to use it which suggests she had some experience working in clubs, which might explain how Don Robey whose primary endeavor was The Peacock Club found her and decided to record her for his label just as it got started to give him the perception of having a deeper artist roster, but that’s pure speculation.

It’s also possible that since she cut her only sides with saxophonist Big Jim Wynn she was employed as a singer with his band for awhile. Recording Johnson while backed by Wynn might’ve been viewed as a chance for Peacock to get a name performer to appear on their early releases since he didn’t cut any solo sides for the label, indicating Wynn may have still been under contract elsewhere which precluded him from recording as a featured performer.

Whatever the case though, after her lone session for the company she wasn’t heard from again on record.

BEA JOHNSON DISCOGRAPHY (Records Reviewed To Date On Spontaneous Lunacy):

(Peacock 1502; December, 1949)
Well sung with a unique plot twist which abruptly flips the narrative on its head but the accompanying music remains stuck in the mournful mood to match the early lyrics when it should’ve shifted to something more celebratory to coincide with the surprise ending. (5)

(Peacock 1502; December, 1949)
Fewer chances are taken here than with the top side, but it might be a little more effective because of it, sticking to a tried and true framework in which Johnson delivers her parts with skill and class, though the music behind her remains slightly underwhelming. (5)