Robert Johnson

Robert Johnson

For other people named Robert Johnson, see Robert Johnson (disambiguation).

Robert Johnson, born Robert Leroy Johnson (May 8, 1911 – August 16, 1938) is among the most famous of Delta blues musicians. His landmark recordings from 1936–1937 display a remarkable combination of singing, guitar skills, and songwriting talent that have influenced generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend. Considered by some to be the "Grandfather of Rock-and-Roll", his vocal phrasing, original songs, and guitar style have influenced a broad range of musicians, including John Fogerty, Bob Dylan, Johnny Winter, Jimi Hendrix, The Yardbirds, Led Zeppelin, The Allman Brothers Band, The Rolling Stones, Paul Butterfield, The White Stripes, The Black Keys, The Band, Neil Young, Warren Zevon, Jeff Beck, and Eric Clapton, who called Johnson "the most important blues musician who ever lived". He was also ranked fifth in Rolling Stone's list of 100 Greatest Guitarists of All Time. He is an inductee of the Rock and Roll Hall of Fame.

Life and career

Johnson's life is not well documented, and the variety of legends that have surrounded him for decades have made scholarship difficult. Serious research was not undertaken until the late 1960s and early 1970s, most notably by researchers Mack McCormack and Stephen LaVere. Most of the information on his life has come from the decades-old recollections of surviving family and associates. The two known images of Johnson were located in 1973, in the possession of the musician's half-sister Carrie Thompson, and were not widely published until the late 1980s.

Five significant dates from his career are documented: Monday, Thursday and Friday, November 23, 26, and 27, 1936 at a recording session in San Antonio, Texas. Seven months later, on Saturday and Sunday, June 19–20, 1937, he was in Dallas, Texas at another session. His death certificate was discovered in 1968, and lists the date and location of his death. Two marriage licenses for Johnson have also been located in county records offices. Other facts about him are less well established. Director Martin Scorsese says in his foreword to Alan Greenberg's filmscript Love In Vain: A Vision of Robert Johnson, "The thing about Robert Johnson was that he only existed on his records. He was pure legend."

Early life

Robert Johnson was born in Hazlehurst, Mississippi sometime around May 8, 1911, the 11th child of Julia Major Dodds, who had previously borne 10 children to her husband Charles Dodds. Born out of wedlock, Johnson did not take the Dodds name.

Twenty two-year-old Charles Dodds had married Julia Major in Hazlehurst, Mississippi—about 35 miles (56 km) south of Jackson—in 1889. Charles Dodds owned land and made wicker furniture; his family was well off until he was forced out of Hazlehurst around 1909 by a lynch mob following an argument with some of the more prosperous townsfolk. (There was a family legend that Dodds escaped from Hazlehurst dressed in women's clothing.) Over the next two years, Julia Dodds sent their children one at a time to live with their father in Memphis, where Charles Dodds had adopted the name of Charles Spencer. Julia stayed behind in Hazlehurst with two daughters, until she was evicted for nonpayment of taxes.

By that time she had given birth to a son, Robert, who was fathered by a field worker named Noah Johnson. Unwelcome in Charles Dodds' home, Julia Dodds became an itinerant field worker, picking cotton and living in camps as she moved among plantations. While she worked in the fields, her eight-year-old daughter took care of Johnson. Over the next ten years, Julia Dodds would make repeated attempts to reunite the family, but Charles Dodds never stopped resenting her infidelity. Although Charles Dodds would eventually accept Johnson, he never would forgive his wife for giving birth to him. While in his teens, Johnson learned who his father was, and it was at that time that he began calling himself Robert Johnson.

Around 1914, Robert Johnson moved in with Charles Dodds' family, which by that time included all of Dodds' children by Julia Dodds, as well as Dodds' mistress from Hazlehurst and their two children. Johnson would then spend the next several years in Memphis, and it was reportedly about this time that he began playing the guitar under his older half-brother's tutelage.

Johnson did not rejoin his mother until she had remarried several years later. By the end of the decade, he was back in the Mississippi Delta living with his mother and her new husband, Dusty Willis. Johnson and his stepfather, who had little tolerance for music, did not get along, and Johnson had to slip out of the house to join his musician friends.

It is not known whether Johnson attended school in the Delta during this time. Some later accounts say that he could neither read nor write, while others tell of his beautiful handwriting. In any case, everyone agrees that music was Johnson's first interest, and that he had his start playing the Jew's harp and harmonica in addition to guitar.

Bluesman

Johnson began travelling up and down the Delta, travelling by bus, hopping trains, and sometimes hitchhiking. According to Blues folklore, Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become a great blues musician, he was instructed to take his guitar to a crossroad near Dockery’s plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned the guitar so that he could play anything that he wanted, and handed it back to him in return for his soul. Within less than a year’s time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard. The source of this legend is unclear, some of Johnson's associates, most notably Johnny Shines, say he fostered this story and image during his lifetime. However, people "in-the-know" often suggest that this story was originally started by the brother-in-law of fellow bluesman Tommy Johnson (no relation, though the two were born just 20 miles apart), and that only later in his life did Robert Johnson pass off the story as his own.

When Johnson arrived in a new town, he would play on street corners or in front of the local barbershop or a restaurant. Anything he earned was based on tips, not salary. He played what his audience asked for—not necessarily his own compositions, and not necessarily blues. With an ability to pick up tunes at first hearing, Johnson had no trouble giving his audiences what they wanted, and certain of his contemporaries, most notably Johnny Shines, later remarked on Johnson's interest in jazz and country. (Many giants of the blues, including Muddy Waters, were not averse to playing the hit songs of the day.) Johnson also had an uncanny ability to establish a rapport with his audience; in every town in which he stopped, Johnson would establish ties to the local community that would serve him well when he passed through again a month or a year later.

Fellow musician Johnny Shines was 17 when he met Johnson in 1933. He estimated that Johnson was maybe a year older than himself. In Samuel Charters' Robert Johnson, the author quotes Shines as saying:

"Robert was a very friendly person, even though he was sulky at times, you know. And I hung around Robert for quite a while. One evening he disappeared. He was kind of peculiar fellow. Robert'd be standing up playing some place, playing like nobody's business. At about that time it was a hustle with him as well as a pleasure. And money'd be coming from all directions. But Robert'd just pick up and walk off and leave you standing there playing. And you wouldn't see Robert no more maybe in two or three weeks.... So Robert and I, we began journeying off. I was just, matter of fact, tagging along."

During this time Johnson established what would be a relatively long-term relationship with Estella Coleman, a woman who was about fifteen years his elder and the mother of musician Robert Lockwood, Jr.. Johnson, however, reportedly also cultivated a woman to look after him each town he played in. Johnson supposedly asked homely young women living in the country with their families whether he could go home with them, and in most cases the answer was yes—until a boyfriend arrived or Johnson was ready to move on.

Recording sessions

Around 1936, Johnson sought out H. C. Speir in Jackson, Mississippi, who ran a general store and doubled as a talent scout. Speir, who helped the careers of many blues players, put Johnson in touch with Ernie Oertle, who offered to record the young musician in San Antonio, Texas. At the recording session, held on November 23, 1936 in rooms at the landmark Gunter Hotel which Brunswick Records had set up as a temporary studio, Johnson reportedly performed facing the wall. This has been cited as evidence he was a shy man and reserved performer, a conclusion played up in the inaccurate liner notes of the 1961 album King of the Delta Blues Singers. Johnson probably was nervous and intimidated at his first time in a makeshift recording studio (a new and alien environment for the musician), but in truth he was probably focusing on the demands of his emotive performances. In addition, playing into the corner of a wall was a sound-enhancing technique that simulated the acoustical booths of better-equipped studios. In the ensuing three-day session, Johnson played 16 selections, and recorded alternate takes for most of these. When the recording session was over, Johnson presumably returned home with cash in his pocket; probably more money than he'd ever had at one time in his life.

Among the songs Johnson recorded in San Antonio were "Come On In My Kitchen", "Kind Hearted Woman Blues", "I Believe I'll Dust My Broom", and "Cross Road Blues". "Come on in My Kitchen" included the lines: "The woman I love took from my best friend/Some joker got lucky, stole her back again,/You better come on in my kitchen, it's going to be rainin' outdoors." In "Crossroad Blues", another of his songs, he sang: "I went to the crossroads, fell down on my knees./I went to the crossroads, fell down on my knees./I asked the Lord above, have mercy, save poor Bob if you please./Uumb, standing at the crossroads I tried to flag a ride./Standing at the crossroads I tried to flag a ride./Ain't nobody seem to know me, everybody pass me by."

When his records began appearing, Johnson made the rounds to his relatives and the various children he had fathered to bring them the records himself. The first songs to appear were "Terraplane Blues" and "Last Fair Deal Gone Down", probably the only recordings of his that he would live to hear. "Terraplane Blues" became a moderate regional hit, selling 5,000 copies.

In 1937, Johnson traveled to Dallas, Texas, for another recording session in a makeshift studio at the Brunswick Record Building, 508 Park Avenue. Eleven records from this session would be released within the following year. Among them were the three songs that would largely contribute to Johnson's posthumous fame: "Stones in My Passway", "Me and the Devil", and "Hellhound On My Trail". "Stones In My Passway" and "Me And The Devil" are both about betrayal, a recurrent theme in country blues. The terrifying "Hell Hound On My Trail"—utilising another common theme of fear of the Devil—is often considered to be the crowning achievement of blues-style music. Other themes in Johnson's music include impotence ("Dead Shrimp Blues" and "Phonograph Blues") and infidelity ("Terraplane Blues", "If I Had Possession Over Judgement Day" and "Love in Vain").

Six of Johnson's blues songs mention the devil or some form of the supernatural. In "Me And The Devil" he began, "Early this morning when you knocked upon my door,/Early this morning, umb, when you knocked upon my door,/And I said, ' Hello, Satan, I believe it's time to go,'" before leading into "You may bury my body down by the highway side,/ You may bury my body, uumh, down by the highway side,/So my old evil spirit can get on a Greyhound bus and ride."

It has been suggested that the Devil in these songs does not solely refer to the Christian model of Satan, but equally to the African trickster god, Legba.

Death

One of Robert Johnson's three tombstones

In the last year of his life, Johnson is believed to have traveled to St. Louis and possibly Illinois, and then to some states in the East. He spent some time in Memphis and traveled through the Mississippi Delta and Arkansas. By the time he died, at least six of his records had been released in the South as race records.

His death occurred on August 16, 1938, at the age of twenty-seven at a country crossroads near Greenwood, Mississippi. He had been playing for a few weeks at a country dance in a town about 15 miles (24 km) from Greenwood.

There are a number of accounts and theories regarding the events preceding Johnson's death. One of these is that one evening Johnson began flirting with a woman at a dance. One version of this rumor says she was the wife of the juke joint owner who unknowingly provided Johnson with a bottle of poisoned whiskey from her husband, while another suggests she was a married woman he had been secretly seeing. Researcher Mack McCormick claims to have interviewed Johnson's alleged poisoner in the 1970s, and obtained a tacit admission of guilt from the man. When Johnson was offered an open bottle of whiskey, his friend and fellow blues legend Sonny Boy Williamson knocked the bottle out of his hand, informing him that he should never drink from an offered bottle that has already been opened. Johnson allegedly said, "don't ever knock a bottle out of my hand". Soon after, he was offered another open bottle of whiskey and accepted it, and it was that bottle that was laced with strychnine. Johnson is reported to have started to feel ill into the evening after drinking from the bottle and had to be helped back to his room in the early morning hours. Over the next three days, his condition steadily worsened and witnesses reported that he died in a convulsive state of severe pain - symptoms which are consistent with strychnine poisoning. Strychnine was readily available at the time as it was a common pesticide, and although it is a very bitter-tasting substance it is extremely toxic, and a small quantity dissolved in a harsh-tasting solution such as whiskey could possibly have gone unnoticed, but (over a period of days due to the reduced dosage) still produced the symptoms and eventual death that Johnson experienced.

The precise location of his grave remains a source of ongoing controversy, and three different markers have been erected at supposed burial sites outside of Greenwood. Research in the 1980s and 1990s strongly suggests Johnson was buried in the graveyard of the Mount Zion Missionary Baptist church near Morgan City, Mississippi, not far from Greenwood, in an unmarked grave. A cenotaph memorial was placed at this location in 1990 paid for by Columbia Records and numerous smaller contributions made through the Mt. Zion Memorial Fund. More recent research by Stephen LaVere (including statements from Rosie Eskridge, the wife of the supposed gravedigger) indicates that the actual grave site is under a big pecan tree in the cemetery of the Little Zion Church north of Greenwood along Money Road. Sony Music has placed a marker at this site.

In 1938, Columbia Records producer John Hammond, who had heard Johnson's records, sought him out to book him for the first "From Spirituals to Swing" concert at Carnegie Hall in New York. On learning of Johnson's death, Hammond replaced him with Big Bill Broonzy, but still played two of Johnson's records from the stage. Robert Johnson has a son, Claude Johnson, and grandchildren who currently reside in a town near Hazlehurst, Mississippi.

Recordings

Johnson's recordings have remained continuously available since John Hammond convinced Columbia Records to compile the first Johnson LP, King of the Delta Blues Singers, in 1961. A sequel LP, assembling the rest of what could be found of Johnson's recordings at that time, was issued in 1970. In the UK, both albums were issued as a two-LP set by Blue Diamond Records in 1985 under the same name, King of the Delta Blues Singers. An omnibus two-CD set (The Complete Recordings) was released in 1990 and produced by Beryl Cohen Porter [Sony/Columbia Legacy 46222], containing all 41 known recordings of his 29 compositions.

A 1996 plastic jewel-case remaster of the Complete set [Sony/Columbia Legacy 64916] corrected fidelity and pitch problems from the cardboard-packaged box. The more recent CD re-releases of "King of the Delta Blues Singers" Volumes 1 & 2 improve the sound quality far more dramatically, but don't include 10 alternate takes (and two accidental introductions) found on Complete. Volume one includes a recently discovered alternate take of "Traveling Riverside Blues" which is not included on the Complete collection. This now brings the number of known Johnson recordings to forty-two.

Selective awards and recognitions

Grammy Awards

Year	Category	Title	Genre	Label	Results
1990	Best Historical Album	The Complete Recordings	Blues	Sony/Columbia Legacy	Winner

The Complete Recordings: A double-disc box set was released on August 28, 1990, containing everything Robert Johnson ever recorded, contains all 29 recordings, including 12 alternate takes.

Grammy Hall of Fame

Year Recorded	Title	Genre	Label	Year Inducted
1936	Cross Road Blues	Blues (Single)	Vocalion	1998

National Recording Registry

The Complete Recordings of Robert Johnson (1936-1937) was included by the National Recording Preservation Board in the Library of Congress' National Recording Registry in 2003. The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."

Rock and Roll Hall of Fame

The Rock and Roll Hall of Fame listed four songs by Robert Johnson of the 500 songs that shaped rock and roll.

Year Recorded	Title
1936	Sweet Home Chicago
1936	Cross Road Blues
1937	Hellhound on My Trail
1937	Love in Vain

The Blues Foundation Awards

Robert Johnson: Blues Music Awards
Year	Category	Title	Result
1991	Vintage or Reissue Album	The Complete Recordings	Winner

Honors and Inductions

File:Robert johnson stamp.png

US Postage Stamp 1994

On September 17, 1994 the U.S. Post Office issues a Robert Johnson 29 cents commemorative postage stamp.

Year	Title	Results	Notes
2006	Grammy Lifetime Achievement Award	Winner	accepted by son Claud Johnson
2000	Mississippi Musicians Hall of Fame	Inducted
1986	Rock and Roll Hall of Fame	Inducted	Early Influences
1980	Blues Hall of Fame	Inducted

Influence

Blues musician and historian Elijah Wald feels that Johnson's major influence is on rock—particularly on white rock. He has made the controversial appraisal that "As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note." Assessments such as Eric Clapton's of Johnson as "the most important blues musician who ever lived," says Wald, are perfectly appropriate, but relate to Johnson's reputation and influence after the appearance of the first LP of his work in 1961. Wald argues that Johnson, although well traveled and always admired in his performances, was little heard by the standards of his time and place, and his records even less so. ("Terraplane Blues", sometimes described as Johnson's only hit record, outsold his others but was still a minor success.) If one had asked black blues fans about Robert Johnson in the first twenty years after his death, writes Wald, "the response in the vast majority of cases would have been a puzzled 'Robert who?'" Musical associates such as Johnny Shines also stated that in live performances, Johnson often did not focus on his dark and complex original compositions, but instead pleased audiences by performing more well-known pop standards of the day.

After decades of obscurity, Johnson's influence was kick-started in 1961, when Columbia Records compiled the album King of the Delta Blues Singers from Johnson's recordings. This and bootleg recordings brought his work wide distribution, and a fan base grew around them which included future rock stars such as Keith Richards of The Rolling Stones and Eric Clapton. When Keith Richards was first introduced to Johnson's music by his band mate Brian Jones, he replied, "Who is the other guy playing with him?", not realizing it was all Johnson playing on one guitar. Clapton described Johnson's music as "the most powerful cry that I think you can find in the human voice." The song "Crossroads" by British psychedelic blues rock band Cream is a cover version of Johnson's "Cross Road Blues", about the legend of Johnson selling his soul to the Devil at the crossroads, although Johnson's original lyrics ("Standin' at the crossroads, tried to flag a ride") suggest he was merely hitchhiking rather than signing away his soul to Lucifer in exchange for being a great blues musician.

"Robert Johnson, to whom we all owed our existence, in some way."—Robert Plant of Led Zeppelin, on NPR's Fresh Air, recorded in 2004.

An important aspect of Johnson's singing, and indeed of all Delta Blues singing styles, and also of Chicago blues guitar playing, is the use of microtonality—his subtle inflections of pitch are part of the reason why his singing conveys such powerful emotion.

John P. Hammond (the son of the aforementioned John Hammond) produced a documentary in the early 1990s about Johnson's life in the Delta area.

In the summer of 2003, Rolling Stone magazine listed Johnson at number five in their list of the 100 Greatest Guitarists of All Time.

The back-story to Robert Rankin's comic novel The Da-Da De Da-Da Code revolves closely around the career of Robert Johnson.

Pitch speed question

Johnson's recorded work has become more widely heard since the Columbia double CD release, and some have opined that the recordings run too fast. Support for this comes from passages of Johnson's songs that some believe his guitar playing sound constrained, and some of his vocals sound odd and robotic. Thus the claim is that some (or all) of Johnson's songs were intentionally or accidentally sped up before or after the recording process. Speeding up recordings has been a common practice in the recording industry, as it tends to make things sound more energetic. However, there has been a definitive lack of proof as to whether or not the recordings have actually been sped up, and this may be a matter of subjective explanation.

Some claim that when Johnson's music is slowed down (one article even states slowed down 20%), Johnson's music sounds more "natural."The guitar sounds warmer, more full, and more in line with other recordings from the late 1930s. His voice becomes more expressive, although it loses some of Johnson's trademark emotional "whine." Conversely, when some songs are slowed down (5-10%), Johnson's guitar playing begins to sound sloppy, and he seems to make tempo mistakes that a professional player would not make at slower speeds, and so there seems to be a lack of clarity about whether the claim is that all or only some of the songs that have been sped up.

A supporting argument for the sped up view is that in many of Johnson's songs, he would be playing extremely high up on the neck of the guitar, and in some cases he is said to be playing higher than there are frets on the guitar. For example, the intro of "Walkin' Blues" sounds like it is played at the fifteenth fret of a guitar in standard tuning. The argument here is that acoustic guitars generally do not have that many frets. This would seem to indicate that the recordings are sped up, since it would be difficult or impossible for Johnson to play this high. However this view is mistaken, because most guitars made since 1910 have at least sixteen frets, and Johnson's Gibson L-1 had 18 frets. It is also quite possible that he tuned his guitar higher than concert pitch. For playing slide guitar, the extra tension from tuning sharp can be an advantage.

This theory also does not take into consideration aspects of how slide guitar is played. By using a slide, the strings do not use frets to make sound, the pitch of the sound is determined by where the slide is placed on the strings, and so a slide guitarist can play extremely high notes that are impossible to play with traditional fretting technique. "If I Had Possession Over Judgment Day" is an example.

The strongest argument against the position that his work was consistently sped up (or slowed down) is that it would have been impossible: it couldn't have happened at all of the original sessions due to equipment failure, since the sessions were months apart. And it couldn't have happened in some version of post-production, since the tracks were released over the course of years, and many of them were never released on 78 at all. So if there indeed are speed anomalies, they should be consistent only within one session or for a particular group of releases--and the proponents of the speed controversy are all claiming there is some consistent alteration.

There is also controversy over whether the original recording masters were transferred from "wax" onto analog tape before being digitally restored. If this were the case, the tape machine used could quite easily have been out of calibration, thus pitching up the notes and increasing the tempo.

There is a strong possibility that this speed controversy comes from an attempt to explain the tonally tinny, hyper-treble end product of a sub-standard studio recording from the 1930s.

Tributes

• The Allman Brothers Band have covered in live performances "Drunken Hearted Boy" and others. Their guitarist, Dickey Betts, has covered "Come On In My Kitchen" on his most recent live album.
• The Blues Brothers covered "Sweet Home Chicago" in their eponymous 1980 film The Blues Brothers.
• Rory Block released in 2006 an album consisting solely of covers of Johnson's songs, The Lady and Mr. Johnson. In addition, she had previously performed or recorded "Come on in My Kitchen", "Hellhound on My Trail", "If I Had Possession over Judgment Day", "Rambling on My Mind", "Walking Blues", "Cross Road Blues", "Kindhearted Man" (a reworking of "Kind Hearted Woman Blues"), "Terraplane Blues", "When You Got a Good Friend", "Me and the Devil Blues", "Stones in My Passway", "Last Fair Deal Gone Down" and "Traveling Riverside Blues".
• Eric Clapton released in 2004 an album consisting solely of covers of Johnson's songs, Me and Mr. Johnson, and in the following year released a DVD and CD combo entitled Sessions For Robert J. In addition, he had previously performed or recorded "I'm a Steady Rolling Man", "Malted Milk", "Walkin' Blues", "From Four until Late", "Crossroads", "If I Had Possession over Judgment Day", and "Ramblin' on My Mind". While playing with John Mayall and the Bluesbreakers, he recorded "Ramblin' on My Mind". With Cream he recorded "Cross Road Blues" (reworked as "Crossroads") and "Four until Late". To quote "I have never found anthing more deeply soulful than Robert Johnson. His music remains the most powerful cry that I think you can find in a human voice, really."
• Delaney & Bonnie and Friends recorded "Come On in My Kitchen" on their 1970 album To Bonnie from Delaney. In addition, their live album On Tour with Eric Clapton (also 1970) includes the song "Tribute to Johnson", co-authored by Delaney Bramlett (as introduced on the album) about "Robert Johnson, one of our favorite singers".
• Bob Dylan ("Kind Hearted Woman Blues", "Milkcow's Calf Blues", "Rambling On My Mind", "I'm A Steady Rolling Man")
• Fleetwood Mac ("Hellhound On My Trail", "Kind Hearted Woman", "Preachin' Blues", "Dust My Broom", "Sweet Home Chicago")
• The Grateful Dead ("Walkin' Blues") "Deal," a Dead original by Jerry Garcia and Robert Hunter, also hints lyrically at Johnson's "Last Fair Deal Gone Down". "Walkin' Blues" was also performed by Bob Weir solo and with his band Ratdog.
• Hot Tuna ("Walkin' Blues") The song was also performed in solo gigs by Jorma Kaukonen.
• Peter Green Splinter Group (all 29 songs)
• John P. Hammond ("32-20 Blues", "Milkcow's Calf Blues", "Traveling Riverside Blues", "Stones in My Passway", "Crossroads Blues", "Hellbound Blues" ("Hellhound On My Trail"), "Me and the Devil Blues", "Walking Blues", "Come on in My Kitchen", "Preaching Blues", "Sweet Home Chicago", "When You Got a Good Friend", "Judgment Day", "Rambling Blues")
• Keb' Mo ("Come on in My Kitchen", "Last Fair Deal Gone Down", "Kindhearted Woman Blues", "Love in Vain")
• Led Zeppelin ("Traveling Riverside Blues", "The Lemon Song") Zeppelin's version of Johnson's "Traveling Riverside Blues" consisted of an amalgamation of several Johnson songs (such as "Cross Road Blues" and "Kind Hearted Woman") as well as new material by the band. Furthermore, lyrics from Johnson's "Traveling Riverside Blues" were used by Zeppelin in "The Lemon Song".
• Robert Lockwood, Jr. ("32-20 Blues", "Stop Breakin’ Down Blues", "Little Queen of Spades", "I Believe I’ll Dust My Broom", "Ramblin’ on My Mind", "Love in Vain Blues", "Kind Hearted Woman Blues", "Walking Blues", "I’m a Steady Rollin’ Man", "Sweet Home Chicago")
• Phish "Alumni Blues", an early Phish original, was influenced by Johnson's "Walking Blues" and both songs share opening lyrics. "Crossroads Blues" was included in Phish's live repertoire from 1993–98.
• The Radiators have covered many songs in their 4200 known live performances. "Last Fair Deal Gone Down" and "Stop Breakin' Down Blues" are staples of their live shows (having been performed over 100 times each). Other songs that have been covered approximately a dozen times or less include "Come on in My Kitchen", "Cross Roads Blues", "Dead Shrimp Blues", "From Four until Late". "Hellhound on My Trail", "I'm a Steady Rollin' Man", "Love in Vain", "Me and the Devil Blues", "Ramblin' on My Mind", "Sweet Home Chicago'", "Walkin' Blues" "When You Got a Good Friend".
• Tim McGraw refers to Robert Johnson/Devil legend in the opening and closing lines in "How Bad Do you Want it" on the Live Like You Were Dying album .
• The Rolling Stones ("Love in Vain", "Stop Breaking Down") "You know, you think you're getting a handle on the blues, and then you hear Robert Johnson..."—Keith Richards
• The White Stripes covered "Stop Breaking Down Blues", dropping "Blues" in the title, on their self-titled debut album. They have also recorded "Stop Breaking Down Blues" as the B-side to their 2002 single, "Dead Leaves and the Dirty Ground". They have covered many Robert Johnson songs on stage, including "Stones in My Passway" and "If I Had Possession over Judgment Day".
• Widespread Panic played "Me and The Devil" on their 1988 debut album Space Wrangler; "Stop Breakin' Down Blues" appeared on the 2005 Live at Myrtle Beach release. They have also played "Crossroads" live.
• Lucinda Williams covered "Stop Breaking Down Blues" on her debut album Ramblin', also dropping the word "Blues" from the title.
• Cassandra Wilson, mostly known as a jazz singer, covered "They're Red Hot" on her blues-influenced album Belly Of The Sun, calling it "Hot Tamales".
• Johnny Winter ("Kind Hearted Woman", "Me and the Devil", "When You Got a Good Friend")
• Red Hot Chili Peppers ("They're Red Hot" appeared on Blood Sugar Sex Magik)
• Gov't Mule ("32/20 Blues" and "If I Had Possession over Judgment Day" )
• Joe Bonamassa did a cover of "Walking Blues" in 2003 on his album Blues Deluxe.
• Steve Miller Band ("Come on in my Kitchen" appeared on The Joker)
• Paul Butterfield Blues Band covered "Walking Blues" on their debut album The Paul Butterfield Blues Band.
• The Gun Club covered "Preachin' Blues" on their album Fire of Love, but renamed the song "Preaching the blues".
• Jeff Martin of The Tea Party has long been a fan of the Blues and Robert Johnson in particular. The song "Sun Going Down" from Splendor Solis begins with a quote from "Me and the Devil" ("I woke up this morning, someone was knocking at my door. And I said hello sweet Satan, I believe it's time to go.") and the song "Black Snake Blues" from Exile and the Kingdom is a tribute to Johnson.
• The Mountain Goats ("Hellhound on My Trail" appeared on "Nothing for Juice")
• Patti Smith covered "Come On In My Kitchen", it was released as a b-side in 1996.

Songs

Most of the collection, minus a few songs, are available on The Complete Recordings (1990, 1996)

• "32-20 Blues" (.32-.20 is a revolver or rifle cartridge)
• "Come on in My Kitchen" (two versions—only one appears on "Complete" collection. Both versions of the song appear on Snapper Music's 2007 Robert Johnson and the Last of the Great Mississippi Blues singers 6 CD set.)
• "Cross Road Blues" (two versions)
• "Dead Shrimp Blues"
• "Drunken Hearted Man" (two versions)
• "From Four Till Late"
• "Hellhound on My Trail" (see also: Hellhound)
• "Honeymoon Blues"
• "I'm a Steady Rollin' Man"
• "I Believe I'll Dust My Broom" (sometimes called "I Believe My Time Ain't Long")
• "If I Had Possession over Judgment Day"
• "Kind Hearted Woman Blues" (two versions — only one appears on "Complete" collection. Both versions of the song appear on Snapper Music's 2007 Robert Johnson and the Last of the Great Mississippi Blues singers 6 CD set)
• "Last Fair Deal Gone Down"
• "Little Queen of Spades" (two versions)
• "Love in Vain" (two versions)
• "Malted Milk" (malted milk is a sweet beverage)
• "Me and the Devil Blues" (two versions)
• "Milk Cow's Calf Blues" (two versions)
• "Phonograph Blues" (two versions)
• "Preachin' Blues (Up Jumped The Devil)"
• "Rambling on My Mind" (two versions)
• "Stones in My Passway"
• "Stop Breakin' Down Blues" (two versions)
• "Sweet Home Chicago"
• "Terraplane Blues"
• "They're Red Hot"
• "Traveling Riverside Blues" (two versions—only one appears on The Complete Collection. Both versions of the song appear on Snapper Music's 2007 Robert Johnson and the Last of the Great Mississippi Blues Singers 6 CD set)
• "Walkin' Blues"
• "When You Got a Good Friend" (two versions)

Films

• Crossroads (1986) which is loosely based on the theme of a blues artist selling his soul to the devil and, more specifically, about a young white blues guitarist's search for Johnson's 'missing' thirtieth song (there are only 29 individual songs in Johnson's recorded repertoire). Johnson is played by Tim Russ, while Joe Seneca plays Willie Brown (a contemporary of Johnson's mentioned in the song "Cross Road Blues"). Some scenes in the movie are meant to portray moments in Johnson's career as flashbacks, e.g. a recording session at the very start of the movie, and a portrayal of the "selling his soul to the devil"—events which are part of the legend about him. Johnson's music for the film was played & orchestrated by Ry Cooder and Steve Vai, and in some cases Johnson's actual recordings are heard in the film. While the film is almost entirely a fictitious creation based on the crossroads myth associated with Robert Johnson, those associated with it especially director Walter Hill have remarked that it was made with complete respect and admiration for the legend of the real performer.
• The Search for Robert Johnson (1992)
• Can't You Hear the Wind Howl? The Life and Music of Robert Johnson (1997)
• Hellhounds On My Trail: The Afterlife of Robert Johnson (2000, directed by Robert Mugge)
• Eric Clapton – Sessions for Robert Johnson (2004, documentary)
• Supernatural – Crossroad Blues (2006)

References

• Blues World - Booklet No.1 - Robert Johnson - Four Editions, First published 1967
• Greenberg, Alan (1983). Love in Vain: The Life and Legend of Robert Johnson. Doubleday Books, ISBN 0-385-15679-0
  • 1994 revised edition retitled Love in Vain: A Vision of Robert Johnson, with foreword by Martin Scorsese, Da Capo Press, ISBN 0-306-80557-X
• Guralnick, Peter (1989). Searching for Robert Johnson (1989). E. P. Dutton hardcover: ISBN 0-525-24801-3, Plume 1998 paperback: ISBN 0-452-27949-6
• Pearson, Barry Lee; McCulloch, Bill (2003). Robert Johnson: Lost and Found. University of Illinois Press, ISBN 0-252-02835-X
• Schroeder, Patricia R. (2004). Robert Johnson, Mythmaking, and Contemporary American Culture. University of Illinois Press, ISBN 0-252-02915-1
• Wald, Elijah (2004). Escaping the Delta: Robert Johnson and the Invention of the Blues. Amistad. ISBN 0-06-052423-5
• Wardlow, G., & Komara, E. M. (1998). Chasin' that devil music: searching for the blues. San Francisco, Calif: Miller Freeman Books. ISBN 0879306521
• Wolf, Robert (2004) Hellhound on My Trail: The Life of Robert Johnson, Bluesman Extraordinaire. Mankato, MN: Creative Editions. ISBN 1-56846-146-1

External links

• Robert Johnson official website
• LA Times article regarding Johnson's life and legacy, and the legal battle over it
• A Revolutionary Critique of Robert Johnson
• The Greenwood Blues Heritage Museum & Gallery dedicated to the life and music of Robert Johnson
• Website at the University of Virginia
• Currently available recordings
• 'Trail of the Hellhound' website by the National Park Service
• Site for "Escaping the Delta" with links to related material
• Delta Guitar Player Robert Johnson
• Robert Johnson at Find-A-Grave
• Deal with the Devil: Understanding Robert Johnson, His Music and His Impact by the Soul of Rock 'n' Roll
• 1980 Blues Foundation Hall of Fame induction
• The Robert Johnson Blues Foundation
• http://www.djohnsonblues.com, musician that performs 1930s Mississippi Delta Blues in style of Son House and Robert Johnson
• Playwright David Walter Hall, whose 2003 play, "Cross Road Blues" is an enactment of the Faustian legends surrounding Robert Johnson.