Difference between revisions of "Robert Johnson" - New World Encyclopedia
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==Life== | ==Life== | ||
| − | Johnson was born in Hazlehurst, Mississippi in 1911. | + | Johnson was born in Hazlehurst, Mississippi in 1911. Little is know of his early years. He died at the age of 27. |
| − | + | Johnson recorded only 29 songs on a total of 41 tracks extant in two recording sessions in San Antonio, in November 1936 and Dallas, in June 1937. Notable among these tracks are "Come on in My Kitchen", "Love in Vain", "Sweet Home Chicago", "Crossoads Blues", "Terraplane Blues", and "I Believe I'll Dust My Broom", all of which have been covered by other artists. Two modern collections of these recordings have been particularly influential to contemporary audiences. ''King of the Delta Blues Singers'' (1961) helped popularize the blues for crossover audiences in the 1960s, and ''The Complete Recordings'' (1990) provided the entire body of his recorded work on one dual-CD set. | |
| − | Johnson was | + | His wife Virginia Travis died while giving birth on April 19, 1930 when robert was still a teenager. In his 20s, Johnson was known to be a womanizer, a drinker, and a rambler who often hopped trains for transportation—the walking incarnation of a "bluesman." He traveled widely and is known to have performed in Chicago and New York as well as in many southern towns. |
| − | + | Rumors and mythology have embraced Johnson as various accounts, stories and tall tales have adhered to his legend. An established fact is that while recording his 29 sides, he sat with his face to the wall while the recording was in process. | |
| − | + | ==="Pact" with the Devil=== | |
The most widely known legend surrounding Robert Johnson says that he sold his soul to the [[Devil]] at or near the crossroads of U.S. Highway 61 and U.S. Highway 49 in Clarksdale, Mississippi, in exchange for prowess in playing the guitar. The legend was told mainly by [[Son House]], one of Johnson's mentors, who himself had turned to singing religious music. The song "Cross Road Blues" is widely interpreted as a descriptive encounter of Johnson selling his soul. In fact, it opens with the singer calling out to God, not the Devil: | The most widely known legend surrounding Robert Johnson says that he sold his soul to the [[Devil]] at or near the crossroads of U.S. Highway 61 and U.S. Highway 49 in Clarksdale, Mississippi, in exchange for prowess in playing the guitar. The legend was told mainly by [[Son House]], one of Johnson's mentors, who himself had turned to singing religious music. The song "Cross Road Blues" is widely interpreted as a descriptive encounter of Johnson selling his soul. In fact, it opens with the singer calling out to God, not the Devil: | ||
| Line 19: | Line 19: | ||
:Save poor Bob if you please | :Save poor Bob if you please | ||
| − | However, it also includes a verse expressing the fear that "dark goin' to catch me here," and closes with an admission of despair: | + | However, it also includes a verse expressing the fear that "dark goin' to catch me here," and it closes with an admission of despair: |
| − | :You can run you can run | + | :You can run, you can run |
:Tell my friend, poor Willie Brown | :Tell my friend, poor Willie Brown | ||
:Say I'm goin' to the crossroads baby | :Say I'm goin' to the crossroads baby | ||
:I believe I'm sinking down. | :I believe I'm sinking down. | ||
| − | Other songs indeed indicate that Johnson was haunted by demonic feelings and fears, although they fall short of confirming | + | Other songs indeed indicate that Johnson was haunted by demonic feelings and fears, although they fall short of confirming an formal pact with the devil. For example, in "Me and the Devil Blues" he says: |
:Early this morning, the Blues knocked on my door | :Early this morning, the Blues knocked on my door | ||
:And I said "Hello Satan, I believe its time to go."... | :And I said "Hello Satan, I believe its time to go."... | ||
:Me and the Devil were walking side by side | :Me and the Devil were walking side by side | ||
| − | :I've got to beat my woman | + | :I've got to beat my woman until I get satisfied. |
In "Hellhound on My Trail" he complains: | In "Hellhound on My Trail" he complains: | ||
| Line 37: | Line 37: | ||
:I got to keep movin', I got to keep movin' | :I got to keep movin', I got to keep movin' | ||
:Blues falling down like hail... | :Blues falling down like hail... | ||
| − | :And the day keeps | + | :And the day keeps reminding me |
| − | + | :Therer's a Hellhound on my trail | |
| − | Finally, | + | Finally, the concluding verse of Me and Devil says: |
:You can bury my body down by the highway side | :You can bury my body down by the highway side | ||
| Line 46: | Line 46: | ||
A contributing factor to the Robert Johnson legend, is the fact that the older bluesman, Tommy Johnson (probably no relation), actually claimed to have sold his soul to the Devil. The story goes that if one would go to the crossroads a little before midnight and begin to play the guitar, a large black man would come up to the aspiring guitarist, retune his guitar and then hand it back. At this point the guitarist had sold his soul to become a virtuoso (A similar legend even surrounded the European virtuoso violinist [[Niccolò Paganini]] a century before.) | A contributing factor to the Robert Johnson legend, is the fact that the older bluesman, Tommy Johnson (probably no relation), actually claimed to have sold his soul to the Devil. The story goes that if one would go to the crossroads a little before midnight and begin to play the guitar, a large black man would come up to the aspiring guitarist, retune his guitar and then hand it back. At this point the guitarist had sold his soul to become a virtuoso (A similar legend even surrounded the European virtuoso violinist [[Niccolò Paganini]] a century before.) | ||
| + | |||
| + | ===Death=== | ||
| + | |||
| + | Recollection survives that Johnson died after drinking whiskey poisoned with [[strychnine]], supposedly given to him by the jealous husband of a lover or even his own jealous girlfriend. Fellow blues singer [[Sonny Boy Williamson II]] was present the night of Johnson's poisoning — even claiming to have warned him against accepting a pre-opened bottle of whiskey. Williamson said that Johnson died on his hands and knees "howling and barking like a dog." Johnson actually recovered from the initial poisoning and survived for at least two of weeks only to contract pneumonia and die on 16 August 1938 in in Greenwood, Mississippi. | ||
| + | |||
| + | The precise cause of death remains unknown. Some reportedly believed that Johnson died from syphilis. His death certificate simply states "no doctor." Johnson's last words were supposedly, "I pray that my redeemer will come and take me from my grave." | ||
There are very few images of Johnson; only two confirmed photographs exist. | There are very few images of Johnson; only two confirmed photographs exist. | ||
==Influence== | ==Influence== | ||
| − | Johnson is widely cited as "''the greatest blues singer of all time''" | + | Johnson is widely cited as "''the greatest blues singer of all time''", but listeners are sometimes disappointed by their first encounter with his work. This reaction may be due to unfamiliarity with the raw emotion and sparse form of the Delta style, to the thin tone of Johnson's highpitched voice, or to the poor quality of his recordings when compared to modern music production standards. However, experts agree that Johnson's guitar work was extremely adroit for his time, that his singing was uniquely expressive, and his poetic imagery among the most evocative in the blues genre. |
| − | |||
| − | |||
| − | + | Nevertheless, Johnson's originally has sometimes been overstated. His most important musical influence was [[Son House]] a pioneer of the [[Delta blues]] style, whose searing slide guitar riffs, played on a steel-bodied National guitar, Johnson clearly imitated and developed. Johnson's singing style shows the influence of the keening whimsy of the then-obscure blues singer [[Skip James]]. He also emulated [[Lonnie Johnson]] and had listened carefully to [[Leroy Carr]], probably the most popular male blues singer of the time. He based some songs on the records of the urban blues recording stars [[Kokomo Arnold]] (the source for both "Sweet Home Chicago" and "I Believe I'll Dust My Broom") and [[Peetie Wheatstraw]]. | |
| − | What Johnson did with these and other | + | What Johnson did with these and other influences was to create a new sound that was both more immediate and more artful than that of his predecessors. His pioneering use of the bass strings to create a steady, rolling rhythm can be heard on songs like "Sweet Home Chicago." Johnson's work also featured snatches of creative melodic invention on the upper strings, mingling with a contrasting vocal line. An important aspect of his singing, and indeed of all Blues singing styles, is the use of [[microtonality]] — subtle inflections of [[Pitch (music)|pitch]] that are part of the reason why Jonson's performances convey such powerful emotion. |
| − | + | Johnson's influence on other Delta blues players is not easily documented. He played with the young [[Howlin' Wolf]] and [[Sonny Boy Williamson II]]. His stepson, [[Junior Lockwood|Robert "Junior" Lockwood]], claimed to have been taught by Johnson as well. Muddy Waters and other Chicago bluesmen covered some of Johnson's songs. Waters lived near Johnson in Mississippi and recalled being influenced by his playing as well as that of Son House. | |
| − | + | However, there is a direct line of influence from Johnson to [[Rock and roll|rock music]]. Rock musicians — from Chuck Berry to the great rock bands of the late 20th century to today's garage band prodigies that will be tomorrow's superstars — use Johnson's rhythm riffs contantly, often with no knowledge that they have indirectly inherited them from him. | |
| − | + | However, until the early 60s, Robert Johnson remained and obscure performer whose premature death prevented him from attaining great fame. Then, decades after his death, Johnson's recordings saw a wide release and a fan base grew around them, including rock stars such as [[Keith Richards]] of [[The Rolling Stones]] and [[Eric Clapton]]. When Richards was first introduced to Johnson's music by his band-mate [[Brian Jones]], he commented, "Who is the other guy playing with him?", not realizing it was only Johnson playing on one guitar. Clapton described Johnson as "the most important blues musician who ever lived. ... His music remains the most powerful cry that I think you can find in the human voice". The song "Crossroads" by Clapton's blues rock/psychedelic band [[Cream (band)|Cream]] is a cover version of Johnson's "Cross Road Blues." Bob Dylan said: | |
Johnson's recordings have remained continuously available since [[John H. Hammond|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, was issued in 1970. An omnibus two-CD set (''The Complete Recordings'') was released in 1990. | Johnson's recordings have remained continuously available since [[John H. Hammond|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, was issued in 1970. An omnibus two-CD set (''The Complete Recordings'') was released in 1990. | ||
| − | [[John P. Hammond]] (the son | + | [[John P. Hammond]] (the son 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 | In the summer of 2003, ''[[Rolling Stone]]'' magazine listed Johnson at number five in their list of the | ||
100 greatest guitarists of all time [http://www.rollingstone.com/news/story/5937559/the_100_greatest_guitarists_of_all_time] | 100 greatest guitarists of all time [http://www.rollingstone.com/news/story/5937559/the_100_greatest_guitarists_of_all_time] | ||
| + | |||
| + | ===Reappraisal=== | ||
| + | |||
| + | Some scholars believe that Johnson's major influence as a blues musician is overstated. Blues historian Elijah Wald in "Escaping the Delta" wrote a controversial reappraisal to the effect 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.''"[http://www.amazon.com/exec/obidos/ASIN/0060524235/qid=1101744666/sr=2-1/ref=pd_ka_b_2_1/102-4247897-7610539] Wald claims that Johnson's major influence on music, came through the rock musicians and fans who wanted, with the best of intentions, to expand Johnson's reputation past its enormous impact on rock. According to Ward, 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 very minor success at best. 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?'"'' | ||
=== Major artists influenced by Johnson === | === Major artists influenced by Johnson === | ||
Revision as of 20:55, 29 August 2006
Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was among the most famous Delta Blues musicians and arguably the most influential. Considered by some to be the "Grandfather of Rock-and-Roll," his vocal phrasing, original songs, and guitar style influenced a range of musicians, including Muddy Waters, Bob Dylan, The Rolling Stones, and especially Eric Clapton, who called Johnson "the most important blues musician who ever lived."
Life
Johnson was born in Hazlehurst, Mississippi in 1911. Little is know of his early years. He died at the age of 27.
Johnson recorded only 29 songs on a total of 41 tracks extant in two recording sessions in San Antonio, in November 1936 and Dallas, in June 1937. Notable among these tracks are "Come on in My Kitchen", "Love in Vain", "Sweet Home Chicago", "Crossoads Blues", "Terraplane Blues", and "I Believe I'll Dust My Broom", all of which have been covered by other artists. Two modern collections of these recordings have been particularly influential to contemporary audiences. King of the Delta Blues Singers (1961) helped popularize the blues for crossover audiences in the 1960s, and The Complete Recordings (1990) provided the entire body of his recorded work on one dual-CD set.
His wife Virginia Travis died while giving birth on April 19, 1930 when robert was still a teenager. In his 20s, Johnson was known to be a womanizer, a drinker, and a rambler who often hopped trains for transportation—the walking incarnation of a "bluesman." He traveled widely and is known to have performed in Chicago and New York as well as in many southern towns.
Rumors and mythology have embraced Johnson as various accounts, stories and tall tales have adhered to his legend. An established fact is that while recording his 29 sides, he sat with his face to the wall while the recording was in process.
"Pact" with the Devil
The most widely known legend surrounding Robert Johnson says that he sold his soul to the Devil at or near the crossroads of U.S. Highway 61 and U.S. Highway 49 in Clarksdale, Mississippi, in exchange for prowess in playing the guitar. The legend was told mainly by Son House, one of Johnson's mentors, who himself had turned to singing religious music. The song "Cross Road Blues" is widely interpreted as a descriptive encounter of Johnson selling his soul. In fact, it opens with the singer calling out to God, not the Devil:
- I went to the crossroads
- I fell down on my knees
- I cried the Lord above have mercy
- Save poor Bob if you please
However, it also includes a verse expressing the fear that "dark goin' to catch me here," and it closes with an admission of despair:
- You can run, you can run
- Tell my friend, poor Willie Brown
- Say I'm goin' to the crossroads baby
- I believe I'm sinking down.
Other songs indeed indicate that Johnson was haunted by demonic feelings and fears, although they fall short of confirming an formal pact with the devil. For example, in "Me and the Devil Blues" he says:
- Early this morning, the Blues knocked on my door
- And I said "Hello Satan, I believe its time to go."...
- Me and the Devil were walking side by side
- I've got to beat my woman until I get satisfied.
In "Hellhound on My Trail" he complains:
- I got to keep movin', I got to keep movin'
- Blues falling down like hail...
- And the day keeps reminding me
- Therer's a Hellhound on my trail
Finally, the concluding verse of Me and Devil says:
- You can bury my body down by the highway side
- So my old evil spirit can catch a Greyhound bus and ride
A contributing factor to the Robert Johnson legend, is the fact that the older bluesman, Tommy Johnson (probably no relation), actually claimed to have sold his soul to the Devil. The story goes that if one would go to the crossroads a little before midnight and begin to play the guitar, a large black man would come up to the aspiring guitarist, retune his guitar and then hand it back. At this point the guitarist had sold his soul to become a virtuoso (A similar legend even surrounded the European virtuoso violinist Niccolò Paganini a century before.)
Death
Recollection survives that Johnson died after drinking whiskey poisoned with strychnine, supposedly given to him by the jealous husband of a lover or even his own jealous girlfriend. Fellow blues singer Sonny Boy Williamson II was present the night of Johnson's poisoning — even claiming to have warned him against accepting a pre-opened bottle of whiskey. Williamson said that Johnson died on his hands and knees "howling and barking like a dog." Johnson actually recovered from the initial poisoning and survived for at least two of weeks only to contract pneumonia and die on 16 August 1938 in in Greenwood, Mississippi.
The precise cause of death remains unknown. Some reportedly believed that Johnson died from syphilis. His death certificate simply states "no doctor." Johnson's last words were supposedly, "I pray that my redeemer will come and take me from my grave."
There are very few images of Johnson; only two confirmed photographs exist.
Influence
Johnson is widely cited as "the greatest blues singer of all time", but listeners are sometimes disappointed by their first encounter with his work. This reaction may be due to unfamiliarity with the raw emotion and sparse form of the Delta style, to the thin tone of Johnson's highpitched voice, or to the poor quality of his recordings when compared to modern music production standards. However, experts agree that Johnson's guitar work was extremely adroit for his time, that his singing was uniquely expressive, and his poetic imagery among the most evocative in the blues genre.
Nevertheless, Johnson's originally has sometimes been overstated. His most important musical influence was Son House a pioneer of the Delta blues style, whose searing slide guitar riffs, played on a steel-bodied National guitar, Johnson clearly imitated and developed. Johnson's singing style shows the influence of the keening whimsy of the then-obscure blues singer Skip James. He also emulated Lonnie Johnson and had listened carefully to Leroy Carr, probably the most popular male blues singer of the time. He based some songs on the records of the urban blues recording stars Kokomo Arnold (the source for both "Sweet Home Chicago" and "I Believe I'll Dust My Broom") and Peetie Wheatstraw.
What Johnson did with these and other influences was to create a new sound that was both more immediate and more artful than that of his predecessors. His pioneering use of the bass strings to create a steady, rolling rhythm can be heard on songs like "Sweet Home Chicago." Johnson's work also featured snatches of creative melodic invention on the upper strings, mingling with a contrasting vocal line. An important aspect of his singing, and indeed of all Blues singing styles, is the use of microtonality — subtle inflections of pitch that are part of the reason why Jonson's performances convey such powerful emotion.
Johnson's influence on other Delta blues players is not easily documented. He played with the young Howlin' Wolf and Sonny Boy Williamson II. His stepson, Robert "Junior" Lockwood, claimed to have been taught by Johnson as well. Muddy Waters and other Chicago bluesmen covered some of Johnson's songs. Waters lived near Johnson in Mississippi and recalled being influenced by his playing as well as that of Son House.
However, there is a direct line of influence from Johnson to rock music. Rock musicians — from Chuck Berry to the great rock bands of the late 20th century to today's garage band prodigies that will be tomorrow's superstars — use Johnson's rhythm riffs contantly, often with no knowledge that they have indirectly inherited them from him.
However, until the early 60s, Robert Johnson remained and obscure performer whose premature death prevented him from attaining great fame. Then, decades after his death, Johnson's recordings saw a wide release and a fan base grew around them, including rock stars such as Keith Richards of The Rolling Stones and Eric Clapton. When Richards was first introduced to Johnson's music by his band-mate Brian Jones, he commented, "Who is the other guy playing with him?", not realizing it was only Johnson playing on one guitar. Clapton described Johnson as "the most important blues musician who ever lived. ... His music remains the most powerful cry that I think you can find in the human voice". The song "Crossroads" by Clapton's blues rock/psychedelic band Cream is a cover version of Johnson's "Cross Road Blues." Bob Dylan said:
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, was issued in 1970. An omnibus two-CD set (The Complete Recordings) was released in 1990.
John P. Hammond (the son 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 [1]
Reappraisal
Some scholars believe that Johnson's major influence as a blues musician is overstated. Blues historian Elijah Wald in "Escaping the Delta" wrote a controversial reappraisal to the effect 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."[2] Wald claims that Johnson's major influence on music, came through the rock musicians and fans who wanted, with the best of intentions, to expand Johnson's reputation past its enormous impact on rock. According to Ward, 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 very minor success at best. 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?'"
Major artists influenced by Johnson
Many artists have recorded Johnson's songs. The following musicians have been heavily influenced by him, as evidenced by recording several of his songs:
- Eric Clapton released in 2004 an album consisting solely of covers of Johnson's songs, Me and Mr. Johnson. In addition, he had previously performed or recorded I'm a Steady Rolling Man, Cross Road Blues, Malted Milk, From Four Until Late, and Ramblin' On My Mind.
- Led Zeppelin (Traveling Riverside Blues)
- Cream (Crossroads)
- The Rolling Stones (Love in Vain, Stop Breaking Down)
- Bob Dylan (Kindhearted 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)
- Peter Green Splinter Group (all 29 songs)
- Keb' Mo (Come On In My Kitchen, Last Fair Deal Gone Down, Kindhearted Woman Blues, Love In Vain)
- John Hammond Jr. (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, Judgement Day, Rambling Blues)
- Rory Block (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, Walking Blues, Kindhearted Man [Kindhearted Woman Blues], Terraplane Blues, When You Got a Good Friend, Me and the Devil Blues, Stones in my Passway, Last Fair Deal Gone Down, Traveling Riverside Blues)
- Robert "Junior" Lockwood (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)
- The Red Hot Chili Peppers covered "They're Red Hot" as the last track on their 1991 album Blood Sugar Sex Magik. John Frusciante, the guitarist of the group, has said that he listened to Johnson every single night throughout the writing and recording of the album. It had a heavy influence on his subsequent solo work in particular.
- The White Stripes covered "Stop Breaking Down Blues," dropping "Blues" in the title, on their eponymous 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.
Samples
"Cross Road Blues" Sample of the song Problems listening to this file? See media help. "Traveling Riverside Blues" 29 second sample of the song Problems listening to this file? See media help. Songs
The entire collection is available on The Complete Recordings (1990, 2004)
- ".32-20 Blues"
- "Come on in My Kitchen" [two versions]
- "Cross Road Blues" [two versions]
- "Dead Shrimp Blues"
- "Drunken Hearted Man" [two versions]
- "From Four Till Late"
- "Hellhound on My Trail"
- "Honeymoon Blues"
- "I'm a Steady Rollin' Man"
- "I Believe I'll Dust My Broom"
- "If I Had Possession Over Judgment Day"
- "Kind Hearted Woman Blues" [two versions]
- "Last Fair Deal Gone Down"
- "Little Queen of Spades" [two versions]
- "Love in Vain" [two versions]
- "Malted Milk"
- "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]
- "Walkin' Blues"
- "When You Got a Good Friend" [two versions]
Books about Robert Johnson
- Blues World - Booklet No.1 - Robert Johnson - Four Editions, First published 1967
- Booklet accompanying the Complete Recordings box set, Stephen LaVere, Sony Music Entertainment, 1990
- Love in Vain: A Vision of Robert Johnson, Alan Greenberg, Stanley Crouch, Martin Scorsese, 1994, ISBN 030680557X
- Searching for Robert Johnson, Peter Guralnick , 1998, ISBN 0452279496
- Robert Johnson: Lost and Found, Barry Lee Pearson, Bill McCulloch, 2003, ISBN 025202835X
- Escaping the Delta: Robert Johnson and the Invention of the Blues, Elijah Wald, 2004, ISBN 0060524235
- Hellhound on My Trail: The Life of Robert Johnson, Bluesman Extraordinaire, Robert Wolf, 2004, ISBN 1568461461
- Robert Johnson, Mythmaking, and Contemporary American Culture, Patricia R. Schroeder, 2004, ISBN 0252029151
Films about Robert Johnson
- Crossroads, 1986 (loosely based on the theme of a blues artist selling his soul to the devil)
- 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.
Other
- "Back to the Crossroads: The Roots of Robert Johnson," a CD from Yazoo records, includes many of the records Johnson himself heard and learned from.
- Currently, a manga running in the Japanese magazine Afternoon called 俺と悪魔ブルーズ(Me and the Devil Blues) is clearly influenced by events of Johnson's life, and the protagonist is named "RJ". However, it is not attempting to be a biography.
- The Coen Brothers film O Brother, Where Art Thou? contains a character named Tommy Johnson who co-opts the appearance of Robert Johnson in the iconic Studio Portrait photograph and their parallel devil story, while performing the music of their contemporary Skip James.
- The Sherman Alexie novel "Reservation Blues" has a fictional account of Robert Johnson faking his death and hiding out on an Indian reservation.
- The webcomic Achewood has portrayed Robert Johnson as a resident of Hell, performing nightly in the Brookside Lounge of Hell's Best Western, despite its being closed. [3]
External links
- The Official Robert Johnson Website
- 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
- Use of microtones in the vocals of Robert Johnson
- Site for "Escaping the Delta," with links to related material
- Delta Guitar Player Robert Johnson
- Robert Johnson at Find-A-Grave
- Video profile on Robert Johnson, a member of the Club of 27 - music artists who died at the age of 27
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