Robert Johnson

Total Page:16

File Type:pdf, Size:1020Kb

Robert Johnson forever. music changed that songs 29 forever. music recorded changed that songs He 29 recorded He Life Life & & Legacy Legacy Tour The Road to Fame A Date with Destiny The Road to Fame A Date with Destiny Tour Early Life and Infl uences In July 1938, Johnson arrived in Greenwood, Missis- Early Life and Infl uences In July 1938, Johnson arrived in Greenwood, Missis- Robert Johnson was born in Hazlehurst, Copiah sippi, to perform at a juke joint at the intersection of Robert Johnson was born in Hazlehurst, Copiah sippi, to perform at a juke joint at the intersection of County, Mississippi, on May 8, 1911, to Julia Dodds Highways 82 and 49E. The juke joint was referred to County, Mississippi, on May 8, 1911, to Julia Dodds Highways 82 and 49E. The juke joint was referred to and Noah Johnson. Around 1918 they landed in the by locals as “Three Forks.” Johnson’s ongoing affair and Noah Johnson. Around 1918 they landed in the by locals as “Three Forks.” Johnson’s ongoing affair cotton-growing community of Robinsonville, with the wife of the man who ran the juke joint proved cotton-growing community of Robinsonville, with the wife of the man who ran the juke joint proved Mississippi, about thirty miles south of Memphis. to be his undoing. It is alleged that Johnson accepted Mississippi, about thirty miles south of Memphis. to be his undoing. It is alleged that Johnson accepted a drink that was sent to him, and he soon became ill a drink that was sent to him, and he soon became ill As a teenager, Johnson became interested in music and was no longer able to perform. As a teenager, Johnson became interested in music and was no longer able to perform. and began playing the harmonica. Later, he sought out and began playing the harmonica. Later, he sought out older musicians who could teach him the rudiments Early the next morning he was transported to his older musicians who could teach him the rudiments Early the next morning he was transported to his of guitar. Against his family’s wishes, he followed room in the Baptist Town section of Greenwood. of guitar. Against his family’s wishes, he followed room in the Baptist Town section of Greenwood. local musicians Willie Brown, Son House and There Johnson lingered for a number of weeks before local musicians Willie Brown, Son House and There Johnson lingered for a number of weeks before Charley Patton to parties, fi sh fries, and juke joints being moved to a tenant’s home on the Star of the Charley Patton to parties, fi sh fries, and juke joints being moved to a tenant’s home on the Star of the around Robinsonville. West Plantation. Johnson succumbed on Tuesday, around Robinsonville. West Plantation. Johnson succumbed on Tuesday, August 16,1938. He was twenty-seven years old. August 16,1938. He was twenty-seven years old. Brown, House, and Patton would often belittle Brown, House, and Patton would often belittle Johnson Johnson Johnson’s inferior musical skills. More importantly, Johnson’s inferior musical skills. More importantly, Robert the raw intensity of House’s music greatly infl uenced Three Gravesites the raw intensity of House’s music greatly infl uenced Three Gravesites Robert Johnson’s style and repertoire. Over the years, three gravesites have been identifi ed Johnson’s style and repertoire. Over the years, three gravesites have been identifi ed for the bluesman. The most likely one, supported for the bluesman. The most likely one, supported by an eye-witness account, is the Little Zion by an eye-witness account, is the Little Zion Increased Popularity Missionary Baptist Church Cemetery about two Increased Popularity Missionary Baptist Church Cemetery about two In the early 1930s, Johnson left Robinsonville to miles north of Greenwood. According to witness In the early 1930s, Johnson left Robinsonville to miles north of Greenwood. According to witness return to Hazlehurst, where he met Ike Zinermon, Rose Eskridge, Johnson was buried in a simple return to Hazlehurst, where he met Ike Zinermon, Rose Eskridge, Johnson was buried in a simple who became his musical coach and mentor. pine box provided by Lefl ore County. Historian who became his musical coach and mentor. pine box provided by Lefl ore County. Historian Stephen LaVere erected a marker there in 2002. Stephen LaVere erected a marker there in 2002. Johnson’s musical abilities blossomed under Johnson’s musical abilities blossomed under Zinermon’s tutelage, and he incorporated much of Ike’s Zinermon’s tutelage, and he incorporated much of Ike’s music and style into his own. When Johnson returned music and style into his own. When Johnson returned to Robinsonville, Son House and Willie Brown were to Robinsonville, Son House and Willie Brown were astounded at the artistic development of his music. astounded at the artistic development of his music. Over the next several years, as he performed at juke Over the next several years, as he performed at juke joints throughout the Mississippi and Arkansas Deltas, joints throughout the Mississippi and Arkansas Deltas, Johnson’s popularity spread to western Tennessee and Johnson’s popularity spread to western Tennessee and southern Mississippi. southern Mississippi. Recording Sessions Recording Sessions In November 1936, the American Record Company In November 1936, the American Record Company took Johnson to San Antonio, Texas, to record some CONVENTIONtook Johnson to San Antonio, AND Texas, to record VISITORSsome BUREAU CONVENTION AND VISITORS BUREAU of his songs. This session produced his most famous 662-453-9197of his songs. This session • produced www.visitgreenwood.com his most famous 662-453-9197 • www.visitgreenwood.com song, “Terraplane Blues.” The next June he was called 225 Howardsong, Street “Terraplane Blues.” The • next JuneGreenwood, he was called MS 38930 225 Howard Street • Greenwood, MS 38930 back to Texas where he recorded the masterpiece 662-453-9197back to Texas where he• recorded visitgreenwood.com the masterpiece 662-453-9197 • visitgreenwoodms.com “Hell Hound On My Trail.” A total of twenty-nine All information“Hell Hound On My Trail.” Ais total ofcurrent twenty-nine as of 4.27.16 All information is current as of 8.1.17 and subject to change without notice. and subject to change without notice. compositions were recorded in fi ve sessions. The compositions were recorded in fi ve sessions. The Vocalion label released twelve of Johnson’s songs. Originally located in 1973, Mount Zion M.B. Vocalion label released twelve of Johnson’s songs. Originally located in 1973, Mount Zion M.B. Church Cemetery near Morgan City is the site Church Cemetery near Morgan City is the site of the second effort to honor Robert Johnson. of the second effort to honor Robert Johnson. Below are those compositions in the order they were Below are those compositions in the order they were A one-ton obelisk was placed here in 1991 A one-ton obelisk was placed here in 1991 recorded: recorded: by Columbia Records. by Columbia Records. England. in youth a as him inspired that music England. in youth a as him inspired that 1. 1. music the for respect his pay to grave Johnson’s the for respect his pay to grave Johnson’s visited Plant Robert 2009, of Fall the In visited Plant Robert 2009, of Fall the In know? know? you Did you Did Payne Chapel M.B. Church at Quito is home to Payne Chapel M.B. Church at Quito is home to Johnson’s fi rst grave marker, placed in 1990 by Johnson’s fi rst grave marker, placed in 1990 by 2. an Atlanta rock band. 2. an Atlanta rock band. Roll.” and Rock of “Grandfather Roll.” and Rock of “Grandfather the him dubbed have and the him dubbed have and devotees his among are others countless devotees his and among are others countless •Kind Hearted Woman Blues • I Believe I’ll Dust My Broom •Kind Hearted Woman Blues • I Believe I’ll Dust My Broom and Stones, Rolling The Zeppelin, Led Clapton, Stones, Rolling The Eric Zeppelin, Led Clapton, • Sweet Home Chicago • Ramblin’ On My Mind • Sweet Home Chicago • Ramblin’ On My Mind Eric forever. music of course the changed that forever. music of songs course the changed that songs • When You Got A Good Friend • Come On In My Kitchen • When You Got A Good Friend • Come On In My Kitchen twenty-nine wrote and years twenty-seven twenty-nine wrote and years • Terraplane Blues • Phonograph Blues • 32-20 Blues • Terraplane Blues • Phonograph Blues • 32-20 Blues twenty-seven lived Johnson Robert Bluesman lived Johnson Robert • They’re Red Hot • Dead Shrimp Blues • Cross Road Blues • They’re Red Hot • Dead Shrimp Blues • Cross Road Blues Bluesman • Walkin’ Blues • Last Fair Deal Gone Down • Preachin’ • Walkin’ Blues • Last Fair Deal Gone Down • Preachin’ instrument. the on ability instrument. the on ability unearthly an him giving guitar, his tuned unearthly an him giving guitar, his Blues (Up Jumped The Devil) • If I Had Possession Over Blues (Up Jumped The Devil) • If I Had Possession Over tuned devil the exchange, In soul. mortal his to devil the exchange, In soul. mortal his Judgment Day • Stones In My Passway • I’m a Steady Judgment Day • Stones In My Passway • I’m a Steady to claim lay to Satan upon called and claim lay to Satan upon called Rollin’ Man • From Four Until Late • Hell Hound On My Rollin’ Man • From Four Until Late • Hell Hound On My and midnight, of stroke the at crossroads a to midnight, of stroke the at crossroads a Trail • Little Queen Of Spades • Malted Milk • Drunken After years of uncertainty, Robert Johnson’s Trail • Little Queen Of Spades • Malted Milk • Drunken After years of uncertainty, Robert Johnson’s to walked Johnson Robert legend, to walked According Johnson Robert legend, to Hearted Man • Me And The Devil Blues • Stop Breakin’ fi nal resting place at Little Zion M.B.
Recommended publications
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
    [Show full text]
  • Erotic Language As Dramatic Action in Plays by Lyly and Shakespeare
    ABSTRACT Title of Dissertation: EROTIC LANGUAGE AS DRAMATIC ACTION IN PLAYS BY LYLY AND SHAKESPEARE Gillian Knoll, Doctor of Philosophy, 2012 Dissertation directed by: Professor Theodore B. Leinwand Department of English This study closely examines the language of desire in the dramatic works of John Lyly and William Shakespeare, and argues that contemplative and analytical speeches about desire function as modes of action in their plays. Erotic speeches do more than express desire in a purely descriptive or perlocutionary capacity distinct from the action of the play—they incite, circulate, and create eros for characters, exposing audiences to the inner workings of the desiring mind and body. For many of Lyly’s and Shakespeare’s characters, words come to constitute erotic experience. My approach to dramatic language draws from the work of cognitive linguists such as George Lakoff and Mark Johnson who argue that our basic conceptual system, according to which we think, speak, and act, is metaphorical in nature. My focus on primary metaphors, which are based on sensorimotor experience, foregrounds the interdependence of erotic language and early modern notions of embodiment. Since language, thought, and action are all subject to this embodied metaphorical system, conceptual metaphors allow Lyly and Shakespeare to dramatize the often invisible, paradoxical, and potentially unknowable experience of erotic desire. My understanding of language as dramatic action derives from a theory about the attribution of human motives that Kenneth Burke, in The Grammar of Motives (1945), called dramatism. Burke uses five key terms to address human motivation—Act, Scene, Agent, Agency, Purpose—and I in turn use each of these terms to make sense of erotic desire on the early modern stage.
    [Show full text]
  • Eric Clapton
    ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album.
    [Show full text]
  • Center for Popular Music
    Inventory Number: tta0182t Center for Popular Music - Audio Log Media: Uncompressed Digital Audio - DVD Title: Wardlow Interview with Willie and Elizabeth Moore Date: November 30, 1969 NOTES: Original recording on 5" reel of 1/4" tape left channel only by Gayle Dean Wardlow. Audio had severe dropouts all throughout. Time: Place: McManus Plantation - Sumner, Mississippi Transferred to 10" reel of 1/4" tape - 2 track mono @ 7 1/2 ips by Bruce Lived beside Willie Brown from the late 1910s Nemerov. Audio digitization by Martin Fisher. Historical Consulting and description - Tyler DeWayne Moore. Time In Track Title/Description Artist or Interviewee File Name cpm_94048_tta182t_010101_pres_Willie&ElizabethMoore Wardlow asks about Charley Patton and WC Handy; Moore discusses playing a show at the hotel in Tunica; Moore talks about Handy's band 00.00.00 1 Willie and Elizabeth Moore being thirty-six pieces; Did Handy have any idea about Patton; Moore talks about playing with Handy at 1721 Gray Street, Baton Rouge, LA; Moore remembers meeting Patton in Hollandale at a jook owned by Chris Oliver; Maybe Oliver's jook was on the west side of Arcola or near Scott, MS; Moore wanted to see Patton, he went to Hollandale, and patton was 00.08.31 2 Willie and Elizabeth Moore - Source tape playback fast sitting on a "chinaman's" porch; Moore played second-guitar to Patton; Moore remembers Patton singing a song about "Caldonia, The Woman I Love." Wardlow asks if Moore ever played trombone with Willie Brown; Brown could only play the guitar; Moore remember's Brown's songs like Old Cola, Pony Blues, and The Blues Ain't Nothing but a Low Down Shaking 00.14.38 3 Willie and Elizabeth Moore - Source tape playback fast Chill; Moore talks about how Brown thought that Patton played to fast; Moore tells what happened when he ands Brown registered for the service.
    [Show full text]
  • The Estate of Claud L. Johnson, Deceased
    IN THE COURT OF APPEALS OF THE STATE OF MISSISSIPPI NO. 2018-CA-00260-COA THE ESTATE OF CLAUD L. JOHNSON, APPELLANT DECEASED: MICHAEL JOHNSON, EXECUTOR v. THE KITCHENS LAW FIRM, P.A. APPELLEE DATE OF JUDGMENT: 02/15/2018 TRIAL JUDGE: HON. WILLIAM R. BARNETT COURT FROM WHICH APPEALED: COPIAH COUNTY CHANCERY COURT ATTORNEYS FOR APPELLANT: ALAN M. PURDIE CHRISTOPHER H. CORKERN ATTORNEY FOR APPELLEE: ROBERT W. LAWRENCE NATURE OF THE CASE: CIVIL - CONTRACT DISPOSITION: AFFIRMED - 08/27/2019 MOTION FOR REHEARING FILED: MANDATE ISSUED: BEFORE BARNES, C.J., McDONALD AND C. WILSON, JJ. C. WILSON, J., FOR THE COURT: ¶1. Claud L. Johnson passed away on June 30, 2015. In a sense, however, the disputes in this case arise more because of Claud’s father, legendary blues singer Robert L. Johnson, who passed away on August 16, 1938. During Claud’s lifetime, and after years of litigation handled by his attorneys, the appellee here, Claud was adjudicated to be the now world- renowned bluesman’s son. After Claud’s death, his last will and testament was admitted to probate in the Chancery Court of Copiah County, Mississippi. On October 20, 2016, the Kitchens Law Firm P.A. filed a “Motion to Authorize and Direct Executor to Turn Over Monies and Render an Accounting and Order Turn Over of Future Monies” in the probate matter. Claud’s estate responded to the law firm’s motion and asserted affirmative defenses. Both parties filed motions for summary judgment. Special chancellor William Barnett granted Kitchens’s motion and denied the estate’s motion.
    [Show full text]
  • Robert Johnson, Folk Revivalism, and Disremembering the American Past
    The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past Blaine Quincy Waide A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2009 Approved by: William Ferris Robert Cantwell Timothy Marr ©2009 Blaine Quincy Waide ALL RIGHTS RESERVED ii Abstract Blaine Quincy Waide: The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past (Under the direction of William Ferris) This thesis seeks to understand the phenomenon of folk revivalism as it occurred in America during several moments in the twentieth and twenty-first centuries. More specifically, I examine how and why often marginalized southern vernacular musicians, especially Mississippi blues singer Robert Johnson, were celebrated during the folk revivals of the 1930s and 1960s as possessing something inherently American, and differentiate these periods of intense interest in the traditional music of the American South from the most recent example of revivalism early in the new millennium. In the process, I suggest the term “disremembering” to elucidate the ways in which the intent of some vernacular traditions, such as blues music, has often been redirected towards a different social or political purpose when communities with divergent needs in a stratified society have convened around a common interest in cultural practice. iii Table of Contents Chapter Introduction: Imagining America in an Iowa Cornfield and at a Mississippi Crossroads…………………………………………………………………………1 I. Discovering America in the Mouth of Jim Crow: Alan Lomax, Robert Johnson, and the Mississippi Paradox…………………………………...23 II.
    [Show full text]
  • The Devil in Robert Johnson: the Progression of the Delta Blues to Rock and Roll by Adam Compagna
    The Devil in Robert Johnson: The Progression of the Delta Blues to Rock and Roll by Adam Compagna “I went down to the crossroads, fell down on my knees, I went down to the crossroads, fell down on my knees, Saw the Devil and begged for mercy, help me if you please --- Crearn, “Crossroads” With the emergence of rock and roll in the late nineteen fifties and early nineteen sixties, many different sounds and styles of music were being heard by the popular audience. These early rock musicians blended the current pop style with the non-mainstream rhythm and blues sound that was prevalent mainly in the African-American culture. Later on in the late sixties, especially during the British “invasion,” such bands as the Beatles, Cream, Led Zeppelin, Fleetwood Mac, and the Yardbirds used this blues style and sound in their music and marketed it to a different generation. This blues music was very important to the evolution of rock and roll, but more importantly, where did this blues influence come from and why was it so important? The answer lies in the Mississippi Delta at the beginning of the twentieth century, down at the crossroads. From this southern section of America many important blues men, including Robert Johnson, got their start in the late nineteen twenties. A man who supposedly sold his soul to the Devil for the ability to play the guitar, Robert Johnson was a main influence on early rock musicians not only for his stylistic guitar playing but also for his poetic lyrics. 1 An important factor in the creation of the genre of the Delta blues is the era that these blues men came from.
    [Show full text]
  • Of ABBA 1 ABBA 1
    Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7.
    [Show full text]
  • “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
    GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.
    [Show full text]
  • Robert Johnson from Wikipedia, the Free Encyclopedia
    Robert Johnson From Wikipedia, the free encyclopedia Background information Birth name Robert Leroy Johnson Born May 8, 1911 Hazlehurst, Mississippi Died August 16, 1938 (aged 27) Greenwood, Mississippi Genres Delta blues Occupation(s) Musician, songwriter Instruments Guitar, vocals, harmonica Years active 1929 – 1938 Notable instruments Gibson L-1 Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American singer-songwriter and musician. His landmark recordings in 1936 and 1937, display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early Influence in their first induction ceremony in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone′s list of the 100 Greatest Guitarists of All Time. Life and career Early life Robert Johnson was born in Hazlehurst, Mississippi possibly on May 8, 1911, to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884).
    [Show full text]
  • Rock the Blues Away
    ROCK THESE BLUES AWAY. The Recordings of John Lee Hooker since 1981 ROCK THESE BLUES AWAY The Recordings Of John Lee Hooker Since 1981 By Gary Hearn (Feb. 2006) Introduction In 1992 Les Fancout’s sessionography of John Lee Hooker – “Boogie Chillen” – was published in booklet form by Blues & Rhythm magazine (ed. Tony Burke). This pamphlet is intended to update Les’ work with all the known Hooker sessions since 1981. Though details on other, earlier, sessions have come to light through recent releases, I have excluded them from the scope of my research and it is left to others to publish those corrections and additions elsewhere. The recordings listed here come from the final phase of John’s career during what is known as the Rosebud era, the name of his management company. To my imperfect mind, the best – and darkest – of them found release on the “Boom Boom” album put out by Pointblank in 1993. This was also a period when blues artists were called upon to provide benevolent cameos to artists better known in the mainstream. John took part in many such sessions with varying degrees of success; whatever the finished product, his contributions were immediately recognisable. The compact discs in this survey are, as far as I can tell, the first UK issue shown listed in order of catalogue number for ease of cross-reference to the sessionography. Because record companies re-issue, re-package and licence their recordings, subsequent issues are not considered. None of the cd-singles listed are still available and are shown merely in evidence of the penetration of the “John Lee Hooker” brand.
    [Show full text]
  • Zur Deutschen Übersetzung...15 Lavere
    Inhalt Vorwort des Herausgebers zur deutschen Übersetzung......................15 Vorwort von Stephen C. LaVere........................................................17 Vorwort des Autors........................................................................... 20 Danksagungen................................................................................... 23 Einführung......................................................................................... 26 Robert Johnson - Biographie.............................................................37 Die frühen Jahre des Robert Johnson............................................ 37 Robert Johnson als junger Mann................................................... 42 Die Wanderjahre des Musikers...................................................... 46 Die Aufnahmejahre.........................................................................56 Der Tod von Robert Johnson......................................................... 66 Robert Johnson - Mythos, Einfluss, Bedeutung und Erbe................ 75 Die Legende von Crossroads......................................................... 75 John Hammond lässt Robert Johnson auferstehen......................... 82 Eine neues Publikum..................................................................... 90 Robert Johnson wird ein globales Phänomen................................ 96 Der Film, der die Legende veränderte..........................................108 Die Fehde über die Fotos Robert Johnsons..................................111 Die
    [Show full text]