Professional Documents
Culture Documents
musician. His landmark recordings from 1936–1937 display a combination of singing, guitar
skills, and songwriting talent that have influenced later generations of musicians. Johnson's
shadowy, poorly documented life and death at age 27 have given rise to much legend, including
a Faustian myth. As an itinerant performer who played mostly on street corners, in juke joints,
and at Saturday night dances, Johnson enjoyed little commercial success or public recognition in
his lifetime.
His records sold poorly during his lifetime, and it was only after the first reissue of his recordings
on LP in 1961 that his work reached a wider audience. Johnson is now recognized as a master of
the blues, particularly of the 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".[1][2] Johnson was inducted into the Rock and Roll Hall of Fame as an "Early Influence" in
their first induction ceremony in 1986.[3] He was ranked fifth in Rolling Stone's list of 100
Greatest Guitarists of All Time.[4]
Early life
Robert Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911,[5] to Julia Major
Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to
Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker
with whom she gave birth to 10 children. Dodds had been forced by a lynch mob to leave
Hazlehurst following a dispute with white landowners. Julia herself left Hazlehurst with baby
Robert, but after some two years, sent him to live in Memphis with Dodds, who had changed his
name to Charles Spencer.[6]
Around 1919, Robert rejoined his mother in the area around Tunica and Robinsonville,
Mississippi. Julia's new husband was known as Dusty Willis; he was 24 years her junior. Robert
was remembered by some residents as "Little Robert Dusty."[7] However, he was registered at the
Indian Creek School in Tunica as Robert Spencer. He is listed as Robert Spencer in the 1920
census with Will and Julia Willis in Lucas, Arkansas, where they lived for a short time. Robert
was at school in 1924 and 1927[8] and the quality of his signature on his marriage certificate[9]
suggests that he studied continuously and was relatively well educated for a boy of his
background. One school friend, Willie Coffee, has been discovered and filmed. He recalls that
Robert was already noted for playing the harmonica and jaw harp.[10]He also remembers that
Robert was absent for long periods, which suggests that he may have been living and studying in
Memphis.[11]
After school, Robert adopted the surname of his natural father, signing himself as Robert
Johnson on the certificate of his marriage to sixteen-year-old Virginia Travis in February 1929.
She died shortly after in childbirth.[12] Surviving relatives of Virginia told the blues researcher
Robert "Mack" McCormick that this was a divine punishment for Robert's decision to sing
secular songs, known as 'selling your soul to the Devil'. McCormick believes that Johnson
himself accepted the phrase as a description of his resolve to abandon the settled life of a
husband and farmer to become a full-time blues musician.[13]
Around this time, the noted blues musician Son House moved to Robinsonville where his
musical partner, Willie Brown, already lived. Late in life, House remembered Johnson as a 'little
boy' who was a competent harmonica player but an embarrassingly bad guitarist. Soon after,
Johnson left Robinsonville for the area around Martinsville, close to his birthplace Hazlehurst,
possibly searching for his natural father. Here he perfected the guitar style of Son House and
learned other styles from the brothers Ike and Herman Zimmerman.[14] Ike Zimmerman was
rumoured to have learned supernaturally to play guitar by visiting graveyards at midnight.[15]
When Johnson next appeared in Robinsonville, he had seemed to have acquired a miraculous
guitar technique.[16] House was interviewed at a time when the legend of Johnson's pact with the
Devil was well known among blues researchers. He was asked whether he attributed Johnson's
technique to this pact, and his equivocal answers have been taken as confirmation.[5]
While living in Martinsville, Johnson fathered a child with Vergie Mae Smith. He also married
Caletta Craft in May 1931. In 1932, the couple moved to Clarksdale in the Delta. Here Caletta
fell ill and Johnson abandoned her for a career as a 'walking' (itinerant) musician.[17]
[edit] Itinerant musician
From 1932 to his death in 1938, Johnson lived his life in a manner that makes biography scarcely
possible. He moved frequently between such large centres as Memphis, Helena, Arkansas and
the smaller towns of the Mississippi Delta and neighbouring regions of Mississippi and
Arkansas. [18] On occasion, he travelled much further. Fellow blues musician Johnny Shines
accompanied him to Chicago, Texas, New York, Canada, Kentucky, Indiana.[19] David Honeyboy
Edwards shared a musical engagement with him in St Louis.[20] In many places he stayed with
members of his large extended family, or with women friends. He did not marry again but
formed some long term relationships with women to whom he would return periodically. One
was Estella Coleman, the mother of the blues musician Robert Lockwood, Jr.. In other places he
stayed with a woman seduced at his first performance.[18] In each location, Johnson's hosts were
largely ignorant of his life elsewhere. He actually used different names in different places.[21]
Even those who travelled with him from place to place were granted only a limited insight into
his life and personality. Johnny Shines and Robert Lockwood travelled with him on numerous
occasions, but their recollections are different and sometimes contradictory.[22]
When Johnson arrived in a new town, he would play for tips on street corners or in front of the
local barbershop or a restaurant. Musical associates 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[23]— 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 later remarked on Johnson's interest in jazz and
country. 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 a 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. But Johnson reportedly cultivated a woman to look after him in 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.
In 1941, Alan Lomax learned from Muddy Waters that Johnson had performed in the Clarksdale,
Mississippi area.[24] By 1959, Samuel Charters could only add that Will Shade of the Memphis
Jug Band remembered Johnson had once briefly played with him in West Memphis, Arkansas.[25]
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.
In 1938, Columbia Records producer John H. Hammond, who owned some of 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.[26]
[edit] Recording sessions
Main article: Robert Johnson's 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 put Johnson in touch with Ernie Oertle, who offered to
record the young musician in San Antonio, Texas. At the recording session, held November 23,
1936 in room 414 at the Gunter Hotel in San Antonio[27][28][29] 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. In the ensuing three-day session,
Johnson played sixteen selections, and recorded alternate takes for most of these.
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". 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.
His first recorded song, "Kind Hearted Woman Blues", was part of a cycle of spin-offs and
response songs that began with Leroy Carr's "Mean Mistreater Mama" (1934). According to
Wald, it was "the most musically complex in the cycle"[30] and stood apart from most rural blues
as a through-composed lyric, rather than an arbitrary collection of more-or-less unrelated verses.
[31]
In contrast to most Delta players, Johnson had absorbed the idea of fitting a composed song
into the three minutes of a 78 RPM side.[32] Most of Johnson's "somber and introspective" songs
and performances come from his second recording session.[33]
In 1937, Johnson traveled to Dallas, Texas, for another recording session in a makeshift studio at
the Brunswick Record Building, 508 Park Avenue.[34] Eleven records from this session would be
released within the following year. Because Johnson did two takes of most songs during these
sessions, and recordings of those takes survived, more opportunity exists to compare different
performances of a single song by Johnson than for any other blues performer of his time and
place.[35]
By the time he died, at least six of his records had been released in the South as race records.
[edit] Playback issues in extant recordings
The accuracy of the pitch and speed of the extant recordings has been questioned. In The
Guardian's music blog from May 2010, Jon Wilde states that "the common consensus among
musicologists is that we've been listening to [Robert] Johnson at least 20% too fast;" i.e., that
"the recordings were accidentally speeded up when first committed to 78 [rpm records], or else
were deliberately speeded up to make them sound more exciting."[36] He does not give a source
for this statement. Former Sony music executive Lawrence Cohn, who won a Grammy for the
label's 1991 reissue of Johnson's works, "acknowledges there's a possibility Johnson's 1936-37
recordings were sped up, since the OKeh/Vocalion family of labels, which originally issued the
material, was 'notorious' for altering the speed of its releases. 'Sometimes it was 78 rpms,
sometimes it was 81 rpms,' he says. It's impossible to check the original sources, since the metal
stampers used to duplicate the original 78 discs disappeared years ago."[37]
[edit] Death
Johnson died on August 16, 1938, at the age of 27, 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.
Differing accounts and theories attempt to shed light on the events preceding his death. A story
often told is that one evening Johnson began flirting with a woman at a dance, the wife of the
juke joint owner, according to rumor, unaware that the bottle of whiskey she gave to Johnson had
been poisoned by her husband. In another version, she was a married woman unrelated to the
juke joint owner. Johnson was allegedly offered an open bottle of whiskey that was laced with
strychnine. Fellow blues legend Sonny Boy Williamson allegedly advised him never to drink
from an offered bottle that had already been opened. According to Williamson, Johnson replied,
"Don't ever knock a bottle out of my hand." Soon after, he was offered another open bottle of
whiskey, also laced with strychnine, and accepted it. Johnson is reported to have begun feeling ill
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.
Musicologist Robert "Mack" McCormick claims to have tracked down the man who murdered
Johnson, and to have obtained a confession from him in a personal interview. McCormick has
declined to reveal the man's name, however.[38]
In his book Crossroads: The Life and Afterlife of Blues Legend Robert Johnson, Tom Graves
uses expert testimony from toxicologists to dispute the notion that Johnson died of strychnine
poisoning. He states that strychnine has such a distinctive odor and taste that it cannot be
disguised, even in strong liquor. However, according to the CDC, strychnine is bitter but
odorless.[39] He also claims that a significant amount of strychnine would have to be consumed in
one sitting to be fatal, and that death from the poison would occur within hours, not days. This
observation was also noted in a recent Guitar World comment from contemporary David
"Honeyboy" Edwards, who said that it couldn't have been strychnine, since he would have died
much sooner than the three days he suffered.
[edit] Gravesite
One of Robert Johnson's three tombstones
The precise location of his grave is officially unknown; three different markers have been erected
at supposed burial sites outside of Greenwood.[40]
• 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 one-ton cenotaph memorial in the shape of an
obelisk, listing all of Johnson's song titles, with a central inscription by Peter Guralnick,
was placed at this location in 1990, paid for by Columbia Records and numerous smaller
contributions made through the Mt. Zion Memorial Fund.
• In 1990 a small marker with the epitaph "Resting in the Blues" was placed in the
cemetery of Payne Chapel near Quito, Mississippi, by the cemetery's owner. This alleged
burial site, in an apparent attempt to strengthen a claim, happens to be located in the
center of Richard Johnson's family plot.
• 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.
An interviewee in the documentary The Search for Robert Johnson (1991) suggests that due to
poverty and lack of transportation Johnson is most likely to have been buried in a pauper's grave
very near where he perished.
[edit] Devil legend
According to legend, as a young man living on a plantation in rural Mississippi, Robert Johnson
was branded with a burning desire to become a great blues musician. He was "instructed" to take
his guitar to a crossroad near Dockery Plantation at midnight. There he was met by a large black
man (the Devil) who took the guitar and tuned it. The "Devil" played a few songs and then
returned the guitar to Johnson, giving him mastery of the instrument. This was in effect, a deal
with the Devil mirroring the legend of Faust. In exchange for his soul, Robert Johnson was able
to create the blues for which he became famous.
[edit] Various accounts
This legend was developed over time, and has been chronicled by Gayle Dean Wardlow,[41]
Edward Komara[42] and Elijah Wald, who sees the legend as largely dating from Johnson's
rediscovery by white fans more than two decades after his death.[43] Son House once told the
story to Pete Welding as an explanation of Johnson's astonishingly rapid mastery of the guitar.
Welding reported it as a serious belief in a widely read article in Down Beat in 1966.[44] Other
interviewers failed to elicit any confirmation from House and there were fully two years between
House's observation of Johnson as first a novice and then a master.
Further details were absorbed from the imaginative retellings by Greil Marcus[45] and Robert
Palmer.[46] Most significantly, the detail was added that Johnson received his gift from a large
black man at a crossroads. There is dispute as to how and when the crossroads detail was
attached to the Robert Johnson story. All the published evidence, including a full chapter on the
subject in the biography Crossroads by Tom Graves, suggests an origin in the story of Blues
musician Tommy Johnson. This story was collected from his musical associate Ishman Bracey
and his elder brother Ledell in the 1960s.[47] One version of Ledell Johnson's account was
published in 1971 David Evans's[disambiguation needed] biography of Tommy,[48] and was repeated in
print in 1982 alongside Son House's story in the widely read Searching for Robert Johnson.[49]
In another version, Ledell placed the meeting not at a crossroads but in a graveyard. This
resembles the story told to Steve LaVere that Ike Zinnerman of Hazelhurst, Mississippi learned
to play the guitar at midnight while sitting on tombstones. Zinnerman is believed to have
influenced the playing of the young Robert Johnson.[50] Recent research by blues scholar Bruce
Conforth uncovered Ike Zinnerman's daughter and the story becomes much clearer, including the
fact that Johnson and Zinnerman did practice in a graveyard at night (because it was quiet and no
one would disturb them) but that it was not the Hazlehurst cemetery as had been believed.
Johnson spent about a year living with, and learning from Zinnerman, who ultimately
accompanied Johnson back up to the Delta to look after him. Conforth's article in Living Blues
magazine goes into much greater detail.[51]
• 27 Club
[edit] References
1. ^ The 50 albums that changed music. London: The Observer. 2006-07-16.
http://www.guardian.co.uk/music/2006/jul/16/popandrock.shopping. Retrieved 2008-11-
01
2. ^ Booklet accompanying the Complete Recordings box set, Stephen LaVere, Sony Music
Entertainment, 1990, Clapton quote on p. 26
3. ^ "Robert Johnson Inducted at: The 1986 Induction Ceremony". Rock and Roll Hall of
Fame and Museum Inc.
4. ^ a b "100 Greatest Guitarists". rollingstone.com. Rolling Stone. 2008-11-28.
http://www.rollingstone.com/music/lists/5945/32609. Retrieved 2010-08-15.
5. ^ a b Wardlow
6. ^ Guralnik pp. 10–11
7. ^ Guralnik p.11
8. ^ a b Freeland (2000)
9. ^ Wardlow (1998) p. 201
10. ^ Hellhounds on my Trail: The Afterlife of Robert Johnson quoted in Wald (2004) p.107
11. ^ Pearson & McCulloch p. 6.
12. ^ Wald (2004) p. 108
13. ^ The Search for Robert Johnson, 1992 film.
14. ^ Pearson & McCulloch, p. 7.
15. ^ Pearson & McCulloch, p. 94.
16. ^ Guralnick p.15
17. ^ Pearson & McCulloch p. 7
18. ^ a b Kuralnik
19. ^ Shines
20. ^ Edwards
21. ^ McCormick
22. ^ Schroeder
23. ^ Sisario, Ben (February 28, 2004). "Revisionists Sing New Blues History". The New
York Times. http://query.nytimes.com/gst/fullpage.html?
res=9C0CE5D7113CF93BA15751C0A9629C8B63. Retrieved May 22, 2010.
24. ^ Lomax (1993)
25. ^ Charters (1959)
26. ^ Jazz by Mail - Various Artists (From Spirituals to Swing)
27. ^ San Antonio Express-News, 30 November 1986, "Blues wizard's S.A. Legacy", p. 1-J
28. ^ "The History of Dallas 1926-1950--1937: Robert Johnson Singer left mysterious legacy
at 508 Park Ave" by Thor Christensen, 7/3/2002, The Dallas Morning News.
29. ^ Beal Jr., Jim (2009-08-16). "Mellencamp honors the past at historic locale".
www.mysanantonio.com. San Antonio Express-News.
http://www.mysanantonio.com/entertainment/music/53348127.html. Retrieved 2010-03-
22.
30. ^ Wald (2004), p. 131.
31. ^ Wald (2004), p. 132, 176.
32. ^ Wald (2004), p. 132.
33. ^ Wald (2004), p. 167.
34. ^ Eric Clapton - Sessions for Robert Johnson, 2004 documentary
35. ^ Wald (2004), p. 130.
36. ^ Jon Wilde (2010-05-27). "Robert Johnson revelation tells us to put the brakes on the
blues". The Guardian. http://www.guardian.co.uk/music/musicblog/2010/may/27/robert-
johnson-blues. Retrieved 2010-06-05.
37. ^ Christopher Morris (2010-05-28). "Phonograph blues: Robert Johnson mastered at
wrong speed?". Variety. http://www.varietysoundcheck.com/2010/05/phonograph-blues-
robert-johnson-mastered-at-wrong-speed.html?ref=ssp. Retrieved 2010-06-05.
38. ^ The Search for Robert Johnson, 1992 film.
39. ^ "Facts About Strychnine". Emergency Preparedness and Response. U.S. Centers for
Disease Control. 2003-05-14. http://www.bt.cdc.gov/agent/strychnine/basics/facts.asp.
Retrieved 2010-07-30.
40. ^ Blackstone, E. H. (2008). "One of three supposed resting places known for Blues
legend Robert Johnson. Near Greenwood 2008" (Javascript photo gallery).
blackstone.carbonmade.com. http://blackstone.carbonmade.com/projects/2027466#13/.
Retrieved 2010-08-15.
41. ^ Wardlow pp. 196–201
42. ^ Wardlow pp 203–4
43. ^ Wald. pp 265–276
44. ^ Whelan
45. ^ Marcus (1975)
46. ^ Palmer (1981)
47. ^ Wardlow (1998)
48. ^ Evans (1971)
49. ^ Guralnik (1982)
50. ^ Wardlow (1998) p. 197
51. ^ Living Blues: Issue #194, Vol. 39. #1, February 2008 pp. 68–73
52. ^ Wardlow (1998) p. 200
53. ^ Bhesham S. Sharma, Poetic devices in the Songs of Robert Johnson, King of the Delta
Blues Transcultural Music Review #3 (1997).
54. ^ Hyatt, Harry. Hoodoo--Conjuration--Witchcraft--Rootwork, Beliefs Accepted By
Many Negroes and White Persons. Western Publications 1973
55. ^ Lomax p. 365.
56. ^ "The salt of the earth: 1930s-1940s--Pre-electric non-Chicago blues" from liner notes
to Johnson's The Complete Recordings, released on Columbia in 1990.
57. ^ Wald (2004), p. 127
58. ^ Wald (2004), p. 133.
59. ^ Wald (2004), p. 152–154.
60. ^ Wald (2004), p. 178–179.
61. ^ a b Wald (2004), p. 177.
62. ^ a b Buncombe, Andrew. (2006-07-26). "The grandfather of rock'n'roll: The devil's
instrument" The Independent.
63. ^ a b Wald (2004), p. 136.
64. ^ Wald (2004), p. 139.
65. ^ Wald (2004), p. 171–172.
66. ^ Wald (2004), p. 183.
67. ^ Wald (2004), p. 184.
68. ^ Wald (2004), p. 170–171, 174.
69. ^ Wald (2004), p. 175.
70. ^ Wald, 2004
71. ^ "Songs that Shaped Rock and Roll". Rock and Roll Hall of Fame and Museum. 2007.
http://rockhall.com/exhibits/500-songs-that-shaped-rock-and/.
72. ^ 50' The Beginnings of Rock and Roll Education Department, Saatchi Gallery
Contemporary Art in London.
73. ^ "35 Guitar Gods", August 1990, SPIN magazine.
74. ^ "Top 50 Guitarists of All Time – 10 to 1". Gibson.com. http://www.gibson.com/en-
us/Lifestyle/Features/Top-50-Guitarists-528/title=Gibson.com. Retrieved 2010-06-03.
75. ^ Wardlow and Komara, 1998, p. 87
76. ^ Frank Digiacomo, "Searching for Robert Johnson", Vanity Fair, November, 2008
77. ^ Guralnick
78. ^ "Robert Johnson - Bio". www.deltahaze.com. Archived from the original on 2008-07-
14.
http://web.archive.org/web/20080714234938/http://www.deltahaze.com/johnson/bio.html
. Retrieved 2008-07-15.
79. ^ Komarma (2007) pp. 63–68
80. ^ Awards List for Robert Johnson. The Awards Insider; Los Angeles Times. Retrieved
2010-08-15.
81. ^ The National Recording Registry 2003. Library of Congress.
82. ^ "The 500 Songs That Shape Rock And Roll G-J". The Rock and Roll Hall of Fame and
Museum, Inc.. 500. Archived from the original on 2008-08-22.
http://web.archive.org/web/20080822050749/http://www.rockhall.com/exhibithighlights/
500-songs-gj/.
83. ^ "Awards Search". The Blues Foundation. http://www.blues.org/search/handys.php.
(Javascript required.)
84. ^ "2006 Lifetime Achievement Grammy Award - presented to Robert Johnson, accepted
by son Claud Johnson". Robert Johnson Blues Foundation. 2006.
http://www.robertjohnsonbluesfoundation.org/grammy.html.
85. ^ Gibson Musical Instruments (April 4, 2000). "Mississippi Hall of Fame inducts trio of
famed Gibson artists". Press release. Archived from the original on 2000-08-19.
http://web.archive.org/web/20000819115818/http://www.gibson.com/whatsnew/pressrele
ase/2000/apr4a.html.
[edit] Bibliography
• Blues World - Booklet No.1 - Robert Johnson - Four Editions, First published 1967
• Blesh, Rudi (1946) "Jazz Begins" quoted in Marybeth Hamilton (below).
• Charters, Samuel B (1959). The Country Blues. Rinehart.
• Charters, Samuel B (1967). The Bluesman. The story of the music of the men who made
the Blues Oak Publications.
• Charters, Samuel B (1973). Robert Johnson. Oak Publication. ISBN 0-8256-0059-6
• Evans, David (1971). Tommy Johnson. Studio Vista. SBN 289 70150
• Freeland, Tom (2000). Robert Johnson: Some Witnesses to a Short Life in Living Blues
no. 150 March/April 200 p. 49
• Graves, Tom (2008). Crossroads: The Life and Afterlife of Blues Legend Robert Johnson.
DeMers Books, ISBN 978-0-9816002-1-5
• 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
• Komara, Edward (2007). The Road to Robert Johnson, The genesis and evolution of
blues in the Delta from the late 1800s through 1938. Hal Leonard. ISBN 0-634-009079
• Marcus, Greil (1975). Mystery Train. E.P. Dutton.
• Hamilton, Marybeth (2007). In Search of the Blues. Black Voices, White Visions.
Jonathan Cape. ISBN 0-224-06018-X
• Lomax, Alan (1993). The Land Where the Blues Began. Methuen. ISBN 0-413-67850-4
• Palmer, Robert (1982) paperback edition. Deep Blues. Macmillan, ISBN 0-333-34039-6
• 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
• Russell, Tony (2004). Country Music records, A Discography, 1921–1942. Oxford. ISBN
0-19-513989-5
• 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
• Welding, Pete (1966). Robert Johnson. Hell hound on his trail. In Down Beat Music '66:
73–76, 103
• Wolf, Robert (2004) Hellhound on My Trail: The Life of Robert Johnson, Bluesman
Extraordinaire. Mankato, MN: Creative Editions. ISBN 1-56846-146-1
[edit] External links
Wikimedia Commons has media related to: Robert Johnson (musician)
King of the Delta Blues Singers · King of the Delta Blues Singers, Vol. II · The Complete
Albums
Recordings
"Kind Hearted Woman Blues" · "Dust My Broom" · "Sweet Home Chicago" · "Come On
in My Kitchen" · "Terraplane Blues" · "32-20 Blues" · "They're Red Hot" · "Dead
Shrimp Blues" · "Cross Road Blues" · "From Four Until Late" · "Hellhound on My
Songs
Trail" · "Travelling Riverside Blues" · "Love in Vain" · "Ramblin' on My Mind" · "Last
Fair Deal Gone Down" · "Walkin' Blues" · "Me and the Devil Blues" · "Stop Breaking
Down" · "If I Had Possession Over Judgment Day" · "When You Got A Good Friend"
The Search for Robert Johnson · Me and the Devil Blues · Me and Mr. Johnson · The
Related
Robert Johnson Songbook · 27 Club
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Retrieved from "http://en.wikipedia.org/wiki/Robert_Johnson_(musician)"
Categories: 1911 births | 1938 deaths | People from Hazlehurst, Mississippi | African American
singer-songwriters | African American guitarists | Delta blues musicians | Country blues
musicians | Country blues singers | American male singers | Blues Hall of Fame inductees | Blues
musicians from Mississippi | American blues guitarists | American blues singer-songwriters |
American buskers | Rock and Roll Hall of Fame inductees | Slide guitarists | Vocalion Records
artists | Murdered entertainers
Hidden categories: Biography articles needing expert attention | Articles needing expert attention
from October 2009 | All articles needing expert attention | Articles using Infobox musical artist
with deprecated parameters | Articles with hCards | Articles with links needing disambiguation |
All articles with unsourced statements | Articles with unsourced statements from February 2009 |
Articles with hAudio microformats
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