Robert Johnson: The Complete Recordings

Robert Johnson: The Complete Recordings

Robert Johnson: The Complete Recordings
Robert Johnson: The Complete Recordings
Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues 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 and poorly documented life and death at age 27have given rise to much legend. One Faustian myth says that he sold his soul to the devil at a local crossroads of Mississippi highways to achieve success. As an itinerantperformer 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.
After the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers, his work reached a wider national 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 of the band Cream has called Johnson “the most important blues singer that ever lived.”
Johnson was inducted in 1986 into the Rock and Roll Hall of Fame’s first induction ceremony, noted as an early influence in the genre.  In 2010, David Fricke ranked Johnson fifth in Rolling Stone magazine’s “100 Greatest Guitarists of All Time”.
Disc One

No. Title Length

1. “Kind Hearted Woman Blues” 2:49
2. “Kind Hearted Woman Blues” (alternate take) 2:31
3. “I Believe I’ll Dust My Broom” 2:56
4. “Sweet Home Chicago” 2:59
5. “Ramblin’ on My Mind” (alternate take) 2:51
6. “Ramblin’ on My Mind” 2:20

7. “When You Got a Good Friend” 2:37
8. “When You Got a Good Friend” (alternate take) 2:50
9. “Come On in My Kitchen” (alternate take) 2:47
10. “Come On in My Kitchen” 2:35
11. “Terraplane Blues” 3:00
12. “Phonograph Blues” 2:37
13. “Phonograph Blues” (alternate take) 2:35
14. “32-20 Blues” 2:51
15. “They’re Red Hot” 2:56
16. “Dead Shrimp Blues” 2:30
17. “Cross Road Blues” 2:39
18. “Cross Road Blues” (alternate take) 2:29
19. “Walkin’ Blues” 2:28
20. “Last Fair Deal Gone Down” 2:39

Disc two
No. Title Length

1. “Preaching Blues (Up Jumped the Devil)” 2:50
2. “If I Had Possession Over Judgment Day” 2:34
3. “Stones in My Passway” 2:27
4. “I’m a Steady Rollin’ Man” 2:35
5. “From Four Till Late” 2:23
6. “Hellhound on My Trail” 2:35
7. “Little Queen of Spades” 2:11
8. “Little Queen of Spades” (alternate take) 2:15
9. “Malted Milk” 2:17
10. “Drunken Hearted Man” 2:24
11. “Drunken Hearted Man” (alternate take) 2:19
12. “Me and the Devil Blues” 2:37
13. “Me and the Devil Blues” (alternate take) 2:29
14. “Stop Breakin’ Down Blues” (alternate take) 2:16
15. “Stop Breakin’ Down Blues” 2:21
16. “Traveling Riverside Blues” 2:47
17. “Honeymoon Blues” 2:16
18. “Love in Vain” (alternate take) 2:28
19. “Love in Vain” 2:19
20. “Milkcow’s Calf Blues” (alternate take) 2:14
21. “Milkcow’s Calf Blues”

The Story of Bluesman Robert Johnson’s Famous Deal With the Devil

Robert Johnson: The Complete Recordings
Robert Johnson: The Complete Recordings
So many hugely successful and talented musicians have died at age 27 that it almost seems reasonable to believe the number represents some mystical coefficient of talent and tragedy. But several decades before Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, or Amy Winehouse left us too soon, Robert Johnson—the man who pioneered selling one’s soul for rock and roll—died in 1938, at age 27, under mysterious and likely violent circumstances. He was already a legend, and his story of meeting Satan at the crossroads to make an exchange for his extraordinary talent had already permeated the popular culture of his day and became even more ingrained after his death—making him, well, maybe the very first rock star.
Johnson’s few recordings—29 songs in total—went on to influence Eric Clapton, Keith Richards, 27 club member Brian Jones and so many others. And that’s not to mention the hundreds of Delta and Chicago blues guitarists who picked Johnson’s brain, or stopped short of selling their souls trying to outplay him. But Johnson, begins the animated short above (which tells the tale of the bluesman’s infernal deal) “wasn’t always such an amazing guitarist.” Legend has it he “coveted the talents of Son House” and dreamed of stardom. He acquired his talent overnight, it seemed to those around him, who surmised he must have set out to the crossroads, met the devil, and “made a deal.”
The rest of the story—of Robert Johnson’s fatal encounter with the jealous husband of an admirer—is a more plausible development, though it too may be apocryphal. “Not all of this may be true,” says the short film’s title cards, “but one thing is for certain: No Robert Johnson, No Rock and Roll.” This too is another legend. Other early bluesmen like Blind Willie Johnson and Robert’s hero Son House exerted similar influence on 60s blues revivalists, as of course did later electric players like Muddy Waters, Howlin’ Wolf, and B.B. King. Johnson was a phenomenal innovator, and a singular voice, but his repertoire—like those of most blues players at the time—consisted of variations on older songs, or responses to other, very talented musicians.
Most of the songs he recorded were in this vein—with at least two very notable exceptions: “Cross Road Blues” (or just “Crossroads”) and “Me and the Devil Blues,” both of which have contributed to the myth of Johnson’s pact with Lucifer, including the part about the dark angel coming to collect his debt. In the latter song, animated in a video above, Satan comes knocking on the singer’s door early in the morning. “Hello Satan,” says Johnson, “I believe it’s time to go.” Much of what we think about Johnson’s life comes from these songs, and from much rumor and innuendo. He may have been murdered, or—like so many later stars who died too young—he may have simply burned out. One blues singer who claims she met him as a child remembers him near the end of his life as “ill” and “sickly,” reports the Austin Chronicle, “in a state of physical disrepair as though he’d been roughed up.”
Johnson scholar Elijah Wald describes his history like that of many founders of religious sects: “So much research has been done [on Johnson] that I have to assume the overall picture is fairly accurate. Still, this picture has been pieced together from so many tattered and flimsy scraps that almost any one of them must to some extent be taken on faith.” Johnson’s “spiritual descendants,” as Rolling Stone’s David Fricke calls his rock and roll progeny, have no trouble doing just that. Nor do fans of rock and blues and other artists who find the Robert Johnson legend tantalizing.
In the film above, “Hot Tamales,” animator Riccardo Maneglia adapts the myth, and quotes from “Crossroad Blues,” to tell the story of Bob, who journeys to the crossroads to meet sinister voodoo deity Papa Leg, replaying Johnson’s supposed rendezvous in a different religious context. In “Crossroad”‘s lyrics, Johnson is actually “pleading with God for mercy,” writes Frank DiGiacomo in Vanity Fair, “not bargaining with the devil.” Nonetheless—legendary or not—his evocation of devilish deals in “Me and the Devil Blues” and gritty, emotional account of self-destruction in “Crossroads” may on their own add sufficient weight to that far-reaching idea: “No Robert Johnson, No Rock and Roll.”

The Devil’s Music – The Myth of Robert Johnson
“The root source for a whole generation of blues and rock and roll musicians” “The most emotionally committed of all blues-singers”
“The greatest singer, the greatest writer”
“The greatest folk blues guitar player that ever lived”
“The most accomplished and certainly the most influential of all Bluesman”
“He is a visionary artist”
These are just some of the descriptions offered by musicians and writers that have been awed by Robert Johnson’s music. Little wonder then that the man’s life and work have become the stuff of legend.
Even the facts of his life are confusing. He was born in Hazelhurst, Mississippi on or around 8 May 1911 and died 27 years later on 18 August 1938 at Three Forks, near Greenwood, Mississippi; even at a time when life expectancy was shorter, Johnson’s was a short life.
Robert’s mother, Julia, had ten children before Robert was born, all ten being born in wedlock, with her Sharecropper husband, Charles Dodds. Julia was probably around forty years old when Robert was born illegitimately; his father was a plantation worker called Noah Johnson. Charles Dodds had moved to Memphis as a result of problems he was having with some prominent Hazelhurst landowners. Robert was sent to live with him when he was around three or four years old, by which time all of Dodd’s children had moved to Memphis.
Robert grew up in Memphis and learned the basics of the guitar from a brother. Then, aged around eight or nine, Robert moved back to the Delta to live with his mother and her new husband Dusty Willis. He became known as Little Robert Dusty. By all accounts Robert was more interested in music than he was on working in the fields, which put him at odds with his stepfather. By the time he was nineteen Robert had married Virginia Travis on February 17, 1929, in Penton, Mississippi; she was sixteen and died in April 1930 as she was giving birth. Around 1930, Son House, considered by many to be the most gifted of the Delta blues men of this time, moved to live in Robinsville, which is when Robert first heard him play.
Son House recalled many years later “he blew a harmonica and he was pretty good with that, but he wanted to play guitar.” It was from House and his friend, Willie Brown that Robert learned. He would watch them play and when they took a break he would use one of their guitars, according to House he was not good at all, “…such a racket you never heard!……get that guitar away from that boy” people would say, ”…..he’s running people crazy with it.”
In May 1931 Robert married Colleta Craft in Hazlehurst, Mississippi but continued to travel the Delta, improving his guitar playing and playing at Juke joints and picnics. By 1932 Robert played for Son and Willie; they were staggered by his improvement. “He was so good. When he finished, all our mouths were standing open.”
Robert resumed his Delta wanderings, as well as visiting Chicago, New York, Detroit and St Louis that we know of. The story goes that he would often concentrate his performance on just one woman in the audience; a risky business in a world where men were happy to fight when they felt aggrieved.
Johnson travelled and played with Johnny Shines, who later recalled that Robert was always neat and tidy, despite days spent travelling dusty Delta highways. Johnny also recalled that Robert was just as likely to perform other people’s songs, as he was his own. He sang songs by everyone from Bing Crosby to Blind Willie McTell and Jimmie Rodgers to Lonnie Johnson. Robert, like many others, performed the songs that earned him money, songs his audiences requested.
By the time he was in his mid twenties Johnson’s second wife had died without giving birth and sometime in 1935 he went to H.C. Speir’s store in Jackson Mississippi; like many of his contemporaries, he wanted to record. Speir was a scout for the ARC record label and by late November 1936 Robert was in San Antonio to record the first of his twenty-nine sides.
On Monday November 23 he cut ‘Kind Hearted Woman Blues’, the first of thirteen takes of eight different songs. Three days later he was back and cut ’32-20 Blues’ and then the following day he cut nine more takes on seven different songs. He was paid possibly no more than $100 and Johnson was soon on a train back to Mississippi to resume the life of an itinerant musician, temporarily richer having pocketed money from his recording session.
His first release was ‘Terraplane Blues’ coupled with ‘Kind Hearted Woman Blues’; it would be the only one that sold in reasonable numbers at the time. Next came ’32-20 Blues’ coupled with ‘Last Fair Deal Gone Down’, followed by ‘I’ll Believe I’ll Dust My Broom’ and ‘Dead Shrimp Blues’. While his sales were not prolific they were clearly good enough for Johnson to be summoned back for some more recording. This time he went to Dallas and recorded three more sides on 19 June 1937, the following day he cut thirteen more takes of ten more songs.

Robert Johnson: The Complete Recordings
Robert Johnson: The Complete Recordings
After his recording session Robert played around Texas, accompanied by Johnny Shines. They played Jukes, parties and dances, just as they had always done before heading back to Mississippi via Arkansas. Details of the rest of this year are sketchy, although it is known that Robert spent some time in Memphis and Helena, Arkansas.
Gayle Dean Wardlow, a Mississippi journalist, went in search of Robert Johnson’s death certificate, and found it in 1968. It confirmed that Robert had died in Greenwood on 16th August 1938 aged twenty-seven years old
Was it murder?
We have only hearsay as to precisely how he died. It is believed that Robert was playing a juke attached to The Three Forks Store near Greenwood, Mississippi. According to David ‘Honeyboy’ Edwards he was poisoned at the store, He got so sick that he had to be taken the three miles into Greenwood where he died. The supposition is that Robert had an affair with the wife of the owner of the Three Forks, and it was he that poisoned Robert.
Through the research of Gayle Dean Wardlow it has come to light that on the back of the death certificate was information that points to the fact that Johnson may have been born with congenital syphilis. According to a Doctor it is possible that he had an aneurysm caused by the syphilis and his love of drinking moonshine
Where is he buried?
Just where he is buried is just as confusing as how he died. There are three headstones erected in separate cemeteries around Greenwood. One has a head stone erected by Sony Music, at another location a headstone paid for by the members of ZZ Top. In the summer of 2000 an 85 year old lady called Rosie Eksridge said that her husband helped to bury Johnson in a graveyard about 3 miles from Three Forks; this has now had a headstone placed in the graveyard.

Robert Johnson: The Complete Recordings
Robert Johnson: The Complete Recordings
Just how did he become such a brilliant guitarist?
The most famous myth surrounding Johnson’s life, one that has inspired, fascinated and taxed everyone, is the one that tells of him selling his soul to the Devil.
People living in the Delta today roll their eyes when asked by eager Blues tourists to tell them where they can find the crossroads. Others of course do not bother asking, they just go to the junction of Highway 61 and Highway 49 and have their photograph taken. The current crossroads of the two highways is at least half a mile from the one that would have existed in Johnson’s lifetime.
The point is there is no actual crossroads.
In ‘Cross Road Blues’ Robert is singing of man’s need to make choices, and the fundamental choice between good and evil.
“I went to the crossroad, fell down on my knees
I went to the crossroad, fell down on my knees
Asked the Lord above “Have mercy, now save poor Bob, if you please”

Robert Johnson: The Complete Recordings
Robert Johnson: The Complete Recordings
There was long standing Delta myth that talks of a Bluesman waiting by the side of a deserted country crossroads in the dark of a moonless night, for Satan himself would come and tune his guitar.
It’s a story made more relevant, in the construction of the Johnson myth, when coupled with Johnson’s frequent references to the Devil. In his songs including, ‘Me And The Devil Blues’, in which he sings, “Me and the devil, was walkin’ side by side”.
‘Preachin’ Blues (Up Jumped The Devil)’ and ‘Hell Hound on My Trail’ help mythologise Johnson’s supposed deal with the Devil. Johnson was far from the only bluesman who sang about the devil, Skip James, Tampa Red, Lonnie Johnson, Joe Williams and Peetie Wheatstraw all sang of Satan – the latter even nicknamed himself The Devil’s Son-in-law after one of his 1931 recordings.

Robert Johnson: The Complete Recordings
Robert Johnson: The Complete Recordings
Was Johnson a genius songwriter?
His music is brilliant, his delivery and his guitar playing were unique and rightly revered, but the songs he recorded are often derivative of other earlier recordings. These records are probably derivative of other blues songs that were passed around from one blues singer to another.
‘Kind Hearted Woman Blues’ – Influenced by Leroy Carr
‘I’ll Believe I’ll Dust My Broom’ – based on Kokomo Arnold’s ‘Sagefield Woman’ Blues and an even earlier recording by Carl Rafferty, ‘Mr. Carl’s Blues’.
Sweet Home Chicago – based on Kokomo Arnold’s ‘Old Original Kokomo Blue’s
‘Come on in my Kitchen’ – melody based on ‘Sitting on Top of The World’ by The Mississippi Sheiks
‘Phonograph Blues’ – similar to Cliff Carlisle’s ‘That Nasty Swing’
‘32-20 Blues’ – based on Skip James ‘22-20 Blues’
‘If I Had Possession Over Judgement Day’ – based on Hambone Willie Newbern’s ‘Roll and Tumble Blues’
‘From Four Until Late’– similar to ‘Four O’clock Blues’ by Skip James and ‘Tom Rushen Blues’ by Charley Patton
‘Hell Hound on My Trail –. based on Skip James’s ‘Devil Got My Woman’
‘Malted Milk’ – inspired by Lonnie Johnson
‘Travelling Riverside Blues’ – based around ‘Roll and Tumble Blues’
‘Love in Vain’ – based on Leroy Carr’s ‘When the Sun Goes Down’
‘Milkcow’s Calf Blues’ – inspired by Kokomo Arnold’s ‘Milkcow Blues’
Robert Johnson has influenced just about everyone that picked up a guitar and played blues and rock. Eric Clapton has been one of the most vocal to pay tributes to the King of the Delta Blues, including recording a complete album in his name – 2004’s Sessions for Robert J.