They call him The King of the Delta Blues. He never played to large audiences; they were mainly parties and juke-joints and it is thought he only made one short radio broadcast. He made most of his money playing for tips on the street; his biggest record sold only a few thousand copies and perhaps made him $100; and yet his music echoes down the years in the work of so many who have followed him. Robert’s delicate, polyrhythmic fingerpicking style, his strange tunings, his complex chording and his slide-playing inspired generations of guitarists, and many of the songs he wrote have become Blues standards.Robert Johnson was born on 8th May 1911 in Hazelhurst, Mississippi, the son of a local farmhand Noah Johnson and Julia Dodds, an abandoned wife. She moved to Memphis to rejoin her husband in 1914, but soon divorced and re-married. As a teenager Robert, now known as Robert Spencer, moved back to the Clarksdale area to find his natural father, and at that point took his name. Robert played harmonica and was learning guitar, when he met Willie Brown, a local man who played ‘second’ guitar with Charley Patton at juke-joints and parties. Willie took Robert to Patton’s home at the Will Dockery Plantation, where Tommy Johnson, Son House and a host of other Blues-men came to play. It is said that Robert was was given his first guitar at Dockery, and he was certainly in a good position to learn from the men around him. Son House taught him some slide guitar technique, but Robert was also deeply influenced by his namesake Tommy Johnson. It wasn’t just Tommy’s intense guitar style and high falsetto voice that Robert copied, but this inveterate womaniser and drunkard often told friends and admirers that he had made a Faustian pact with the Devil to gain his talent for the Blues.
Both takes of ‘Love in Vain’, and both existing images of Robert;The story of going to the crossroads at midnight to deal with the Devil is deeply embedded in Black Southern folk-lore, based on the West-African Yoruba tale of meeting Legba, the Trickster deity who would grant a wish but always got the best of the deal. When this is transposed into the Christian equivalent, it becomes an encounter with Satan himself. When Robert returned to Clarksdale after a few months spent playing the cotton towns along the Mississippi and over in Arkansas, his guitar-playing and song-writing had improved beyond recognition. Of course it was believed he must have sold his soul to acquire this fantastic talent, just like Tommy Johnson had claimed, but it is more likely he learned a new way to play from a shadowy figure called Zinneman who was reputed to practice in a graveyard! Robert used a mixture of slide and chording on his guitar, often with unconventional tunings, and this combined with the reach of his large hands and his use of ‘walking’ bass notes, gave his playing a unique quality. Robert never really did ‘solos’, but his graceful and inspirational style opened up new ways of playing, with the guitar and vocal lines seamlessly interwoven.
Robert was a generous teacher and he was responsible for developing the talents of his ‘step-son’ Robert Jr. Lockwood and the young Elmore James. Another young Blues player, Johnny Shines, befriended Robert and the pair spent three years bumming around together. Shines said, “He was a natural rambler. We used to travel all over: meet the pay-days in the lumber camps and track gangs: anywhere the money was. Played for dances, in taverns, on sidewalks: didn’t matter where as far as he was concerned. Robert was a natural showman.” Their travels took them to New York and Chicago, Texas, Indiana, Kentucky and even Ontario Canada, where they made a radio broadcast. When they hit a new town, word got round quickly, and it is questionable whether Robert left more Blues disciples or broken-hearted women behind. “His sound affected women in a way I could never understand,” said Shines. “I said he had a talking guitar and many a person agreed with me.”
Son House gives his first-hand account of Robert’s transformation;
The Devil might have his Soul, but his Blues is alive and strong.
This fascinating film caused a stir when it purported to show footage of Robert playing;