Instrument
Johnson mastered the guitar, being considered today one of
the all-time greats on the instrument. His approach was complex and musically
advanced. When Keith Richards was first introduced to Johnson's music by his
bandmate Brian Jones, he asked, "Who
is the other guy playing with him?” not realizing it was Johnson playing
one guitar. "I was hearing two
guitars, and it took a long time to actually realise he was doing it all by
himself", said Richards, who later stated that "Robert Johnson was like an orchestra all by himself".
"As for his guitar technique, it's politely reedy but ambitiously
eclectic—moving effortlessly from hen-picking and bottleneck slides to a full
deck of chucka-chucka rhythm figures".
Lyrics
In The Story with Dick Gordon, Bill Ferris, of American
Public Media, said, "Robert Johnson
I think of in the same way I think of the British Romantic poets, Keats and
Shelley, who burned out early, who were geniuses at wordsmithing poetry ... The
Blues, if anything, are deeply sexual. You know, 'my car doesn't run, I'm gonna
check my oil ... 'if you don't like my apples, don't shake my tree'. Every
verse has sexuality associated with it".
Influences
Johnson fused approaches specific to Delta blues to those
from the broader music world. The slide guitar work on "Ramblin' on My Mind" is pure Delta and Johnson's vocal
there has "a touch of ... Son House
rawness", but the train imitation on the bridge is not at all typical
of Delta blues—it is more like something out of minstrel show music or
vaudeville. Johnson did record versions of "Preaching
the Blues" and "Walking
Blues" in the older bluesman's vocal and guitar style (House's
chronology has been questioned by Guralnick). As with the first take of "Come On in My Kitchen", the
influence of Skip James is evident in James's "Devil Got My Woman", but the lyrics rise to the level of
first-rate poetry, and Johnson sings with a strained voice found nowhere else
in his recorded output.
The sad, romantic "Love
in Vain" successfully blends several of Johnson's disparate
influences. The form, including the wordless last verse, follows Leroy Carr's
last hit "When the Sun Goes
Down"; the words of the last sung verse come directly from a song
Blind Lemon Jefferson recorded in 1926. Johnson's last recording, "Milkcow's Calf Blues" is his
most direct tribute to Kokomo Arnold, who wrote "Milkcow Blues" and influenced Johnson's vocal style.
"From Four Until
Late" shows Johnson's mastery of a blues style not usually associated
with the Delta. He croons the lyrics in a manner reminiscent of Lonnie Johnson,
and his guitar style is more that of a ragtime-influenced player like Blind
Blake. Lonnie Johnson's influence is even clearer in two other departures from
the usual Delta style: "Malted
Milk" and "Drunken Hearted
Man". Both copy the arrangement of Lonnie Johnson's "Life Saver Blues". The two
takes of "Me and the Devil
Blues" show the influence of Peetie Wheatstraw, calling into question
the interpretation of this piece as "the
spontaneous heart-cry of a demon-driven folk artist".
Legacy
Early recognition and
reviews
Famed producer John Hammond was an early advocate of
Johnson's music. Using the pen-name Henry Johnson, he wrote his first article
on Robert Johnson for the New Masses magazine in March 1937, around the time of
the release of Johnson's first record. In it, he described Johnson as "the greatest Negro blues singer who
has cropped up in recent years ... Johnson makes Leadbelly sound like an
accomplished poseur." The following year, Hammond hoped to get Johnson
to perform at a December 1938 From Spirituals to Swing concert in New York
City, as he was unaware that Johnson had died in August. Instead, Hammond
played two of his recordings, "Walkin'
Blues" and "Preachin' Blues
(Up Jumped the Devil)", for the audience and "praised Johnson lavishly from the stage". Music
historian Ted Gioia noted "Here, if
only through the medium of recordings, Hammond used his considerable influence
at this historic event to advocate a position of preeminence for the late Delta
bluesman". Music educator James Perone also saw that the event "underscored Robert Johnson's specific
importance as a recording artist". In 1939, Columbia issued a final
single, pairing "Preachin'
Blues" with "Love in
Vain".
In 1940, nine of Johnson's songs were included on a "List of American Folk Songs on
Commercial Records" prepared by musicologist Alan Lomax for a U.S.
government conference. Lomax's notations for the entries range from "elaborate sex symbolism"
("Terraplane Blues"), "very nice love song" ("I'm a
Steady Rollin' Man"), to "traces
of voodoo" ("Stones in My Passway", "Hellhound on My Trail",
"Cross Road Blues"). In 1942, commentary on Johnson's "Terraplane Blues" and "Last Fair Deal Gone Down"
appeared in The Jazz Record Book, edited by Charles Edward Smith. The authors
described Johnson's vocals as "imaginative"
and "thrilling" and his
guitar playing as "exciting as
almost anything in the folk blues field". Music writer Rudi Blesh
included a review of Johnson's "Hellhound
on My Trail" in his 1946 book Shining Trumpets: a History of Jazz. He
noted the "personal and creative
way" Johnson approached the song's harmony. Jim Wilson, then a writer
for the Detroit Free Press, also mentioned his unconventional use of harmony.
In a 1949 review, he compared elements of John Lee Hooker's recent debut "Boogie Chillen": "His
[Hooker's] dynamic rhythms and subtle nuances on the guitar and his startling
disregard for familiar scale and harmony patterns show similarity to the work
of Robert Johnson, who made many fine records in this vein".
Samuel Charters drew further attention to Johnson in a
five-page section in his 1959 book, The Country Blues. He focused on the two
Johnson recordings that referred to images of the devil or hell – "Hellhound on My Trail" and "Me and the Devil Blues" – to
suggest that Johnson was a deeply troubled individual. Charters also included
Johnson's "Preachin' Blues"
on the album published alongside his book. Columbia Records issued the first
album of Johnson's recordings, King of the Delta Blues Singers two years later.
Musicianship
Johnson is mentioned as one of the Delta artists who were a
strong influence on blues singers in post-war styles. However, it is Johnson's
guitar technique that is often identified as his greatest contribution. Blues
historian Edward Komara wrote:
The execution of a
driving bass beat on a plectrum instrument like the guitar (instead of the
piano) is Johnson's most influential accomplishment ... This is the aspect of
his music that most changed the Delta blues practice and is most retained in the
blues guitar tradition.
This technique has
been called a "boogie bass pattern" or "boogie shuffle" and
is described as a "fifth–sixth [degrees of a major scale] oscillation
above the root chord". Sometimes, it has been attributed to Johnnie
Temple, because he was the first to record a song in 1935 using it. However,
Temple confirmed that he had learned the technique from Johnson: "He was
the first one I ever heard use it ... It was similar to a piano boogie bass
[which] I learned from R. L. [Johnson] in '32 or '33". Johnny Shines
added: "Some of the things that Robert did with the guitar affected the
way everybody played. In the early thirties, boogie was rare on the guitar,
something to be heard". Conforth and Wardlow call it "one of the most
important riffs in blues music" and music historian Peter Guralnick
believes Johnson "popularized a mode [walking bass style on guitar] which
would rapidly become the accepted pattern".[106] Although author Elijah
Wald recognizes Johnson's contribution in popularizing the innovation, he
discounts its importance and adds, "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".
Contemporaries
Johnson's contemporaries, including Johnny Shines, Johnnie
Temple, Henry Townsend, Robert Lockwood Jr., Calvin Frazier, and David "Honeyboy" Edwards were among
those who kept his music alive through performing his songs and using his
guitar techniques. Fellow Mississippi native Elmore James is the best known and
is responsible for popularizing Johnson's "Dust
My Broom". In 1951, he recast the song as a Chicago-style blues, with
electric slide guitar and a backing band. According to blues historian Gerard
Herhaft:
Johnson's influence
upon Elmore James's music always remained powerful: his falsetto voice, almost
shrill, and the intensive use of the "walking" bass notes of the
boogie-woogie, several pieces of James' repertoire were borrowed from Johnson
(e.g, "Dust My Broom", "Rambling on My Mind", and
"Crossroads").
James' version is
identified as "one of the first recorded examples of what was to become
the classic Chicago shuffle beat". The style often associated with Chicago
blues was used extensively by Jimmy Reed beginning with his first record "High
and Lonesome" in 1953. Sometimes called "the trademark Reed
shuffle" (although also associated his second guitarist, Eddie Taylor), it
is the figure Johnson used updated for electric guitar.
Blues standards
Several of Johnson's songs became blues standards, which is
used to describe blues songs that have been widely performed and recorded over
a period of time and are seen as having a lasting quality. Perone notes "That such a relatively high percentage
of the songs attributed to him became blues standards also keeps the legacy of
Robert Johnson alive". Those most often identified are "Sweet Home Chicago" and "Dust My Broom", but also
include "Crossroads" and "Stop Breaking Down". As with
many blues songs, there are melodic and lyrical precedents. While "Sweet Home Chicago" borrows
from Kokomo Arnold's 1933 "Old
Original Kokomo Blues", "Johnson's lyrics made the song a natural for
Chicago bluesmen, and it's his version that survived in the repertoires of
performers like Magic Sam, Robert Lockwood, and Junior Parker".
In the first decades after Johnsons' death, these songs,
with some variations in the titles and lyrics, were recorded by Tommy McClennan
(1939), Walter Davis (1941), Sonny Boy Williamson I (1945), Arthur Crudup (1949),
Texas Alexander (1950), Elmore James (1951–1959), Baby Boy Warren (1954),
Roosevelt Sykes (1955), Junior Parker (1958), and Forest City Joe (1959).
Pearson and McCulloch believe that "Sweet
Home Chicago" and "Dust My
Broom" in particular connect Johnson to "the rightful inheritors of his musical ideas—big-city African
American artists whose high-powered, electrically amplified blues remain
solidly in touch with Johnson's musical legacy" at the time of
Columbia's first release of a full album of his songs in 1961.
In Jim O'Neal's statement when Johnson was inducted into the
Blues Foundation Blues Hall of Fame, he identified "Hell Hound on My Trail", "Sweet Home Chicago",
"Dust My Broom", "Love in Vain", and "Crossroads" as Johnson's
classic recordings. Over the years, these songs have been individually inducted
into the Blues Hall's "Classic of
Blues Recording – Single or Album Track" category, as well as "Come On in My Kitchen" and "Terraplane Blues".
Rock music
In the mid-1950s, rock and roll pioneer Chuck Berry adapted
the boogie pattern on guitar for his songs "Roll
Over Beethoven" and "Johnny
B. Goode". Author Dave Rubin commented:
His [Berry's]
utilization of the bass-string cut-boogie patterns popularized by Robert
Johnson on songs like "Sweet Home Chicago" ... subtly altered the
swing feel of the boogie blues into a more driving, straight 4/4 meter while
still maintaining a limber lilt that is often missing in the countless
imitations that followed.
The pattern "became
one of the signature figures in early electric guitar-based rock and roll, such
as that of Chuck Berry and the numerous rock musicians of the 1960s who were
influenced by Berry", according to Perone. Although music historian
Larry Birnbaum also sees the connection, he wrote that Johnson's "contributions to the origins of rock
'n' roll are negligible". The Rock and Roll Hall of Fame inducted
Johnson as an early influence in its first induction ceremony, in 1986, almost
a half century after his death. It also included four of his songs it deemed to
have shaped the genre: "Sweet Home
Chicago", "Cross Road Blues", "Hellhound on My Trail",
and "Love in Vain".
Marc Meyers, of the Wall Street Journal, commented, "His 'Stop Breakin' Down Blues' from 1937 is so far ahead of its
time that the song could easily have been a rock demo cut in 1954".
Several rock artists describe Johnson as an influence:
Eric Clapton –
"Robert Johnson to me is the most important blues musician who ever
lived". He recorded several of Johnson's songs as well as an entire
tribute album, Me and Mr. Johnson (2004). Clapton feels that rather than trying
to recreate Johnson's originals, "I was trying to extract as much
emotional content from it as I could, while respecting the form at the same
time".
Bob Dylan – "In
about 1964 and '65, I probably used about five or six of Robert Johnson's blues
song forms, too, unconsciously, but more on the lyrical imagery side of things.
If I hadn't heard the Robert Johnson record when I did, there probably would
have been hundreds of lines of mine that would have been shut down—that I
wouldn't have felt free enough or upraised enough to write. [His] code of
language was like nothing I'd heard before or since".
Robert Plant – "A
lot of English musicians were very fired up by Robert Johnson [to] whom we all
owe more or less our existence, I guess, in some way". Led Zeppelin
recorded "Traveling Riverside Blues" and quoted some of Johnson's lyrics
in "The Lemon Song".
Keith Richards –
"I've never heard anybody before or since use the [blues] form and bend it
so much to make it work for himself ... he came out with such compelling themes
[and] just the way they were treated, apart from the music and the performance,
[was appealing]." The Rolling Stones recorded "Love in Vain" and
"Stop Breaking Down".
Johnny Winter –
"Robert Johnson knocked me out—he was a genius. [He and Son House] both
were big influences on my acoustic slide playing." He recorded "Dust
My Broom" with additional guitar by Derek Trucks.
Problems of biography
The thing about Robert
Johnson was that he only existed on his records. He was pure legend. –Martin Scorsese, Love in Vain: A Vision of
Robert Johnson
Until the 2019 publication of Bruce Conforth and Gayle Dean
Wardlow's biography, Up Jumped the Devil: The Real Life of Robert Johnson,
little of Johnson's early life was known. Two marriage licenses for Johnson
have been located in county records offices. The ages given in these
certificates point to different birth dates, but Conforth and Wardlow suggest
that Johnson lied about his age in order to obtain a marriage license. Carrie
Thompson claimed that her mother, who was also Robert's mother, remembered his
birth date as May 8, 1911. He was not listed among his mother's children in the
1910 census giving further credence to a 1911 birthdate. Although the 1920
census gives his age as 7, suggesting he was born in 1912 or 1913, the entry
showing his attendance at Indian Creek School, in Tunica, Mississippi listed
him as being 14 years old.
Five significant dates from his career are documented:
Monday, Thursday and Friday, November 23, 26 and 27, 1936, at a recording
session in San Antonio, Texas; and Saturday and Sunday, June 19 and 20, 1937,
at a recording session in Dallas. His death certificate, discovered in 1968,
lists the date and location of his death.
Record collectors admired Johnson's records from the time of
their first release, and efforts were made to discover information about him,
with virtually no success. A relatively full account of Johnson's brief musical
career emerged in the 1960s, largely from accounts by Son House, Johnny Shines,
David "Honeyboy" Edwards
and Robert Jr. Lockwood. In 1961, the sleeve notes to the album King of the
Delta Blues Singers included reminiscences by Don Law who had recorded Johnson
in 1936. Law added to the mystique surrounding Johnson, representing him as
very young and extraordinarily shy.
The blues researcher Mack McCormick began researching
Johnson's family background in 1972, but died in 2015 without publishing his
findings. McCormick's research eventually became as much a legend as Johnson
himself. In 1982, McCormick permitted Peter Guralnick to publish a summary in
Living Blues (1982), later reprinted in book form as Searching for Robert
Johnson. Later researchers sought to confirm this account or to add minor
details. A revised summary acknowledging major contributors was written by
Stephen LaVere for the booklet accompanying Robert Johnson, The Complete
Recordings box set (1990). The documentary film The Search for Robert Johnson
contains accounts by McCormick and Wardlow of what informants have told them:
long interviews of David "Honeyboy" Edwards and Johnny Shines and
short interviews of surviving friends and family. Another film, Can't You Hear
the Wind Howl?: The Life & Music of Robert Johnson, combines documentary
segments with recreated scenes featuring Keb' Mo' as Johnson with narration by
Danny Glover. Shines, Edwards and Robert Jr. Lockwood contribute interviews.
These published biographical sketches achieve coherent narratives, partly by
ignoring reminiscences and hearsay accounts which contradict or conflict with
their accounts.
Photographs
Until the 1980s, it was believed that no images of Johnson
had survived. However, three images of Johnson were located in 1972 and 1973,
in the possession of his half-sister Carrie Thompson. Two of these, known as
the "dime-store photo"
(December 1937 or January 1938) and the "studio
portrait" (summer 1936), were copyrighted by Stephen LaVere (who had
obtained them from the Thompson family) in 1986 and 1989, respectively, with an
agreement to share any ensuing royalties 50% with the Johnson estate, at that
time administered by Thompson. The "dime-store
photo" was first published, almost in passing, in an issue of Rolling
Stone magazine in 1986, and the studio portrait in a 1989 article by Stephen
Calt and Gayle Dean Wardlow in 78 Quarterly. Both were subsequently featured
prominently in the printed materials associated with the 1990 CBS box set of
the "complete" Johnson
recordings, as well as being widely republished since that time. Because
Mississippi courts in 1998 determined that Robert Johnson's heir was Claud
Johnson, a son born out of wedlock, the estate share of all monies paid to
LaVere by CBS and others ended up going to Claud Johnson, and attempts by the
heirs of Carrie Thompson to obtain a ruling that the photographs were her
personal property and not part of the estate were dismissed. In his book
Searching for Robert Johnson, Peter Guralnick stated that the blues archivist
Mack McCormick showed him a photograph of Johnson with his nephew Louis, taken
at the same time as the famous "pinstripe
suit" photograph, showing Louis dressed in his United States Navy
uniform; this picture, along with the "studio
portrait", were both lent by Carrie Thompson to McCormick in 1972.
McCormick never returned the photograph of Johnson in his uniform, keeping it
in his archive until his death. McCormick's daughter donated the archive to the
Smithsonian Institution in 2020 and encouraged museum staff to facilitate the
return of the photograph to Johnson's descendants; as of 2023, The Washington
Post reported that the museum had agreed to return the photograph and was
awaiting instructions from the Johnson family. This photograph has never been
made public.
Another photograph, purporting to show Johnson posing with
the blues musician Johnny Shines, was published in the November 2008 issue of
Vanity Fair magazine. Its authenticity was claimed by the forensic artist Lois
Gibson and by Johnson's estate in 2013, but has been disputed by some music
historians, including Elijah Wald, Bruce Conforth and Gayle Dean Wardlow, who
considered that the clothing suggests a date after Johnson's death and that the
photograph may have been reversed and retouched. Further, both "Honeyboy" Edwards and Robert
Jr. Lockwood failed to identify either man in the photo. Facial recognition
software concluded that neither man was Johnson or Shines. Finally, Gibson
claimed the photo was from 1933 to 1934 but it is known that Johnson did not meet
Shines until early 1937. In December 2015, a fourth photograph was published,
purportedly showing Johnson, his wife Calletta Craft, Estella Coleman, and
Robert Lockwood Jr. This photograph was also declared authentic by Lois Gibson,
but her identification of Johnson has been dismissed by other facial
recognition experts and blues historians. There are a number of reasons why the
photograph is unlikely to be Johnson: it has been proven that Craft died before
Johnson met Coleman, the clothing could not be prior to the late 1940s, the
furniture is from the 1950s, the Coca-Cola bottle cannot be from prior to 1950,
etc.
A third photograph of Johnson, this time smiling, was
published in 2020. It is believed to have been taken in Memphis on the same
occasion as the verified photograph of him with a guitar and cigarette (part of
the "dime-store" set), and
is in the possession of Annye Anderson, Johnson's step-sister (Anderson is the
daughter of Charles Dodds, later Spencer, who was married to Robert's mother
but was not his father). As a child, Anderson grew up in the same family as
Johnson and has claimed to have been present, aged 10 or 11, on the occasion
the photograph was taken. This photograph was published in Vanity Fair in May
2020, as the cover image for a book, Brother Robert: Growing Up with Robert
Johnson, written by Anderson in collaboration with author Preston Lauterbach,
and is considered to be authentic by Johnson scholar Elijah Wald.
Descendants
Johnson left no will. In 1998, the Mississippi Supreme Court
ruled that Claud Johnson, a retired truck driver living in Crystal Springs,
Mississippi, was the son of Robert Johnson and his only heir. The court heard
that he had been born to Virgie Jane Smith (later Virgie Jane Cain), who had a
relationship with Robert Johnson in 1931. The relationship was attested to by a
friend, Eula Mae Williams, but other relatives descended from Robert Johnson's
half-sister, Carrie Harris Thompson, contested Claud Johnson's claim. The
effect of the judgment was to allow Claud Johnson to receive over $1 million in
royalties. Claud Johnson died, aged 83, on June 30, 2015, leaving six children.
Discography
Eleven 78-rpm records by Johnson were released by Vocalion
Records in 1937 and 1938, with additional pressings by ARC budget labels. In
1939, a twelfth was issued posthumously. Johnson's estate holds the copyrights
to his songs. In 1961, Columbia Records released King of the Delta Blues
Singers, an album representing the first modern-era release of Johnson's
performances, which started the "re-discovery"
of Johnson as blues artist. In 1970, Columbia issued a second volume, King of
the Delta Blues Singers, Vol. II.
The Complete Recordings, a two-disc set, released on August
28, 1990, contains almost everything Johnson recorded, with all 29 recordings,
and 12 alternate take. Another alternate take of "Traveling Riverside Blues" was released by Sony on the
CD reissue of King of the Delta Blues Singers. To celebrate the 100th
anniversary of Johnson's birth, May 8, 2011, Sony Legacy released Robert
Johnson: The Centennial Collection, a re-mastered 2-CD set of all 42 of his recordings
and two brief fragments, one of Johnson practicing a guitar figure and the
other of Johnson saying, presumably to engineer Don Law, "I wanna go on with our next one myself". One reviewer
commented that the sound quality of the 2011 release was a slight improvement
on the 1990 release.
Awards and
recognition
1980 – Blues Hall of Fame: performer
1986 – Rock and Roll Hall of Fame: early influence
1990 – Spin magazine: first in its list of "35 Guitar Gods" on the 52nd
anniversary of his death
1991 – Grammy Award: best historical album (The Complete
Recordings)
1991 – Blues Music Award: reissue album (The Complete
Recordings)
1994 – U.S. Postal Service: commemorative stamp
1995 – Rock and Roll Hall of Fame "500 Songs That Shaped Rock and Roll": "Sweet Home
Chicago", "Cross Road Blues", "Hellhound on My Trail",
"Love in Vain"
1998 – Grammy Hall of Fame: "Cross Road Blues"
2000 – Mississippi Musicians Hall of Fame: Blues pioneer
2003 – National Recording Registry: The Complete Recordings
2003 – Rolling Stone's David Fricke: fifth on his list of "100 Greatest Guitarists of All
Time"
2006 – Grammy Lifetime Achievement Award: performer
2008 – Marker No. 29 on the Mississippi Blues Trail at his
birthplace in Hazlehurst; also, at his presumed gravesite in Greenwood
2010 – Gibson.com: ninth on its list of "Top 50 Guitarists of All Time"
2014 – Grammy Hall of Fame: "Sweet Home Chicago"
2015 – Rolling Stone No. 71 on its list of the "100 Greatest Guitarists of All
Time" (down from No. 5 on its 2003 list chosen by David Fricke)
2023 – Ranked number 124 on Rolling Stone′s list of the 200
Greatest Singers of All Time
2023 - Ranked number 16 on Rolling Stone's list of 250 greatest
guitarists of all time
In popular culture
He is often considered the first member of the so-called "27 Club", a group of
musicians who have died at that age.
Robert Johnson was played by La Monde Byrd in Supernatural
season 2 episode 8, "Crossroad
Blues".
In 1994, Johnson was featured on a U.S. postage stamp.
The Tim McGraw song "How
Bad Do You Want It" off the 2004 album Live Like You Were Dying, opens
with the lines "Robert Johnson went to the crossroads, so the legend
goes/He left with his guitar, but the Devil took his soul, the Devil took his
soul".
In season 2 episode 6 of the NBC sci-fi time-travel series
Timeless, "King of The Delta
Blues", the protagonists travel back to San Antonio in 1936 when
Robert Johnson (portrayed by Kamahl Naiqui) and Don Law (played by Gavin
Stenhouse) were recording Johnson's first album in a hotel room. The episode
incorporates a bit of Johnson's singing and playing.
Me and the Devil Blues, a Japanese manga series that takes
its title from the song of the same name by Robert Johnson, chronicles a
fictional version of Johnson's life, as a man called "RJ" who sells his soul to the devil for a talent for
playing the blues.
The 2021 song "Speechless"
by Nas includes the lyrics "I went
back into my past and then I sped it up/Robert Johnson, Winehouse and Morrison
found where heaven was..."
In 2024, an episode of the British TV crime drama McDonald
& Dodds featured the murder of a blues enthusiast involved in seeking to
identify the crossroads at which Robert Johnson had supposedly met the Devil.
Entitled "Jinksy Sings the
Blues", it was Episode 2 of Series 4 and was broadcast in the UK on 28
July 2024.
In 2025, the character Sammie "Preacher Boy" Moore in the movie Sinners was loosely
based on Robert Johnson.
https://en.wikipedia.org/wiki/Robert_Johnson
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