Rock Evolution – The History of Rock & Roll - 1961 (pg 62)

In many ways, of all the musicians I listened to Robert Johnson was the most intriguing. Here is some stuff which described his life, music and legacy for those interested:


Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Although his recording career spanned only seven months, he is recognized as a master of the blues, particularly the Delta Blues style, and as one of the most influential musicians of the 20th century. The Rock and Roll Hall of Fame describes him as perhaps "the first ever rock star"

Johnson's music provides a window into the social and cultural context of the early 20th century American South. The themes of his songs—love, hardship, and existential despair—reflect the struggles and resilience of African Americans during this period. His lyrics often explore themes of betrayal, yearning, and redemption, resonating with the broader human experience. Furthermore, Johnson's work highlights the importance of the Delta blues as a precursor to modern genres such as rock and roll and rhythm and blues. His influence extends beyond the blues genre, impacting the development of contemporary music and contributing to the rich tapestry of American musical history.

He is thought to have been born out of wedlock in May 1911 in Mississippi and raised there. School and census records indicated he lived for stretches in Tennessee and Arkansas. He took up guitar at a young age and became a traveling musician, eventually glimpsing the bustle of New York City. But he died in Mississippi, with just over two dozen little-noticed recorded songs to his name.

There is a 'legend' about Johnson that runs like this: The bluesman Son House, a contemporary of Johnson, insisted he (Johnson) was a decent harmonica player but a terrible guitarist until he disappeared for a few weeks. Legend has it that Johnson took his guitar to the crossroads of Highways 49 and 61 in Clarksdale, Mississippi where the devil retuned his instrument in exchange for his soul. He returned with a formidable technique and a mastery of the blues. Other contemporaries describe Johnson as being so bad he was chased offstage at the various Juke Joints he played only to return a few months later as a prodigious talent. The story was initially told of an older bluesman, Tommy Johnson (no relation), but he died in 1956, aged 60. It was more hauntingly apposite for Robert Johnson, who died in 1938, aged only 27, after a troubled life and an itinerant career. Cross Road Blues is of course one of his most famous songs and was covered by Cream to much success:

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"
Yeah, standin' at the crossroad, tried to flag a ride
Ooh-ee, I tried to flag a ride
Didn't nobody seem to know me, babe, everybody pass me by
Standin' at the crossroad, baby, risin' sun goin' down
Standin' at the crossroad, baby, risin' sun goin' down
I believe to my soul, now, poor Bob is sinkin' down
You can run, you can run, tell my friend Willie Brown
You can run, you can run, tell my friend Willie Brown
That I got the crossroad blues this mornin', Lord, baby, I'm sinkin' down
And I went to the crossroad, mama, I looked East and West
I went to the crossroad, baby, I looked East and West
Lord, I didn't have no sweet woman, ooh well, babe, in my distress

Thats the Robert Johnson version lyrics rather than EC's

In the late 1960s, The Stones, Clapton and Zeppelin covered or adapted Johnson’s songs in tribute. Bob Dylan, who, in the memoir “Chronicles: Volume One,” attributed “hundreds of lines” of his songwriting to Johnson’s influence, included a Johnson album as one of the items on the cover of “Bringing It All Back Home.”

In the 1990s, a lightning-in-a-bottle compilation of Johnson’s music — “The Complete Recordings,” released by Columbia Records in 1991 — revived interest in the Blues for another generation selling more than two million copies and winning a Grammy for best historical album. In 1994, a United States postage stamp in Johnson’s likeness memorialized him as a national hero.

What is true is that the guitar playing on Johnson’s recordings was unusually complex for its time. Most early Delta blues musicians played simple guitar figures that harmonized with their voices. But Johnson, imitating the boogie-woogie style of piano playing, used his guitar to play rhythm, bass and slide simultaneously, all while singing.

Another innovation associated with Johnson, as noted by the critic Tony Scherman in 2009 in the New York Times is the boogie bass. Appearing on the Johnson songs “Ramblin’ on My Mind” and “I Believe I’ll Dust My Broom,” the boogie bass — a low, ambling rhythm that evokes a swaggering strut — became a building block of both Chicago blues and rock ’n’ roll in the hands of the Johnson apostles Muddy Waters and Elmore James.

What survives of Johnson’s short career is based on his only two recording sessions, arranged by the American Record Company executive Don Law in 1936 and 1937 in Texas. One song from the first session, the vibrant "Terraplane Blues“sold a respectable 5,000 copies, giving the singer the only real taste of fame he would know in his life.

The story of how Johnson died, like so many facts of his life, is contested.

A death certificate recovered by the researcher Gayle Dean Wardlow showed that he died on Aug. 16, 1938, at a plantation near Greenwood, Miss. The cause was complications of syphilis, according to a note on the back of the certificate that was attributed to the plantation’s owner.
But a contemporary of Johnson’s who is believed to have performed with him just days before his death, said that Johnson had been poisoned, and that he was probably targeted by the vengeful husband of one of his mistresses.

The location of Johnson’s grave has never been confirmed. Headstones at three different churches in the Greenwood area claim to mark his resting place — the final riddle of a man whose brief, turbulent life became a cipher nearly as sensational as his songs.



Thanks to New York Times, Wiki and The Guardian for that info.
 
Rock Evolution - The Blues

Introduction


What would we be without music?
From when the first homo sapiens banged animal bones against stretched deer skin music has inspired, entranced, excited and been a social glue that brings us together. It is the most important art form in my opinion. It punctuates and illustrates all our lives. What better way to spend our time than engaging with the history of music and how ultimately Radiohead were created ;-).

Rob asked me to kick off our preliminary historical blogs which act as background to the meat of the thread with The Blues. In tackling the subject I have focused on the period between 1900 and 1960. Whilst I had a reasonable grounding in the subject it was clear from the research I did that my knowledge was pretty sketchy.

But first, lets summarise how music had developed by the end of the 19th century. The year 1900. American music was a melting pot, drawing from the diverse traditions of its settlers, indigenous communities, and enslaved Africans. These varied influences began to blend, setting the stage for uniquely American genres to emerge.

The 19th century in America saw a rich evolution of music, influenced by diverse cultural backgrounds. The era was marked by the rise of folk traditions, including African American spirituals, which shaped genres like blues and jazz. Minstrel shows, despite their problematic legacy, popularised early American music. The Civil War inspired patriotic songs and marches, with composers like John Philip Sousa gaining prominence. The Romantic movement influenced composers like Antonín Dvořák, who incorporated American themes into classical music. Additionally, the emergence of popular forms like ragtime laid the groundwork for future genres. This period fostered a uniquely American musical identity.

The 19th century was also a transformative period in European music, marked by the Romantic movement. Composers like Beethoven, Chopin, and Wagner explored deep emotions and individual expression, moving away from the classical forms of the previous century. Nationalism emerged, with composers like Dvořák and Sibelius incorporating folk elements into their works. Opera flourished, with Verdi and Puccini creating iconic pieces. Innovations in orchestration and harmony expanded musical possibilities. The century also saw the rise of virtuoso performers and the establishment of public concert halls, making music more accessible to a wider audience, setting the stage for modern musical developments.

We are featuring the Blues as a genre first.

It’s a genre that has profoundly shaped modern music, influencing jazz, R&B, rock, country, and hip-hop. I have explored the origins, development, and impact of the Blues up to 1960, hopefully it will provide an overview and discussion piece for understanding the genres wider influence, significance and evolution. Feel free to comment, add to or generally rip apart where you feel I have missed stuff.


What Are The Blues?
The Blues is a deeply emotive genre that emerged in the American South during the late 19th and early 20th centuries. It blends African musical traditions, European folk music, and the lived experiences of African Americans. Characterised by its expressive use of blue notes—slightly flattened pitches that convey melancholy—the Blues reflects themes of struggle, love, and personal hardship. It has left a lasting imprint on almost every genre of American popular music over the past century.


Origins of the Blues
The blues emerged from the oppressed, economically disadvantaged African-American communities in the rural southern states of America in the years following the American Civil War (1861–1865). Blues singers were descendants of slaves and elements of their music reach back to African origins. Specifically, music historians believe that the similarity between African string-playing and the techniques of many blues guitarists are remarkably similar and that the blues were rooted in the savanna hinterland of West Africa.

The first appearance of the blues is often dated to after the ending of slavery, and the development of Juke Joints (a term for an informal establishment featuring music, dancing, gambling, and drinking, primarily operated by African Americans associated with the newly aquired freedom of the former slaves).

Early Development of the Blues (1920s)
Blues music began to crystallize as a distinct form in the early 20th century. The genre gained prominence in the 1920s, transitioning from oral tradition to recorded music. W.C. Handy, often referred to as the "Father of the Blues," played a key role in popularizing the genre. His compositions, such as "St. Louis Blues," blended blues with popular and classical elements, reaching a wider audience.

The 1920s also saw the first commercial recordings of blues, with artists like Mamie Smith and Bessie Smith gaining recognition. Their recordings introduced blues to a broader audience and established its importance in American music. The blues also helped forge a cultural identity for African Americans, preserving their traditions and experiences.

Blues Genres and Influences
Several distinct styles of Blues emerged, each contributing to the genre's rich tapestry. So much could have been written here as there are many genres and sub genres and very many more influential artists. I have tried to keep the descriptions brief and featured the primary artists from each:

Delta Blues: Originating in the Mississippi Delta, Delta Blues is characterized by its raw, emotional sound and use of slide guitar techniques. Key figures include Robert Johnson, whose "Cross Road Blues" remains iconic. Johnson's haunting lyrics and complex guitar work have left a lasting legacy. Johnson, is often cited as one of the most influential blues musicians of all time.

His "Cross Road Blues" is often hailed as the quintessential blues recording.
The song's mythic quality—enhanced by its association with the legend of Johnson selling his soul to the devil at a crossroads (in return for his prodigious musical ability)—only adds to its allure. The crossroads myth also serves as a metaphor for Johnson's own life and career. Despite his prodigious talent, Johnson's career was short-lived and fraught with personal and professional struggles. He died under mysterious circumstances at the age of 27, joining the ranks of other legendary figures who met untimely death at the same age.


images


Robert Johnson


Classic Blues: Developed in the 1920s and 1930s, Classic Blues features a structured format with jazz influences. Bessie Smith, known as the "Empress of the Blues," was a leading figure in this style. Her 1923 recording of "Downhearted Blues" showcases her powerful voice and emotional depth.


Bessie Smith


Bessie Smith


Piedmont Blues Emerging in the Southeastern U.S., Piedmont Blues is known for its fingerpicking guitar technique and upbeat sound. Blind Boy Fuller, with his intricate guitar work and energetic songs like “Step It Up and Go,” is a prominent figure in this genre.


Blind Boy Fuller - Wikipedia


Blind Boy Fuller


Texas Blues This style blends Delta Blues with jazzy influences, characterised by a polished sound and expressive guitar solos. Blind Lemon Jefferson, with tracks like "Matchbox Blues," is a key figure in Texas Blues.

King Of The Country Blues - Album by Blind Lemon Jefferson | Spotify




Jump Blues Developing in the late 1940s and early 1950s, Jump Blues is a swing-oriented style that combines blues with jazz and big band elements. Louis Jordan's energetic performances and hits like “Choo Choo Ch’Boogie” were instrumental in popularising this genre.

Choo Choo Ch' Boogie - Album by Louis Jordan & His Tympany Five | Spotify' Boogie - Album by Louis Jordan & His Tympany Five | Spotify



Country Blues Encompassing various regional styles of rural blues, Country Blues is distinguished by its acoustic instrumentation and storytelling lyrics. Lead Belly, known for songs like “Goodnight Irene,” exemplifies this broad category.

images


Lead Belly


The Great Migration and Urban Blues
The Great Migration, involving African Americans moving from the rural South to urban centers in the North and West, significantly influenced the development of Urban Blues, also known as Chicago Blues. This migration, driven by racial segregation and economic opportunities, helped shape American culture and music.

Chicago became a hub for Urban Blues in the 1940s and 1950s. The transition from acoustic to electric instruments marked this evolution, with musicians like Muddy Waters, Howlin' Wolf, and Willie Dixon playing key roles. Muddy Waters, for example, is known for his electric guitar and amplified harmonica, with recordings such as "Hoochie Coochie Man" highlighting this shift.

Muddy Waters Hoochie Coochie Man Vinyl LP VG+ | eBay


B.B. King, born Riley B. King, is another pivotal figure in blues history. His expressive guitar style and distinctive vibrato, exemplified in songs like "Every Day I Have the Blues," helped shape the modern blues sound. King’s unique approach combined jazz phrasing with blues intensity, influencing genres like rock and R&B. I vividly remember driving down Vancouver island from Tofino listening to the great man on the car radio being interviewed about his long and amazing career. He remembered his audience change in the 60's from 100% black audiences to a mixed audience with 'hippy kids'. One concert the Stones turned up to listen to him play.

He frequently turned up in NME polls when I was a kid for the worlds greatest guitarist. In amongst Clapton,Page, Beck, Blackmore...thats how I found his music.

images


John Lee Hooker, known for his distinctive style and deep, resonant voice have made him a major influence in blues music. The classic Boogie Chillen was first recorded in 1948 and remains one of his classic tracks. Boom, Boom Boom another classic of his is a personal favourite of mine. Although he played it for much of his career he recorded it in the 60's hence its exclusion from this playlist.

I love this photo.


John Lee Hooker | Spotify



Impact and Legacy

By 1960, the Blues had made a profound impact on modern music. It influenced the development of rock and roll, soul, jazz and country, with many artists including Elvis Presley and Chuck Berry integrating its elements into their music. The careers of Cream, Zeppelin, Hendrix, Free, The Rolling Stones, The Animals and all their successors wouldn't have been the same without The Blues.

The Blues also played a role in the civil rights movement, with its themes of struggle and resilience reflecting the fight for racial equality.

The legacy of blues musicians continues to inspire new generations, maintaining the genre's significance in contemporary music. The Blues' enduring influence is evident in its profound effect on various musical styles and its role in shaping the cultural landscape of America.

In conclusion, the Blues, from its origins to 1960, represents a rich and transformative genre that has left an indelible mark on modern music and culture.

I hope you enjoy the playlist:




I hope that you enjoyed this breakneck run through of what forms the foundation to much of the music we have enjoyed over the last 50 years. Let me know what you think about both the content and the format so we can learn from what you like (and what you don't like)

Thank you for a great rundown. Chicago blues is my favourite genre and Peter Green my guitar hero.
 
He was a very gifted semi-pro. He had a "normal" job but as we got older he got back to playing music live and would get paid a decent amount. Not enough to be a full time job but enough to make it worthwhile and paid for his hobby.

He has mobility issues and can't feel his fingers anymore so can't play anything really except a bit of slide guitar. It's sad to see someone who could play so well unable to do it anymore.

I'm sorry to hear that, I remember reading something about Nanci Griffith's struggles (with arthritis I think?) and how not being able play affected her because it was such an integral part of her identity.
 
Fair comments but the idea of this week is to explore The Blues pre-1960.

Each of the next five weeks explores a genre and then we get going year by year starting with 1960.

The Stones, John Mayall, Fleetwood Mac will then be discussed as we reach the years when their music first appeared.

If you want to nominate a track or two to add to the playlist, that's also the point of this week, but it's got to be pre-1960.

Prompted by Resurrection Joe's post and your response I couldn't think of anyone obvious so did a little bit of digging on British Blues pre 60 and the reality is there isn't very much it's still mostly imported.

Despite it being obvious, what had never really struck me before was the reversal of chronology in the UK from the US. The Blues pre dates and influenced Jazz in the US but Jazz got a foothold in terms of a native scene in the UK well before Blues did. This meant that in 50s the likes of Alexis Korner got his break through being in British jazz outfits being given the chance to do R&B showcases within the main sets of the likes of Chris Barber.

Will leave thoughts on why it initially overtook the blues in the UK till we do the jazz history but what is worth saying now is that jazz and particularly Chris Barber was the beachhead that established the playing of, rather than listening to, American music in the UK; not just blues but other stuff too.
 
Prompted by Resurrection Joe's post and your response I couldn't think of anyone obvious so did a little bit of digging on British Blues pre 60 and the reality is there isn't very much it's still mostly imported.

Despite it being obvious, what had never really struck me before was the reversal of chronology in the UK from the US. The Blues pre dates and influenced Jazz in the US but Jazz got a foothold in terms of a native scene in the UK well before Blues did. This meant that in 50s the likes of Alexis Korner got his break through being in British jazz outfits being given the chance to do R&B showcases within the main sets of the likes of Chris Barber.

Will leave thoughts on why it initially overtook the blues in the UK till we do the jazz history but what is worth saying now is that jazz and particularly Chris Barber was the beachhead that established the playing of, rather than listening to, American music in the UK; not just blues but other stuff too.
One transition act in the UK was Lonnie Donnegan, ...before all the 'novelty' hits, Dennegan started I think as a trad Jazz banjo player with Chris Barber, he then started re-working what were then known as 'folk' records, Leadbelly, Missisippi Slim etc..( Rock Island Line, Comberland Gap) these 'skiffle' records led many into the Blues, and black artists ...and away from predominantly white Rock and Roll ...( Chuck Berry and Little Richard aside).
 
One transition act in the UK was Lonnie Donnegan, ...before all the 'novelty' hits, Dennegan started I think as a trad Jazz banjo player with Chris Barber, he then started re-working what were then known as 'folk' records, Leadbelly, Missisippi Slim etc..( Rock Island Line, Comberland Gap) these 'skiffle' records led many into the Blues, and black artists ...and away from predominantly white Rock and Roll ...( Chuck Berry and Little Richard aside).

Yes indeed, I think, spoiler alert, we were planning to cover Skiffle in one of the later write-ups but you're right it and Donnegan definitely had an impact on the blues establishing itself over here.

Though not a household name, Barber was a really important part of British music. When we eventually get to 1972 I'm hoping one of our contributors will mention an unusual album he did with a certain Irish guitarist!
 
Enjoyed the playlist; especially the later tracks.

A few suggestions:

Bo Diddley: "Who Do You Love"
Little Willie John: "Fever"
Muddy Waters : "Mannish Boy"
Jimmy Reed: "I Ain't Got You"
Otis Rush: "I Can't Quit You Baby"

Otis Rush a very good shout.
 
Some of my favourites...

'When the levee breaks'...memphis minnie and kansas joe mccoy 1929
'Down THe Dirt Road Blues' ...Charlie Patton 1929
'How Many More Years'...Howlin Wolf 1951
'Somebody Done Hoodoo'd the Hoodoo Man''..Louis Jordan

I saw BB King a couple of times in the 80s...once at the Palace THeatre in Mcr, and once at fis own Club on Beale St in Memphis...he was great, but was far too cabaret as he got older.

Enjoyed the playlist; especially the later tracks.

A few suggestions:

Bo Diddley: "Who Do You Love"
Little Willie John: "Fever"
Muddy Waters : "Mannish Boy"
Jimmy Reed: "I Ain't Got You"
Otis Rush: "I Can't Quit You Baby"

Thanks for the nominations. I've added all of these tracks to the playlist but just a couple of points of order for this thread going forward:-

1. It's probably best if people nominate one song initially and then another later in the week if the playlist isn't too long. In this case, I don't think loads of people are going to nominate so I've added them all. This is not me being awkward, it's just to keep things manageable. I can imagine as we go through the 60s/70s/80s we'll, hopefully, pick up more followers and it could be carnage if people are dropping 4 or 5 nominations at a time :)
2. The Jimmy Read track is 1960, but that's OK for what we are trying to achieve here.

I've now added #1 as rule #1 on the first post.
 
Thanks for the nominations. I've added all of these tracks to the playlist but just a couple of points of order for this thread going forward:-

1. It's probably best if people nominate one song initially and then another later in the week if the playlist isn't too long. In this case, I don't think loads of people are going to nominate so I've added them all. This is not me being awkward, it's just to keep things manageable. I can imagine as we go through the 60s/70s/80s we'll, hopefully, pick up more followers and it could be carnage if people are dropping 4 or 5 nominations at a time :)

I've now added #1 as rule #1 on the first post.
I concur.

My Spotify is wondering what the heck is going on with now 2 rotating playlists and an album rotation going on each week or so. I'm all over the place and can't wait for the year end Blue Moon influenced stats. No longer an indie guy I suppose? And today it's still telling me I Should Coco.
 

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