Ricardo Pereira
 
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Robert Johnson was born on the 8th May 1911, in Mississippi. Johnson was an African American blues singer and guitarist who became known as the King of the Delta Blues Singers. Like most Delta Blues players, as a boy Johnson travelled around the plantations and labour camps. According to Oxford Music Online, he used to play the jew’s harp and the harmonica having acquired a guitar around 1927. He married in 1929 but his wife died during childbirth in the following year. After that, he lived a wild life as a professional travelling musician, having passed away on the 16th August 1938.

As described in Robert Johnson’s official website, the power of his music has been amplified over the years by the fact that there is not a lot known about him. Several myths surrounding his life and death emerged. According to legend, he sold his soul to the devil in exchange for the musical mastery that allowed him to create the blues, for which he became famous.
 

Between 1936 and 1937 he recorded 29 songs for the American Record Corporation. In addition to characterizing the Mississippi blues of the mid-1930s these songs are the link between this tradition and the modern Chicago Blues. Most of these songs have gained such recognition and status that they are now considered enduring anthems of the genre: “Cross Road Blues”, “Hellhound on My Trail”, “Walking Blues” and “Sweet Home Chicago” are just some of them. In 1990, Sony Legacy produced and released the 2-CD box set “Robert Johnson: The Complete Recordings” which rapidly sold 500,000 copies, becoming the most successful blues issue to that date.

Johnson’s voice was taut and often strained, and an important aspect of his singing is his use of microtonality. The powerful emotion expressed in his singing is emphasized by subtle inflections of pitch. On the guitar he combined dramatic rhythms with agitated whining effects produced by a bottleneck slide, sometimes accompanied by a walking bass rhythm.

Robert Johnson’s music profoundly influenced the postwar generation of blues singers, those involved in the British blues-rock boom of the 1960s or rockstars of great magnitude such as Eric Clapton, John Mayall, the Rolling Stones and Bob Dylan. 


 
Singing the Blues is more than the simple use of our voice to express words in a musical tone. Being able to sing the blues is having the ability to understand its origins and put in words ‘the blue feeling’. ‘The blue feeling’ is related with the expression ‘The blue devils’ that refers to a condition of melancholy or depression. In a musical and historical context ‘the blues’ are described as the kind of music and singing that expressed this mental state amongst the African American population in the beginning of the 20th century.

According to Oxford Music Online, the blues might have existed before the American Civil War (1861-1865), but there is no supporting evidence. The blues were influenced by the collective unaccompanied work-songs that black laborers used to sing while they were working in the fields of the Southern United States plantations. These songs followed a responsorial ‘leader-and-chorus’ form, in which the leader makes a statement, and then the chorus responds together. The roots of this form of singing can be traced not only to pre-Civil War origins but also to African sources. Work-songs would later take the form of solo calls or hollers. The vocal style of the blues probably derived from the holler, which was a sung solo or solo call, close to blues in feeling.

Knowing the way that Afro American workers felt at that period in history, it is easy to understand that a blues performer would sing to get rid of the blue feeling or the blues. Blues singers would sometimes employ rasp or growl techniques in their singing in order to emphasize those feelings. Both musical and verbal improvisation was a part of the blues, therefore a number of patterns evolved. The most familiar is the 12-bar blues with a three-line verse. The blues singer would sing the first line and then repeat it, enabling him to think and improvise a third line that would rhyme with the second.

Harmonically the 12-bar blues consists of four bars on the tonic, with the first two bars accompanying the first line of the verse and the fourth often introducing a flattened 7th; two on the subdominant, accompanying the second line; two more on the tonic; two on the dominant 7th, accompanying the third sung line; and a final two on the tonic. The singer usually alternates with the guitar or other instruments in a call and response form.

The themes of the lyrics in the blues are really varied. According to Grove Music Online, some blues described disasters or personal accidents; crime, prostitution, gambling and imprisonment; many are aggressively sexual; others express anxieties, frustrations, oppression, hopes and the desire to move or escape by train or road to a better land.

We cannot speak about the blues without mentioning the names of some musicians and singers that marked and inspired a whole generation of new artists. W.C. Handy, Mamie Smith, Bessie Smith, Robert Johnson, Leadbelly, Big Bill Broonzy, Howlin’ Wolf, Muddy Waters, John Lee Hooker, B.B. King, Stevie Ray Vaughan are just some of those names that will never be forgotten.

Blues singers and musicians extended the expressive range of the guitar piano and human voice and evolved many musical substructures, forms or melodies using the blues scale that have influenced many other genres of music, such as rock and roll, jazz, and popular music