As I researched Robert Johnson I quickly realized just how significant his contribution has been, and still is, to the history of popular music. His music has had tremendous influence on nearly all of the rock and blues music that came after him, evidenced by a never-ending amount of tributes to many of his songs by later artists.

Johnson has even been claimed “the most esteemed of the early Delta Bluesmen.” -Campbell 

Johnson’s “deep blues” [1] sound is simple yet highly unique; his signature shuffle rhythm is one of the primary characteristics that drew me into his music and reminded me of much of the modern blues that I enjoy today. The “country blues” that came out of the South lacks the instrumentation that we hear and see in modern blues music, and nearly all popular music. Nonetheless, Johnson’s masterful guitar playing often sounded like there were two guitarists playing [2], which allowed for a more rounded sound than other solo guitarists.

Some History

Robert Johnson was born May 8th, 1911 in Hazlehurst, Mississippi; sadly, he passed away at the young age of 27, on August 16th, 1938 [3]. His death is suspected to be cause by a “deliberate poisoning” [3] via strychnine; rumour has it the poisoning culprit was the “jealous husband” [1] of a woman who was friendly with Johnson.

Robert Johnson’s life is still a large mystery to this day, but by far one of the most common stories heard about him was the supposed selling of his soul to the devil, in exchange for the mastery of the guitar. This exchange was said to have occurred at the crossroads of Highways 49 and 61 in Mississippi [3], a site that was made famous in Cream’s hit song “Crossroads” , along with the movie of the same name. According to Joel Rose this is simply another myth that requires dispelling [4]. In his NPR article, Rose outlines Johnson’s early life on a plantation in the Mississippi Delta. Johnson was said to have enjoyed music more than farming life, however, and ended up focusing on guitar playing instead. Locals criticized his “lousy guitar playing” [4], leading him to take off to Arkansas. This is the point in the story where the myth emerges; years later Johnson is said to have come back to Mississippi and rumour had it he sold his soul to the devil for his newly developed guitar talent. According to Rose though, Johnson claimed at some point to have practiced with a ‘human’. Nonetheless, the story has inspired generations of music and art, instilling the dark and eerie haze over the blues legacy we have come to know and love.

Johnson’s 29 songs were recorded in 1936 and 1937 in Texas [3], but at this point the country blues had “peaked in commercial style” [1]; Johnson’s recordings did not meet their influential fate until the folk revival in the 1960’s [1,3].

“I Believe I’ll Dust My Broom”

The song I chose to highlight is “I Believe I’ll Dust My Broom.” The primary reason I have chosen this song is because it immediately reminded me of the modern blues and rock music that I enjoy so much. This song features many qualities that continue through time in the blues tradition, and it features them well.

“”I Believe I’ll Dust My Broom”, as both a phrase and a song, has been a blues staple for 75 years” -Marshall

First, Johnson is known for his distinctive turnarounds that he plays throughout many of his songs. The intro in this song begins similarly to some of Johnson’s other songs like “Sweet Home Chicago” and “Kind Hearted Woman”. Second, the signature shuffle rhythm is evident all throughout this song; I was unfamiliar with the term “shuffle rhythm” prior to studying it for this section of the blues, and now realize that it is probably the rhythmic feature I am most familiar with—I immediately identify a song as “blues” or “blues-inspired” when I hear this rhythm. The last big feature of this song that caught my attention was Johnson’s repeated guitar licks/fast picking style. This might actually be the feature that really drew me to this song as I did not hear it in some of his previous songs, like “Hellbound On My Tail.” This feature of the song was what really got me feeling a strong connection to Johnson because of it’s similarity to some of my other favourite musicians, like Stevie Ray Vaughn and Jimi Hendrix. You can hear the sound pattern that I am referring to a lot in Stevie Ray Vaughn’s solo in “Pride and Joy” between 1:40 and 2:20. Another musical feature that I will mention is the standard high to low melody that we hear in blues lyrics, with a flatter melody towards the ending phrases; typically the 3rd and 4th lines are flatter.

Go ahead and give it a listen! Feel free to comment on other things that you hear in the song that I did not discuss.

Elmore James

The second reason I chose this song is because of the way it has been taken up and expanded throughout time. Multiple artists and bands have made the song their own; its evolution is truly fascinating. The newer versions are always unique to the particular artist/band and time of expression, while they also endeavour to maintain the song’s original integrity in tribute to the legend himself. The next version I have chosen to highlight is that by Elmore James from 1951.

The first two things I notice about this version is how it has been adapted to the electric guitar and how there is more instrumentation than Johnson’s basic solo version. Indeed, in his article “A Brief History of “I Believe I’ll Dust My Broom“, Marshall identifies two of the most notable differences in this version is the addition of the harmonica and slide guitar [2].

Elmore James is truly the responsible party regarding the songs major uptake in the popular music scene:

James’ version “grew to take a life of it’s own. His hard driving slide guitar work would lay the foundation for a great many songs and covers after it” -Marshall

ZZ Top

Lastly, I chose ZZ Top’s electrified version of the song. I say “electrified” lightly, because technically the song was already “electrified” by Elmore James. However, you cannot miss the fact that ZZ Top’s approach to the song is even grittier than that of James. It was difficult to decide which of the more recent versions I should include; the song has been performed by many others, including some of my other faves like the original Fleetwood Mac and The Rolling Stones.

ZZ Top’s version definitely has an intoxicating energy to it. The breaks and solos in ZZ Top’s version are more characteristic of modern day blues and guitar playing, while Johnson’s original really takes you back to the authentic blues feeling and has a nostalgic quality about it. I think depending on your mood and purpose for listening to the music, any of the three versions could fulfill a deep need for the blues.

Lyrical Identity

If you have not figured it out by now, Johnson’s notable song essentially describes the trials and tribulations of romantic tension. Analysis of the lyrics will be described below.

The song begins with the now famous metaphor:

I’m goin’ get up in the mornin’

I believe I’ll dust my broom [2]

According to Marshall, the “dust my broom” metaphor has received some debate, but the consensus seems to indicate the action “to leave and not come back” [2]. The verse ends with a reference to a “girlfriend” who’s been “lovin'” another black man, potentially signifying some type of infidelity. The song continues with Johnson saying that he’s going to “write a letter; telephone every town I know” [2]. The verse ends with lyrics indicating that Johnson knows where to find “her”… but we don’t yet know for sure which “her” he is referring to.

The third verse points further to some sort of infidelity:

I don’t want no woman; wants every downtown man she meets

She’s a no good dooney; they shouldn’t allow her on the street [2]

Well, it’s no surprise that this verse indicates some hostility towards the woman who I am assuming was sleeping around with the “black man”. While I was unable to find a definitive definition of the word “dooney”, I’m sure we all have a pretty good idea of what it could mean.

The fourth verse confirms what we thought all along with the “dust my broom” metaphor and the infidelity when Johnson says:

I believe, I believe I’ll go back home

You can mistreat me here babe, but you can’t when I’m back home [2]

The final verse refers to a woman named “China”; she’s a “good girl over there”. Ultimately, it sounds as though Johnson is singing about going back home to find the loyal woman he is in love with. With his geographical references in the final two lines, Johnson seems to imply that he’s willing to go anywhere to find her, whether that be in the Philippines or Ethiopia, but this ending specifically could be open for interpretation.

There is no doubt that the overall theme of these lyrics is still relevant today; much of today’s popular music makes reference to the struggles of love and relationships. The “good girl” metaphor is one that I would say is still common today, but without the resources I found regarding the “dust my broom” metaphor, I may not have made that interpretation quite as quickly. Furthermore, Johnson’s lyrics about the “no good woman” are rather raw and some may even find them offensive; however, I would argue that lyrics today continue to evoke similar symbolism, perhaps in a less explicit way.

Robert Johnson: A Pioneering Bluesman

After researching Robert Johnson I have gained an entirely new appreciation for the blues. I am now in a better position to understand the common conception of rock and other music having directly evolved from the early bluesmen, like Johnson. I look forward to exploring the blues even more and listening for some of the qualities that I hear in Johnson’s songs.

 

 

 

References:

1. Campbell, Michael. Popular Music In America: The Beat Goes On. Schirmer Cengage Learning, 2012.
2. Marshall, Matt. “A Brief History of “I Believe I’ll Dust My Broom”.” American Blues Scene, November 29, 2011. https://www.americanbluesscene.com/a-brief-history-of-i-believe-ill-dust-my-broom/
3. “Robert Johnson”. Biography. https://www.biography.com/people/robert-johnson-9356324
4. Rose, Joel. “Robert Johnson At 100, Still Dispelling Myths.” NPR Music, May 6, 2011. https://www.npr.org/2011/05/07/136063911/robert-johnson-at-100-still-dispelling-myths
5. Digiacomo, Frank. “Searching for Robert Johnson.” Vanity Fair, October 8, 2008. https://www.vanityfair.com/culture/2008/11/johnson20081

 

 

The song I’ve chosen to blog about is called “Me and the Devil”, written by Robert Johnson. I was quite surprised to find out that it was written by Robert Johnson, as I am quite familiar with the version performed by Gil Scott Heron, and I had assumed it was written by him.

Heron’s version instrumentally is much darker, with a wider array of sounds including very prominent drums and synths, and obviously crisper due to technological improvements. His voice is also much raspier due to decades of crack smoking[2]. But, I digress. The version we’re talking about is the original.

Musically, the instrumental is skeletal, just Johnson plucking sadly on his guitar. Often its quietly in the background, but then it breaks into the forefront with a brief eerie riff, and then its back to the background. It paints an image of the kind of sound W. C. Handy would have heard when he first discovered someone playing what he would call blues in 1903[3], though obviously not quite as skilled. Its known as a shuffle rhythm, where the beat is divided into two unequal parts.

Accompanying the skeletal instrumental is Johnson’s masterful blues vocal style. Its a mixture between singing and talking, starting high and ending low. There are frequent long pauses in both vocal and guitar playing. The vocals combined with the guitar create a sound that is both creepy and sad simultaneously, or blue rather. At times Johnson seems full of emotion, other times hopeless, others darkly comical such as when he throws in an adlib (“babe I don’t care where you bury my body when I’m dead and gone”).

The lyrics are very dark and solemn, painting a picture of Johnson becoming one with the devil. The devil comes knocking at his door, and he greets him as an old friend,  in a sort of reluctant acceptance.  The refrain “Me and the Devil, walking side by side” repeats over and over. There is some suggestive and violent imagery, as Johnson says he’ll “beat his woman, until he’s satisfied”. He says explains the reason he’s “dogging her ’round” is the evil spirit inside of him. The song ends with him saying that they may bury his body down by the highway side so his evil spirit can ride the greyhound bus.

The lyrics are simplistic, but paint such a vivid picture. Its quick and swift but straight to the point. Its also one of the most well known tales of selling a soul to the devil, similar to the German play Faust. Johnson has another song with similar themes, crossroads, though it doesn’t explicitly mention the devil. Its become somewhat of a legend with Johnson however, that he took his guitar to the crossroads of highway 49 and 61 in Clarksdale, Mississippi to sell his soul. In return he was given mastery of the guitar.[1] This theory is also crafted from another song, “Cross Road Blues” by Johnson, though it doesn’t contain any explicit references to the devil.

One of the most interesting things about the legend is how many versions and variations of it there are. Some tales simply refer to the devil as a large black man, and there is a noticeable minority of fans who speculate that the real crossroad is in Memphis, Tennessee.[5] Numerous bars, and restaurants have popped up in spirit of this. There are also others who believe the figure Johnson met was not the devil, but the Voodoo trickster god Papa Legba.[6] Papa Legba is said to stand at crossroads, and direct appeals to the spiritual realm. Another interesting aspect is the idea that Johnson doesn’t care where he’s buried, and it might as well be by the highwayside where he can catch a bus. Its fitting in the regard that no one knows for sure where Johnson is buried, and there are a host of speculative graves.

I actually really enjoyed this song, as well as the other Johnson songs I’ve recently begun listening to. Its refreshing to listen to a song that is both meaningful and relatively simple. The instrumental does an excellent job of augmenting the yelpy, high pitched singing and dark lyrics. Reading about the legends and mythology surrounding Robert Johnson, and his supposed deal with the devil most likely impacted my view of the song, as it caused me to examine it more closely and in a different light.

This creepy song did a ton to cement Robert Johnson’s legacy. It helped shape the mythos and speculation about his life, and left questions in peoples minds about what had come of him, what was true and what was fiction. Even his mysterious death seemed fitting where he joined the 27 club and supposedly was murdered by a jealous husband of a woman he slept with.[4]

Sources:

1. Lewis, John. “Robert Johnson Sells His Souls to the Devil.” The Guardian. June 15, 2011. Accessed July 13, 2018. https://www.theguardian.com/music/2011/jun/16/robert-johnson-sells-soul-devil.
2. Lynskey, Dorian. “The Downfall of Gil Scott-Heron.” The Guardian. November 15, 2001. Accessed July 17, 2018. https://www.theguardian.com/culture/2001/nov/15/artsfeatures1.
3. “W.C. Handy Encounters the Blues – Tutwiler.” Paramount Records. Accessed July 17, 2018. http://msbluestrail.org/blues-trail-markers/w-c-handy.
4. “The Story of Bluesman Robert Johnson’s Famous Deal With the Devil Retold in Three Animations.” Open Culture. July 21, 2015 Accessed July 17, 2018. http://www.openculture.com/2015/07/the-story-of-bluesman-robert-johnsons-famous-deal-with-the-devil-retold-in-three-animations.html.
5. “The Crossroads: Where Robert Johnson Sold His Soul to the Devil.” WONDERLUST. February 27, 2018. Accessed July 17, 2018. https://wonderlusttravel.com/black-history-month-clarksdale-mississippi-robert-johnson/.
6. Watman, Max. “Drinking at the Crossroads With the Ghost of Robert Johnson.” The Daily Beast. July 18, 2017. Accessed July 17, 2018. https://www.thedailybeast.com/drinking-at-the-crossroads-with-the-ghost-of-robert-johnson.