In Your Room gp3 Guitar Pro Tab is free to download. Tablature file In Your Room opens by means of the Guitar PRO program.

3 3 <3 3 -2 <-1 1 <-1 -2 -2 <3 3 -2
Ere you left your room this morning, did you think to pray?

-2 -2 -2 -2 <-1 -2 3<-3
In the name of Christ, our Savior

3 3 <3 3 -2<-1 1<-1 -1 <-1 -2 3 <-1
Did you sue for loving favor, as a shield today?

<-3 <-3 4 <-3 -3 <-3 <-5<-3 3 <-3 4 <-3 <3 3 -2
Oh how praying rest the weary, Prayer will change the night to day

3 3 <3 3 -2 <-1 1 <-1 -1 <-1 -2 3 <-1
So when life gets dark and dreary, don’t forget to pray.

War In Your Bedroom gp4 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.

Here In Your Bedroom gp3 Guitar Pro Tab is free to download. Tablature file Here In Your Bedroom opens by means of the Guitar PRO program.

Harmonica amplifiers – Are you thinking about buying a harmonica amplifier but you don’t know which to choose? Uncertain about the kind of sound you want to get or you feel you’ll want to understand more? Which amplifier is the best for the harmonica sound? If your brain will be brimming with such questions then this short article is just what the physician ordered.

Once you have read the article you must have got clear ideas about how to go on; non-etheless, I’ll introduce you to some amplifier models today and will discuss their salient features or benefits and drawbacks with you one at a time. Follow the instructions in next paragraphs carefully and I am sure that from now onwards, you can purchase your generic amplification system or your unique device with utter confidence you have made the best option according to your preferences.

Harmonica amplifiers – How to choose correctly for yourself?

[toc]

Let’s start by analyzing various categories of amplifiers that people find in market and which may be useful for the blues harp:

Guitar amplifiers or battery-operated generic amps.

Solid state guitar amplifiers and modeling devices.

Tube amplifiers for guitars.

Amplified speakers (also called active ones) for more pure sound.

On the basis of our needs we can choose among alternative categories and select the best for the harmonica. Let’s see these categories at length:

Guitar amplifiers or battery-powered generic amps

These amplifiers are small and have power ranging from 0.1 to 5 watts. They’re capable of operating with a power supply or even with common batteries; their capacity can reach up to 10 hours of work if powered by batteries. Sometimes they’re equipped with sound effects and rhythm reproduction. These amplifiers often possess computer connections and sometimes allow an additional microphone connection (e.g for voice).The unit are much appreciated by ones looking for something portable especially those who want to play on the street (busking) or for those who want to keep somewhat small yet powerful enough system internal to create wave in neighbourhood.

If you opt for a modeling amplifier, it will be possible to reproduce both pure harmonica sound and ‘Chicago’ which means we’ve everything we have to play independently. Given the choice of these types of equipments, one interesting fact shouldn’t be underestimated that they usually supply the option to connect to a mixer or other amplifiers, which gives us an opportunity to expand the sound power without compromising the kind of the audio we like. Now it might seem ,”Then I’ll have a little thing like this one, and something day I’ll link it to a bigger to obtain additional volume?” Yes, you have it right!

Now let’s look at two models of portable solid state modeling of an excellent quality: Vox Mini 5 and Roland Micro Cube. They are amplifiers with price ranging from $120 to $150 whereas the characteristics they exhibit are very similar.

The Vox provides an extra input for a vocal microphone, and is therefore more suitable if you would like someone to sing along when you play the harmonica (or guitar). This low impedance input enables you to have a clean instrument sound.

Both models have an input for external sound sources such as mp3 players or smart phones and the headphone output. This one can also be used to connect an additional amplification system or a computer.The two amplifiers provide effect such as for example delay and reverb whereas the modeling circuit allows us to choose emulation of various kinds of amplifiers. By changing the emulation configuration and adjusting the gain, the tone and volume controls, we are able to achieve the desired sound, including the ‘Chicago style’ one. The size of speaker included for VOX is 6.5″ and for Micro Cubecome it’s 5″.The energy of these devices is 5 watts max for the VOX and 2 watts for the Roland.

Solid-state guitar amplifiers and modeling

Larger devices with powers which range from 10 watts up to few hundred watts have to be connected to the electric supwardply. Because they are a composite of integrated circuits hence the title ‘solid condition type’.

In this specific article I’ll not dig into the merits of diatribe ‘valve against transistor’ because internet has already been full of that and you could find all forms of opinions online. From my perspective, you may get a good sound from tube amplifiers and also from incorporated circuit amplifiers, nevertheless, you must remember that valve amplifiers often usually do not provide digital modules with effects, auxiliary connections etc.

Let’s go back to the category of amplifiers we were talking about: alongside portable amplifiers, comes a circuitry that amplifies the sound of the bullet microphone so, for models that emulate different devices it is possible to choose the type of emulated amplifier and still manage to get effects. Even these amplifiers often allow us to connect inputs and auxiliary outputs, plus some also provide the option to attach output to an extra speaker.

Most advanced models in this category may also be connected to the computer via USB cable and managed in a variety of configurations through custom software. Now, we look at two solid state amplifier models being among the most popular ones on the market: The Fender Champion 100 and the Orange Crush 35 RT, both cost around $250.

The Fender Champion 100 has enough power to be used on small and medium-sized venues, and is equipped with an emulation module and different effects. It has two 12-inch speakers, different connections for external effects, an auxiliary input for sound sources like mp3 or smart phones, and the headphones output that may also be connected to another sound system like a mixer or a computer. This is really a perfect amplifier that provides many possibilities.

The Orange Crush 35 RT is one most important amplifier that doesn’t emulate other models, but still offers the reverb effect, an auxiliary input for external sound sources and a headphones output which can also be utilized as a line output to get attached to a computer, a mixer and so forth. The 35 RT has a chromatic tuner and connections for external effects. It includes 35 watts power which is sufficient even though you play in a mid-sized room. The supplied speaker size will be 10 inches.

You can also find a 20 watt model of this brightly colored amplifier here.

Valve Guitar Amplifiers

These are the favourite ones for vintage lovers, renowned for good old tubes and known as supporters of warm sound. In fact the valves are usually fragile and warm-up easily but without a shadow of doubt, all the musicians, at some time fall for the charm of such sort of electrical circuit.

The first thing I wish to explain is that, there are no portable tube amplifiers because they require a whole lot of electric supply. The energy delivered by such amplifiers ranges from 5 watts to many hundred watts and their prices start from $150.

One point that should be taken into consideration is that the power output from the unit cannot be compared to that of solid state amplifiers; usually several watts on a tube amp would produce same volume as greater number of watts on a strong state device would do. Because of this you will discover in the market many tube amplifiers with a power ranging significantly less than 20 watts on average.

Often the unit have no auxiliary inputs or outputs, and so are designed to operate in a standalone configuration. Only in more costly models you could find connections for external effects, and output line connections to other audio systems.

Below I am going to introduce you to two models called VHT 6 Special Ultra and Fender Blues Junior IV. The first is no more available in the market nevertheless, you can still find an used instrument for $200, the next costs about $600.

VHT 6 Special Ultra is really a low-power unit that delivers 6 watts but has earned lots of appreciation from both guitarists and harmonica players. Built with 3 tubes, this amplifier, in addition to the standard controls has some inclusional controls to improve the sound at will. VHT includes a headphone output line which you can use for connecting it to external audio systems and also additional speaker results. The supplied speaker size is 12 inches.

The Fender Blues Junior IV is really a tube amplifier equipped with 3 valves and is with the capacity of delivering 15 watt power. It has a 12-inch speaker and reverberation effect. It does not have any connections for audio inputs or auxiliary outputs.

All the devices I’ve shown you are suitable to produce Chicago suond, and are used with high impedance microphones such as for example bullet type, like the famous shure 520DX. The VOX mini instead, has a low-impedance microphone input for voice or even more clean harmonica sound.

The last category of amplifiers I am going to present to you’re the generic amplified loudspeakers, also called active speakers (or amplified): this is actually the sort of amplification I use when I play around in not-so-big situations.

You can just make use of a voice microphone and connect it to an amplified active speaker which acts well being an amplifier without changing the harmonica sound. These speakers are available with power ratings ranging from a few watts up to several hundred watts, on the market we furthermore find models that focus on battery.

The speaker that I use includes a power of 40 watts and an autonomy that reaches 10 hours with rechargeable battery given it. There are active speaker models that have effects, equalizations, inputs for multiple microphones, usb connections and much more, only the most advanced models have bluetooth and wireless connections to also take advantage of wireless microphones. Lastly I wish to introuduce you to the Beheringer MPA40BT-PRO, a 40-watt unit built with an 8″ woofer and a 1″ tweeter.

The sound reproduction is good and the volume more than sufficient for small locations. Thwill be speaker has two inputs to which it is possible to connect microphones or instruments, auxiliary inputs for other external sources, bluetooth and usb socket for connecting wireless microphones (around 2). This amplifier can cost you $150.

If you are curious to know, let me tell you that the wireless microphone set for the active speaker Behringer MPA40BT-PRO consists of an USB adhere to be connected on the trunk side and two battery-powered microphones which have about l0 hours of autonomy.

This concludes our review of harmonica amps. As you can see, there are different types on the market, designed to meet not merely the usage requirements but budget also .See you within the next article.

+3 +3 +3 +3 +3
I’m your on-ly friend
-2 +2 -2 +3 +3 +3
I’m not your on-ly friend
+3 +3 -2 +2 -2 -2 -2 -2
But I’m a lit-tle glow-ing friend
-2 -2 <-1 -1 <-1 -2 -2 -2 -2 -2 But real-ly I'm not ac-tual-ly your friend -2 -2 +3 But I amREFRAIN +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 -3 Blue ca-nar-y in the out-let by the light switch +6 +6 -5 -5 +5 +5 Who watch-es ov-er you +3 +3 +3 +3 +3 -3 +1 -1 <-1 Make a lit-tle bird-house in your soul +3 +3 +3 +3 +3 +3 <+3 +3 -2 Not to put too fine a point on it <-3 +3 <+3 <-3 <-3 <-3 <-3 +5 <-3 <+3 Say I'm the on-ly bee in your bon-net +3 +3 +3 +3 +3 <-1 -1 -2 +2 Make a lit-tle bird-house in your soul+1 -1 +2 -2 +2 -2 +2 I have a se-cret to tell +1 -1 +2 -2 +2 -2 +2 From my e-lec-tri-cal well +1 +1 -1 +2 -2 +2 -1 +2 -2 -2 It's a sim-ple mes-sage and I'm leav-ing +3 -3 -3 +3 -3 +3 out the whist-les and bells+1 -1 +2 +2 -2 +2 -2 +2 So the room must lis-ten to me +1 +1 -1 +2 -2 +2 -2 +2 Fi-li-bust-er vi-gi-lant-ly +1 -1 +2 -2 +2 -1 +2 -2 -2 +3 -3 -3 +3 +3 My name is blue ca-na-ry one note spelled L- I- T -E -3 -3 -4 +5 -3 -3 My stor-y's in-fi-nite -3 -3 -3 -4 +5 -3 -3 -3 +3 +3 +3 Like the Long-ines Symph-o-nette it does-n't restREFRAIN +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 -3 Blue ca-nar-y in the out-let by the light switch +6 +6 -5 -5 +5 +5 Who watch-es ov-er you +3 +3 +3 +3 +3 -3 +1 -1 <-1 Make a lit-tle bird-house in your soul +3 +3 +3 +3 +3 +3 <+3 +3 -2 Not to put too fine a point on it <-3 +3 <+3 <-3 <-3 <-3 <-3 +5 <-3 <+3 Say I'm the on-ly bee in your bon-net +3 +3 +3 +3 +3 <-1 -1 -2 +2 Make a lit-tle bird-house in your soul+2 +2 +2 +2 +2 I'm your on-ly friend -1 <+1 -1 +2 +2 +2 I'm not your on-ly friend +2 +2 -1 <+1 -1 -1 -1 -1 But I'm a lit-tle glow-ing friend -1 -1 +1 -4’ +1 -1 -1 -1 -1 -1 But real-ly I'm not ac-tual-ly your friend -1 -1 +2 But I am+1 +1 -1 +2 -2 +2 -2 +2 There's a pic-ture op-po-site me +1 +1 -1 +2 -2 +2 -2 +2 Of my pri-mi-tive an-ces-try +1 -1 +2 -2 +2 -1 +2 Which stood on rock-y shores and -2 -2 +3 -3 -3 +3 +3 kept the beach-es ship-wreck free +1 -1 +2 -2 +2 -2 +2 Though I re-spect that a lot +1 +1 -1 +2 -2 +2 -2 +2 I'd be fired if that were my job +1 +1 -1 +2 -2 +2 -1 +2 -2 -2 Af-ter kill-ing Ja-son off and count-less +3 -3 -3 +3 +3 scream-ing Ar-go-nauts -3 -3 -4 +5 -3 -3 Blue-bird of friend-li-ness -3 -3 -4 +5 -3 -3 -3 +3 +3 +3 Like guar-di-an an-gels its al-ways nearREFRAIN +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 -3 Blue ca-nar-y in the out-let by the light switch +6 +6 -5 -5 +5 +5 Who watch-es ov-er you +3 +3 +3 +3 +3 -3 +1 -1 <-1 Make a lit-tle bird-house in your soul +3 +3 +3 +3 +3 +3 <+3 +3 -2 Not to put too fine a point on it <-3 +3 <+3 <-3 <-3 <-3 <-3 +5 <-3 <+3 Say I'm the on-ly bee in your bon-net +3 +3 +3 +3 +3 <-1 -1 -2 +2 Make a lit-tle bird-house in your soul +2 -2 +3 -2 +2 (and while you're at it +3 +3 +3 +3 -3 +5 -3 +3 Keep the night-light on in-side the -2 +2 -1 +2 +1 Bird-house in your soul)+3 +3 +3 +3 +3 +3 <+3 +3 -2 Not to put too fine a point on it <-3 +3 <+3 <-3 <-3 <-3 <-3 +5 <-3 <+3 Say I'm the on-ly bee in your bon-net +3 +3 +3 +3 +3 <-1 -1 -2 +2 Make a lit-tle bird-house in your soul+2 -2 +3 -2 +2 (and while you're at it) +3 +3 +3 +3 -3 +5 -3 +3 (keep the night-light on in-side the) -2 +2 -1 +2 +1 (bird-house in your soul)+3 +3 +3 +3 +3 +3 <+3 +3 -2 Not to put too fine a point on it <-3 +3 <+3 <-3 <-3 <-3 <-3 +5 <-3 <+3 Say I'm the on-ly bee in your bon-net +3 +3 +3 +3 +3 <-1 -1 -2 +2 Make a lit-tle bird-house in your soul+2 -2 +3 -2 +2 (and while you're at it) +3 +3 +3 +3 -3 +5 -3 +3 (keep the night-light on in-side the) -2 +2 -1 +2 +1 (bird-house in your soul)+3 +3 +3 +3 +3 +3 <+3 +3 -2 Not to put too fine a point on it <-3 +3 <+3 <-3 <-3 <-3 <-3 +5 <-3 <+3 Say I'm the on-ly bee in your bon-net +3 +3 +3 +3 +3 <-1 -1 -2 +2 Make a lit-tle bird-house in your soul

-8 -8 -8 -8 -8 7
Mir-ror in the bath-room
7 7 7
Please talk free
7 7 -8 -8 -8 6 6 6
The door is locked just you and me
6 6 6 -8 -8 -8 -8 -8 -8
Can I take you to a rest-aur-ant
7 -6 -6 -6 -6
That has glass ta-bles
-6 -6 6 6 6 6 -5 -5 6 -6
You can watch your-self while you are eat-ing

-8 -8 -8 -8 -8 7
Mir-ror in the bath-room
7 7 7 7 7
I just can’t stop it
7 7 -8 -8 -8 -8 -8 -8 6 6 6 6
Ev-‘ry Sat-ur-day you see me win-dow shop-ping
6 -8 -8 -8 -8 -8 7 7 7
Find no int-rest in the racks and shelfs
7 -6 -6 -6 6 6 6
Just ten thou-sand re-flec-tions
6 6 -5 -5 6 -6 -6
Of my own sweet self, self, self

-8 -8 -8 -8 -8 7
Mir-ror in the bath-room
7 7 -8 -8 -8 -8 -8 -8 7
You-‘re my mir-ror ing the bath-room
7 7 -8 -8 -8 -8 -8 -8 7
You-‘re my mir-ror ing the bath-room
7 7 -8 -8 -8 -8 -8 -8 7
You-‘re my mir-ror ing the bath-room

-8 -8 -8 -8 -8 7
Mir-ror in the bath-room
7 7 7
Re-com-pense
7 7 -8 -8 -8 6 6 6
For all my crimes of self-de-fense
6 6 -8 -8 7 -6 -6 -6
Cur-ses your wisp-er make no sense
-6 6 6 6 6 -5 -5 6 -6
Drift gent-ly in-to men-tal ill-ness

-8 -8 -8 -8 -8 7
Mir-ror in the bath-room
7 7 7
Please talk free
7 7 -8 -8 -8 6 6 6
The door is locked just you and me
6 6 6 -8 -8 -8 -8 -8 -8
Can I take you to a rest-aur-ant
7 -6 -6 -6 -6
That has glass ta-bles
-6 -6 6 6 6 6 -5 -5 6 -6
You can watch your-self while you are eat-ing

Mir-ror in the bath-room
Mir-ror in the bath-room
Mir-ror in the bath-room
Mir-ror in the bath-room

5 6 -7 -7 -6 6 -6 5
All this feels strange and untrue
5 6 -7 -6 6 -6 5 6 5 -4
And I won’t waste a minute, without you
5 6 -6 -7 -6 6 -6 5
My bones ache, my skin feels cold
5 6 -7 -6 6 -6 5 6 5 -4
And I’m getting so tired and so old

5 6 -6 -7 -6 6 -6 5
The anger swells in my guts
5 6 -7 -6 6 -6 5 6 5 -4
And I won’t feel these slices and cuts
5 6 5 6 -6 -7 -7 -6 6 -6 5
I want so much to open your eyes
5 6 -7 -6 6 -6 5 5 6 5 -4
Cause I need you to look into mine

7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes
7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes
7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes
7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes

5 6 5 6 -6 -7 -7 -6 6 -6 5
Get up, get out, get away from these liars
5 6 -7 -6 6 -6 5 5 6 5 -4
‘Cause they don’t get your soul or your fire
6 5 6 -6 -7 -7 -6 6 -6 5
Take my hand, knot your fingers through mine
5 6 -7 -6 6 -6 5 5 6 5 -4
And we’ll walk from this dark room for the last time

6 5 6 -6 -7 -7 -6 6 -6 5
Every minute from this minute now
5 6 -7 -6 6 -6 5 5 6 5 -4
We can do what we like anywhere
5 6 5 6 -6 -7 -7 -6 6 -6 5
I want so much to open your eyes
5 6 -7 -6 6 -6 5 5 6 5 -4
‘Cause I need you to look into mine

7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes
7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes
7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes
7 7 7 7 -8 7 7 6 -5
Tell me that you’ll open your eyes

5 6 -7 -7 -6 6 -6 5
All this feels strange and untrue
5 6 -7 -6 6 -6 5 6 5 -4
And I won’t waste a minute, without you

By Michael Lutz & Michael “Cub” Coda
Motley Crue
Key: D

-6 -6 -6 6 -5 6
Sitt-in’ in the class-room
-6 -6 6 -5 -6
think-in’ it’s a drag
-3* -3* -5 -5 6 6 -5
Lis-t’ning to the teach-er rap
-6 6 -5 6
just ain’t my bag
-5 -6 6-5 -6 -5 -6 6 -5 -6
The noon bell rings you know that’s my cue
-5 -6 -6 -6 -5 6 6 -6 -6 -6 -6
I’m gon-na meet the boys on floor num-ber 2

-6 -6 -6 6 -5 -6
Smok-in’ in the boys room
-6 -6 -6 6 -5 -6
Smok-in’ in the boys room
-6 6 6 6 -5 -6 -3
Now teach-er don’t you fill me
-6 6 -5 6
up with your rules
-3 4 4 4 -4 -3 -4
But ev-‘ry-bod-y knows that
-5 -5 4 -4 -3 -2 -1
Smok-in’ ain’t al-lowed in school

Checkin’ out the halls makin sure
the coast is clear
Lookin’ in the stalls-nah,
there ain’t nobody here
My buddies Sixx, Mick & Tom
To get caught would surely be the death of us all

Smokin’ in the boys room
Smokin’ in the boys room
Teacher don’t you fill me up with your rules
Everybody knows that
smokin’ ain’t allowed in school
Put me to work the school book store
Check-out counter and I got bored
Teacher was lookin’ for me all around
Two hours later you know where I was found

Smokin’ in the boys room
Smokin’ in the boys room
Teacher don’t you fill me up with your rules
Everybody knows that smokin’
ain’t allowed in school

Smokin’ in the boys room
Smokin’ in the boys room
Smokin’ in the boys room
Smokin’ in the boys room
Teacher don’t you fill me up with your rules
Everybody knows that smokin’
ain’t allowed in school

One more time

-6 -6 -6 6 -5 -6
Smok-in’ in the boys room
-7-6 -6 -6 -6 6 -5 -6
Oh, smok-in’ in the boys room
-6 6 -3 6 -5 5 -3 -6 -6 6 -5 -6
Now teach-er, I am ful-ly a-ware of the rules
-3 4 4 4 -4 -3 -4
But ev-‘ry-bod-y knows that
-6 -6 -6 -6 -6 6 -5 -5
Smok-in’ ain’t al-lowed in school

W: Lorenz Hart
M: Richard Rodgers
From: The Girl Friend
Ella Fitzgerald, The Supremes
Key: F

1 -2 -1 1 3
We’ll have a blue room
-1 1 -3 -1 1 -3*
A new room, for two room
-1 1 4 4 4 4 -5 -3*
Where ev-‘ry day’s a hol-i-day
3 -2 -2 -2 3 -3 1
Be-cause you’re mar-ried to me

1 -2 -1 1 3
Not like a ball-room
-1 1 -3 -1 1 -3*
A small room, a hall room
-1 1 4 4 4 4 -5 -3*
Where you can smoke your pipe a-way
3 -2 -2 -2 3 -3 3 -2
With my wee head up-on your knee

2 -2 3 -3 -3* 4 -5 6
We will thrive on, keep a-live on
-6 -6 6 -5 5 -5
Just noth-ing but kiss-es
6 6 -5 5 -3* 5
With Mis-ter and Miss-sus
-3 -3 3 -2 1
On lit-tle blue chairs

1 -2 -1 1 3
I’ll wear my trou-seau
-1 1 -3 -1 1 -3*
And Rob-in-son Cru-soe
-1 1 4 4 4 4 -6 -3*
Is not so far from world-ly cares
-3 3 -2 -2 -2 3 -3 3 -2
As our blue room far a-way up-stairs

2 -2 3 -3 -3* 4 -5 6
We will thrive on, keep a-live on
-6 -6 6 -5 5 -5
Just noth-ing but kiss-es
6 6 -5 5 -3* 5
With Mis-ter and Miss-sus
-3 -3 3 -2 1
On lit-tle blue chairs

1 -2 -1 1 3
I’ll wear my trou-seau
-1 1 -3 -1 1 -3*
And Rob-in-son Cru-soe
-1 1 4 4 4 4 -6 -3*
Is not so far from world-ly cares
-3 3 -2 -2 -2 3 -3 3 -2
As our blue room far a-way up-stairs

-5 5 -4 4
Ahhhh…………..

-5 5 -4 4
Ahhhh…………..

-4
Ahh

-5 5 -4 -4 4 -3 -2 -2
In the white room with black cur-tains

-2” 2 -1 -1
Near the sta-tion.

-5 5 -4 -4 4 -3 -2 -2
Black-roof coun-try; no gold pave-ments

-2” 2 -1 -1
Tired starl-ings

-5 5 -4 -4 4 -3 -2 -2
Sil-ver hors-es ran down moon-beams

-2” 2 -1 -1
In your dark eyes

-5 5 -4 -4 4 -3 -2 -2
Dawn-light smiles on you leav-ing

-2” 2 -1 -1
My con-tent-ment

5 5 -5 5 -4
I’ll wait in this place

-4 5 -5 5 -5 5
Where the sun ne-ver shines

5 -5 5 -4
Wait in this place

-4 5 -5 -5 5 -4 4 -4
Where the sha-dows run from them-selves

You said no strings could secure you
At the station.
Platform ticket, restless diesels,
Goodbye windows.
I walked into such a sad time
At the station.
As I walked out, felt my own need
Just beginning.

I’ll wait in the queue
When the trains come back;
Lie with you where
The shadows run from themselves.

At the party she was kindness
In the hard crowd.
Consolation for the old wound
Now forgotten.
Yellow tigers crouched in jungles
In her dark eyes.
Shes just dressing, goodbye windows,
Tired starlings.

Ill sleep in this place
With the lonely crowd;
Lie in the dark
Where the shadows run from themselves.

By: Jack Bruce & Pete Brown
Cream
Key: F

-6 6 -5 -5 4 -4 3 3
In a white room with black cur-tains
-2 2 -1 -1
near the sta-tion.
-6 6 -5 -5 4 -4 3 3
Black-roof coun-try, no gold pave-ments,
-2 2 -1 -1
Tir-ed star-lings.
-6 6 -5 -5 4 -4 3 3
Sil-ver hors-es run down moon-beams
-2 2 -1 -1
in your dark eyes.
-6 6 -5 5 -5 3 3
Dawn-light smiles on your leav-ing,
-2 2 -1 -1
my con-tent-ment.
6 6 -6 7 -5
I’ll wait in this place
-5 6 -6 7 -6 6
where the sun nev-er shines;
6 -6 7 -5 -5 6 -6 -6
Wait in this place where the shad-ows
6 -5 5 -5
run from them-selves.

-6 6 -5 -5 4 -4 3 3
You said no strings could se-cure you
-2 2 -1 -1
at the sta-tion.
-6 6 -5 -5 4 -4 3 3
Plat-form tick-et, rest-less die-sels,
-2 2 -1 -1
Good-bye win-dows.
-6 6 -5 -5 4 -4 3 3
I walked in-to such a sad time
-2 2 -1 -1
at the sta-tion.
-6 6 -5 -5 5 -5 3 3
As I walked out, felt my own need
-2 2 -1 -1
just be-gin-ning.
6 -6 -6 7 -5
I’ll wait in this queue
-5 6 -6 7 -6 6
when the trains come back;
6 -6 7 -5 -5 6 -6 -6
Lie with you where the shad-ows
6 -5 5 -5
run from them-selves.

-6 6 -5 -5 4 -4 3 3
At the par-ty she was kind-ness
-2 2 -1 -1
in the hard crowd.
-6 6 -5 -5 4 -4 3 3
Con-sol-a-tion from the old wound
-2 2 -1 -1
now for-got-ten.
-6 6 -5 -5 4 -4 3 3
Yel-low ti-gers crouched in jun-gles
-2 2 -1 -1
in her dark eyes.
-6 6 -5 -5 5 -5 3 3
She’s just dress-ing, good-bye win-dows,
-2 2 -1 -1
Tir-ed star-lings.
6 6 -6 7 -5
I’ll sleep in this place
-5 6 -6 7-6 6
with the lone-ly crowd;
6 -6 7 -5 -5 6 -6 -6
Lie in the dark where the shad-ows
6 -5 5 -5
run from them-selves.
-5 4 -3 3
Ah ah ah ah
-5 4 -3 3 3
Ah ah ah ah ah

-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
In a white room with black curtains near the station.
-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
Black-roof country, no gold pavements, tired starlings.
-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
Silver horses run down moonbeams in your dark eyes.
-9 8 -8 7 -8 6 6 -5 5 -4 -4
Dawn-light smiles on your leaving, my contentment.
8 8 -9 9 -8 -8 8 -9 9 -9 8
I’ll wait in this place where the sun never shines;
8 -9 9 -8 -8 8 -9 -9 8 -8 7 -8
Wait in this place where the shadows run from themselves.

-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
You said no strings could secure you at the station.
-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
Platform ticket, restless diesels, goodbye windows.
-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
I walked into such a sad time at the station.
-9 8 -8 -8 7 -8 6 6 -5 5 -4 -4
As I walked out, felt my own need just beginning.
8 8 -9 9 -8 -8 8 -9 9 -9 8
I’ll wait in the queue when the trains come back;
8 -9 9 -8 -8 8 -9 -9 8 -8 7 -8
Lie with you where the shadows run from themselves.

-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
At the party she was kindness in the hard crowd.
-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
Consolation for the old wound now forgotten.
-9 8 -8 -8 7 -7 6 6 -5 5 -4 -4
Yellow tigers crouched in jungles in her dark eyes.
-9 8 -8 -8 7 -8 6 6 -5 5 -4 -4
She’s just dressing, goodbye windows, tired starlings.
8 8 -9 9 -8 -8 8 -9 9 -9 8
I’ll sleep in this place with the lonely- crowd;
8 -9 9 -8 -8 8 -9 -9 8 -8 7 -8
Lie in the dark where the shadows run from themselves.

-6 6 -5 -5 -6 6 -5 -5 -5
O-pen your eyes, wa-ke up my love.
-6 6 -5 -5 -6 6 6 -5 -5
This is the calm, I am speak-ing of.
-6 6 -5 -5 -6 6 -5 6 -5
Emp-ty and cold, I am torn a-part.
4 -6 6 -5 -5 -6 6 6 -5 -5
You en-ter the beats, ba-ck in my heart.

-9 8 -8 -8 -8 7 7 -6
I have ar-rived mu-ch too soon.
-4 -6 6 -5 -5 4 -6 6 -5 -5
I’m wait-ing for you, to en-ter my room.

-9 8 -9 -9 8 -9
This could be, your love song.
-9 9 -10 9 -9 -9 9 -9
This could b–e–, your love song.

-6 6 5 -5 6 -6 -6 6 5 -5 5 -4 4
We got the afternoon you got this room for two
6 6 5 -5 -4 4 6 6 6 -6
one thing I’ve left to do discover me
6 6 5 -4 4 -6 -6 6 6 -5 -5 4 -6
discovering you one mile to every inch of your
-7 6 6 5 -4 6 6 5 -5 6 6 6
skin like porcelain one pair of candy lips and
6 6 6 -6 -6 5 -5 5 -4 4 -5 6 -6
your bubble gum tongue cause if you want

6 -5 -5 6 -5 6 -6 -6 6 -5
love we’ll make it swimming a deep sea of
-5 6 -5 6 -6 -6 6 -5 -5 6
blankets take all your big plans and break ’em
5 -5 -5 5 -4 4 4
this is bound to be awhile
-5 -7 -6 6 -7 -6 -6 -5 -7 -6 6 -7 -6
your body is a wonderland your body is a wonder
-6 6 5 -5 4 -7 -6 6 -7 -6 -6 7
I’ll use my hands your body is a wonderland
7 7 7 7 -6 -7 -6 -7 7 6 -6
something about the way the hair falls in your
-5 7 7 7 7 -6 -7 -6 -7 7 -6
face I love the shape you take when crawling in
6 6 -6 -5 -6 -6 -6 -6 6 6 -5
the pillow case you tell me where to go and
-7 -5 6 -7 -6 6 -5 -5 6 6 6
though I might need to find it I’ll never let
6 -6 -5 -6 6 -5 -5 -5 -5 -5 5 -4 4
your head hit the bed without my hand behind it
-5 6 -6
if you want
6 -5 -5 6 -5 6 -6 -6 6 -5
love we’ll make it swimming a deep sea of
-5 6 -5 6 -6 -6 6 -5 -5 6
blankets take all your big plans and break ’em
5 -5 -5 5 -4 4 4 -5 -7 -6 6
this is bound to be awhile your body is a
-7 -6 -6
wonderland

-5 -7 -6 6 -7 -6 -6 6 5 -5 5 -4
your body is a wonder I’ll use my hands
4 -7 -6 6 -7 -6 -6 7
your body is a wonderland (repeat last 2 lines)

5 -5 6 5 4 -5 5 -5 6 6
When you rush around in hopeless circles

5 -5 6 5 4 -5 5 -5 6
searching every where for something true

5 -5 6 -6 -6 -7 -6 -6 6
your at the age of not believing

5 -5 6 -6 -5 5 -4 4
and worse of all, you doubt your self

4 4 -6 -6 -6 -6 -7 -6 6
Your a cast away where no one hears you

5 5 -6 -6 -6 6 6 -6 6 -5
on a barren isle in a lonely sea

-4 -4 -5 -5 5 5 -4 -4 4
where did all the happy endings go?

-4 -4 -4 -4 -6 -4 6
Where can all the good times be?

5 -5 6 5 4 -5 5 -5 6 6
When you set aside your childhood hero’s

5 -5 6 5 4 -5 5 -5 6
and your dreams are lost upon the shelf

5 -5 6 -6 -6 -7 -6 -6 6
your at the age of not believing

5 -5 6 -6 -5 5 -4 4
and worse of all you doubt your self

it ends with this, but I can’t figure out how exactly it fits in the
rest of song:

5 -6 7 -6 -6 6 -6 -6 -7
you must start believing, there’s something

7 -7 -6 -6 -7 7 -7 -6 -7 7
wonderful, truly wonderful in you

John Legend – Save Room

Intro
(Bass line: -4 4 -3 -3”)

-3 -3” -2 -2’ -1 2 -2
-3 -3” -2 -2’
-3 -3” -2 -2’
(-2’) -2 -2’ 2 -1 2

-3 -3” -2 -2’ -1 2 -2
Say that you’ll stay a little
-3 -3” -2 -2’ -1 2
dont say bye-bye tonight
-3 -3” -2 -2’
say you’ll be mine
-1 -1 2 -2 2 -2 -3”
just a little bit of love
-2 -2 -3 -3 -2 2 -2 -2
is worth a moment of your time.
-3 -3” -2 -2’ -1 2 -2
Knockin’ on your door just a little
-3 -3” -2 -2’ -1 2
it’s so cold outside tonight
-3 -3” -2 -2’
let’s get a fire
-1 -1 2 -2 2 -2 -3”
burning oh I know
-2 -2 -3 -3 -2 2 -2 -2
I’ll keep it burning bright
-2 -2 -3” -3
if your stay,
(-3” -3) 4 -3, 5 -3 -3”
wont you save, save

Chorus
-8 7 -7 -6 -7
Save room for my love
-8 7 -7 -6 -7
Save room for a moment
-6 6 -6 -7 -6 6
to be with me
-8 7 -7 -6 -7
Save room for my love
-6 6 -6 -7
Save a little,
-7 -7 -6 -7 -6 -7
save a little for me
-7 -7 -6 -7 -6 6
Won’t you save a little
-7 -7 -6 -7 -6 -8 -7
Save a little for me
(-6 -7)
(oooh)

Verse
This just might hurt a little
love hurts sometimes when you do it right
dont be afraid of a little bit of pain
pleasure is on the other side.
Let down your guard just a little
i’ll keep you safe in these arms of mine
hold on to me pretty baby
you will see I can be all you need if you stay
won’t you save, save

Chorus
Save room for my love
Save room for a moment
to be with me
Save room for my love
Save a little,
Save a little for me
Won’t you save a little
Save a little for me
oooh

Pajapapa dadadada

Chorus
Oh c’mon, make time to live a little
don’t let this moment slip by tonight
you’ll never know what you’re missing
’till you try, ill keep you satisfied if you stay
won’t you save, save

Save room for my love
Save room for a moment
to be with me
Save room for my love
Save a little,
Save a little for me
Won’t you save a little
Save a little for me
oooh

Mammas Dont Let Your Babies Grow Up to be cowboys

8 9 9 9 9 9-10 9
Mam-mas, don’t let your b-a-b-ies

8 7 7 -8 6 -6
grow up to be cow-boys,

8 -9 -9 -9 -9 -8
Don’t let them pick gui-tars

-8 -7 -7 -7-6 6
and drive them old trucks.

9 9 9 -10 9 9 -10 9 8 -8
Let them be doc-tors and law-yers and such.

8 9 9 9 9 9-10 9
Mam-mas, don’t let your b-a-bies

8 7 7 -8 7 -5
grow up to be cow-boys.

-5 -9 -9 -9 -9 -9
‘Cause they’ll nev-er stay home

8 -8 -7 -7 -6 -7-6 6
and they’re al-ways a-l-o-ne

9 9 9 -10 9 -9 8-8 7
e-ven with some-one they l-o-ve.

verse 1

9 9 9 -10 9 -9 8
Cow-boys ain’t eas-y to love,

8 8 -9 8 -6 -6 7
and they’re hard-er to ho-ld.

-9 -9 -9 -9 -9 -8 7
They’d rath-er give you a song

7 -7 -6 6 6
than dia-monds or gold,

9 9 9 9 8
Lone Star belt buck-les,

8 8 8 8 -9 8
and old, fad-ed Le-vis;

-6 -6 7 7 -8 7 7 7 7-6
And each night be-gins a new day.

-9 -9 -9 -9 -9 -9 -8
If you don’t un-der-stand him

-8 -7 -7 -7-6 -7 -6
and he don’t die young,

6 6 -7 -8 -9 8-9 8 -8 7
he’ll prob-a-bly just r-ide a-way.

Verse 2
Cowboys like smokey old pool rooms and clear mountain mornings,
Little warm puppies and children and girls of the night.
Them that don’t know him won’t like him,
And them that do sometimes won’t know how to take him.
He ain’t wrong, he’s just diff’rent; but his pride
Won’t let him do things to make you think he’s right.

5 6 6 -6 6 -5 5 5 5 5 -4 4 3
Cowboys ain’t easy to love and they’re harder to hold
5 -5 -5 -5 5 -4 -3 -3 -3 2 1 -1
They’d rather give you a song then diamonds or gold
5 6 6 -6 6 -5 5 5 5 5 -4 4 5 5 -4 5 -4 -4 -5
Lonestar belt buckles and old faded Levi’s and each night begins a new day
-4 5 -5 -5 -5 -5 5 -4 -4 -3 -2 3
If you don’t understand him and he don’t die young
4 -4 -4 4 -3 4 -4 4
He’ll probably just ride away

5 6 6 6 5 -6 6 5 5 4 3 -3 -4
Mamas’ don’t let your babies grow up to be cowboys
5 -5 -5 -5 -5 5 -4 -3 -3 2 3
Don’t let ’em pick guitars or drive them old trucks
5 6 6 -6 6 5 -6 6 4 5
Let ’em be doctors and lawyers and such
5 6 6 6 5 -6 6 5 5 4 3 -3 -4
Mamas’ don’t let your babies grow up to be cowboys
-4 5 -5 -5 5 -5 5 -4 -3 -3 2 3
‘Cause they’ll never stay home and they’re always alone
5 6 6 -6 6 4 5
Even with someone they love

5 6 6 -6 6 -5 5 5 5 5 4 4 -4 -5
Cowboys like smokey old pool rooms and clear mountain mornin’s
-5-5 -5 -5 5 -4 -3 -3 3 -3 3 2 3
Little warm puppies and children and girls of the night
5 6 6 -6 6 -5 5 5
Them that don’t know him won’t like him
-4 5 -4 5 5 -4 4 -4 -4 4 -4 -5
And them that do sometimes won’t know how to take him
-4 5 -5 5 -5 -3 -2
He ain’t wrong he’s just different
-4 5 -5 5 -5 5 -4 -3 3 -3 4 -4 -3 4
But his pride won’t let him do things to make you think he’s right

5 6 6 6 5 -6 6 5 5 4 3 -3 -4
Mama’s don’t let your babies grow up to be cowboys
5 -5 -5 -5 -5 5 -4 -3 -3 2 3
Don’t let ’em pick guitars and drive them old trucks
5 6 6 -6 6 5 -6 6 4 5
Let ’em be doctors and lawyers and such
5 6 6 6 5 -6 6 5 5 4 3 -3 -4
Mama’s don’t let your babies grow up to be cowboys
-4 5 -5 -5 5 -5 5 -4 -3 -3 2 3
‘Cause they’ll never stay home and they’re always alone
5 6 6 -6 6 4 5
Even with someone they love

5 6 6 6 5 -6 6 5 5 4 3 -3 -4
Mamas’ don’t let your babies grow up to be cowboys
5 -5 -5 -5 -5 5 -4 -3 -3 2 3
Don’t let ’em pick guitars and drive them old trucks
5 6 6 -6 6 5 -6 6 4 5
Let ’em be doctors and lawyers and such

Have You Any Room For Jesus

KEY OF C

6 -6 6 7 -7 -6 -6 6
Have you an-y room for Je-sus,

-5 5 -5 6 -6 6 6 5
He who bore your load of si-n

6 -6 6 7 -7 -6 -6 6
As He knocks and asks ad-mis-sion

-5 5 -5 6 -6 -7 7
Sin-ner, will you let Him in

-8 -8 -8 -8 8 -8 7 6
Room for Je-sus, King of Glo-ry

-6 -6 -6 -6 -7 7 -8
Has-ten now, His word o-bey

8 8 -9 8 7 -6 6 5
Swing the heart’s door wide-ly o-pen

-5 -6 6 7 -7 -7 7
Bid Him en-ter while you may

ENJOY!!!

How to hold harmonica? That is problem which many people ask HarmonicaTabs. As many people know: holding a harmonica properly is the first step toward playing it successfully. If you’re a lefty, follow these instructions but reverse the left and right hands. 
Make sure the harmonica is right-side up: The holes of the harmonica should be facing you, with those that produce the lowest notes on the left and those that produce the highest notes on the right.
Most harmonicas have the numbers 1–10 embossed on the top cover plate over each hole. The leftmost hole should be numbered “1,” and the rightmost hole should be numbered “10.”

Diatonic

Hold the body of the harmonica in the left hand between the thumb and index finger. The three remaining fingers will then be curved slightly, to form a small resonating space. Place the flat of your right hand over the harmonica (not the mouthpiece side!), and enclose it, forming a tight cup. Optimally, the cup should form a large resonating space.

Tremolo

 With the left hand, hold the harmonica somewhere around the left of the center. If one has the strength, hold the harmonica with the thumb and index finger, and let the three remaining fingers curl together to form a resonating space. With the right hand, hold the harmonica somewhere around the right of the center.
If one has the strength, hold the harmonica with the thumb and index finger, and let the three remaining fingers curl together to form a resonating space. The fingertips of both hands should touch each other, while the palms face each other. Some players also recommended crossing the fingers to ensure a good resonation is formed, but this may hinder the movement of the harmonica.

Chromatic

There are quite a few variants for holding a chromatic. One is a deviation of the diatonic hold, using the right thumb to work the slide button. This is particularly used by Blues player, which often play Chromatic in 3rd position only.
The other popular variant is very similar: With the left hand, hold the harmonica somewhere around the left of the center with the thumb, index and middle fingers. Then twist your right hand along the wrist, so that the fingers point to a two o’clock position and palm facing up.
Place the right palm at the bottom of the harmonica (usually sit right below the left thumb) and wrap all the fingers except the index fingers around the harmonica. If done properly, the right wrist will form a right angle. Your index finger will be touching the slide button, and will always be touching there, regardless if you use the button or not.

If it’s a 16-hole variant, hold it in similar manner, except your cup will be located closer to the center. Alternatively, break up the cup.

How to hold harmonica with 10 steps

[toc heading_levels=”3,4,5″]

Step 01. Place the harmonica between your left index finger and thumb

. Hold your thumb and index finger parallel as if you were about to pinch something. Place the harmonica between the two fingers, pushing the left end inside your purlicue (the skin between the pointer finger and thumb).

Step 2. Position the instrument so its lowest note is on the left.

To properly play a harmonica, make sure its lowest note is on your left side. If the notes are not engraved on the instrument’s cover plate, blow on both ends to find which side is lower.

Step 3. Leave the lip of the harmonica exposed.

To leave room for your mouth, make sure about half the harmonica is exposed. When blowing, keep your thumb and index finger back so you do not have trouble connecting with the instrument.

Step 4. Cup your right hand around the harmonica to create an air seal.

While holding your harmonica, place your hands next to each other so they are straightened out with knuckles down. Move your right hand up so the tip of your left ring finger lines up with the tip of your right pinky. From this position, roll your hands together to create a sealed air pocket between your harmonica and palms.^[

• Make sure to close large and noticeable gaps, especially at the back of your hands and around the harmonica itself.
• There is no way to make a complete seal using your hands, so don’t worry about tiny gaps.

Step 5. Place your right thumb in front of the harmonica for control or comfort.

If your thumb is uncomfortable or you’re having trouble controlling the harmonica, try placing your right thumb in front of the instrument’s high notes. Just make sure to move it 

Step 6. Hold your right elbow in

When playing, make sure to hold your right elbow flush against your side. This will help prevent arm, shoulder, and neck strain, as well as give you greater control over your hand techniques.

Step 7. Slide your harmonica to change notes

To change from one note to another, slide the harmonica right or left in your mouth. Most harmonicas will have between 10 and 16 notes to create sound, though specialty harps may have more. Most consumer harmonicas are locked to one key with note variations made by changing how you blow.

Step 8. Keep your hands closed to create low tones

Play the harmonica with your hands fully closed to create low, bass-heavy notes. The tighter your hands are, the bassier the note will sound. This technique is used heavily in blues music

Step 9. Open your hands to create high tones

To play higher, brighter-sounding notes, open your hands to let more air escape. Instead of sad, muted tones, this will give you the bright, bouncy ones used throughout folk music.

Step 10. Open and close a section of your hand to create wah wahs

To create the classic warbling sound harmonicas are known for, move your right hand to create a small passage where air can escape. When you rapidly open and close this passage, you will create wah wah sounds. Some areas to open your hand include:

• Behind the harmonica, done by slightly twisting your right hand.
• On top of the harmonica, done by extending the fingers on your right hand.
• Below the harmonica, done by bottoming out your right wrist.

Source: Internet.

By: Christopher Braide, Andreas Carlsson,
Desmond Child
Clay Aiken
Key: F
Harp: F, Bb

Harp: F

5 5 6 6 6 5
8 8 9 9 9 8
What-cha do-in’ to-night

5 -4 5 -4 4 4 -3 4 -3 -3”
8 -8 8 -8 7 7 -7 7 -7 -6
I wish I could be a fly on your wall

5 5 6 6 6 5
8 8 9 9 9 8
Are you real-ly a-lone

5 -4 5 -4 4
8 -8 8 -8 7
Who’s still in your dreams

-3” 4 -4 5 -3” 4 4 -4 -3
-6 7 -8 8 -6 7 7 -8 -7
Why can’t I breathe you in-to my life

6 6 5 4 4
9 9 8 7 7
(So I’m tell-in’ you)

-3” 4 -4 5 4 6 -5 5
-6 7 -8 8 7 9 -9 8
What would it take to make you see

-5 5 -5 5
-9 8 -9 8
That I’m a-live

-3”4 -4 5 -4 4 4
-6 7 -8 8 -8 7 7
If I was in-vis-i-ble

-3” 4 -4 5 4 4 -3 -3 4 -3
-6 7 -8 8 7 7 -7 -7 7 -7
Then I could just watch you in your room

-3”4 -4 5 -4 4 4
-6 7 -8 8 -8 7 7
If I was in-vis-i-ble

3 -4 -4 5 3 -3”
6 -8 -8 8 6 -6
I’d make you mine to-night

-3” 4 -4 5 -4 4 4
-6 7 -8 8 -8 7 7
If hearts were un-break-a-ble

-3” 4 -4 5 4 4 -3 -34 4
-6 7 -8 8 7 7 -7 -77 7
Then I could just tell you where I stand

-4 -4 -4 -4 6 -3 4
-8 -8 -8 -8 9 -7 7
I would be the smart-est man

-3”4 -4 5 -4 4 4
-6 7 -8 8 -8 7 7
If I was in-vis-i-ble

4 3 4 4 -3 4
7 6 7 7 -7 7
Wait I al-read-y am

Saw your face in the crowd
I called out your name
You don’t hear a sound
I keep tracing your steps
Each move that you make
Wish I could read
What goes through your mind
(Oh baby)
Wish you could touch me
With the colors of your life
If I was invisible…

4 3 4 4 -3 4
7 6 7 7 -7 7
Wait I al-read-y am

3 -4 -4 5 5 -4
6 -8 -8 8 8 -8
I’d make you mine to-night

5 -4 4 4
8 -8 7 7
In-vis-i-ble

3 -4 -4 5 3 -3”
6 -8 -8 8 6 -6
I’d make you mine to-night

-3”-6 -5 4 -4 -5 -5 -4 6 5
-6 -10 -9 7 -8 -9 -9 -8 9 8
I reach out but you don’t e-ven see me

-6 7 7 -6 7 -6
-1010 10 -10 10 -10
E-ven when I scream out

-4 -5 -5 -4 6 -6
-8 -9 -9 -8 9 -10
Ba-by you don’t hear me

Harp: Bb
-2”3 -3” 3 -2” 2 3
-5 6 -6 6 -5 5 6
-9 9 -10 9 -9 8 9
I am noth-ing with-out you

-2” 3 -3* 3 -2” 2 -2”2-112
-5 6 -6 6 -5 5 -55-44-45
-9 9 -10 9 -9 8 -98-87-88
Just a shad-ow pass-ing through

-2”3 -3” -3 -3” 3 3
-5 6 -6 -7 -6 6 6
If I was in-vis-i-ble

2 3 -3” -3 -3” 3 3
5 6 -6 -7 -6 6 6
If I was in-vis-i-ble

2 -3” -3” 2 -3 -3”
5 -6 -6 5 -7 -6
I’d make you mine to-night

2 -3” -3” 2 -3 -3”
5 -6 -6 5 -7 -6
I’d make you mine to-night

By: Christopher Braide, Andreas Carlsson,
Desmond Child
Clay Aiken
Key: F

-3 -3 4 4 4 -3
What-cha do-in’ to-night
-3 3 -3 3 -2 -2 2 -2 2 -1
I wish I could be a fly on your wall
-3 -3 4 4 4 -3
Are you real-ly a-lone
-3 3 -3 3 -2
Who’s still in your dreams
-1 -2 3 -3 -1 -2 -2 3 2
Why can’t I breathe you in-to my life
4 4 -3 -2 -2
(So I’m tell-in’ you)
-1 -2 3 -3 -2 4 -3* -3
What would it take to make you see
-3* -3 -3* -3
That I’m a-live
-1 -2 3 -3 3 -2 -2
If I was in-vis-i-ble
-1 -2 3 -3 -2 -2 2 2 -2 -2
Then I could just watch you in your room
-1 -2 3 -3 3 -2 -2
If I was in-vis-i-ble
1 3 3 -3 1 -1
I’d make you mine to-night
-1 -2 3 -3 3 -2 -2
If hearts were un-break-a-ble
-1 -2 3 -3 -2 -2 2 2-2 -2
Then I could just tell you where I stand
3 3 3 3 4 2 -2
I would be the smart-est man
-1 -2 3 -3 3 -2 -2
If I was in-vis-i-ble
-2 1 -2 -2 2 -2
Wait I al-read-y am

Saw your face in the crowd
I called out your name
You don’t hear a sound
I keep tracing your steps
Each move that you make
Wish I could read
What goes through your mind
(Oh baby)
Wish you could touch me
With the colors of your life
If I was invisible…
-2 1 -2 -2 2 -2
Wait I al-read-y am
1 3 3 -3 -3 3
I’d make you mine to-night
-3 3 -2 -2
In-vis-i-ble
1 3 3 -3 1 -1
I’d make you mine to-night
-1 -5 -3* -2 3 -3* -3* 3 4 -3
I reach out but you don’t e-ven see me
-5 -6 -6 -5 -6 -5
E-ven when I scream out
3 -3* -3* 3 4 -5
Ba-by you don’t hear me

-5*-6 7 -6 -5* -5 -6
I am noth-ing with-out you
-5* -6 7 -6 -5* -5 -5*-55-3*5-5
Just a shad-ow pass-ing through
-1 -2 3 -3 3 -2 -2
If I was in-vis-i-ble
-1 -2 3 -3 3 -2 -2
If I was in-vis-i-ble
1 3 3 -1 -3 3
I’d make you mine to-night
1 3 3 -1 -3 3
I’d make you mine to-night

-5 -5 -5 -5 6 -5 -5
Someone’s got it in for me,
6 6 6 6 6 6 5 6
they’re planting stories in the press
-5 -5 -5 -5 -5 -5 -5 -5 6 -5 -5
Whoever- it is I- wish they’d cut it out
-5 6 6 6 -5 5 -5 5 6 4
but when they will I can only guess.
-6 -6 -6 -7 -6 6 6 -7
They say I shot a man named Gray
5 -5 6 -6 -5 6 5 4
and took his wife to Italy,
-6 -6 -7 -6 6 6 -7 6 -7
She inherited- a million bucks
5 -5 6 -6 -5 6 4 4
and when she died it came to me.
5 5 6 5 5 4 4 -4
I can’t help it if I’m lucky.

-5 -5 -5 -5 6 -5 -5
People see me all the time
-5 6 6 6 6 6 6 -5 5 6 4
and they just can’t remember how to act
-5 -5 -5 -5 -5 6 -5 7
Their minds are filled with big ideas,
6 6 6 -5 5 -7 6 6 4
images and distorted facts.
-6 -6 7 -7 5 6
Even- you, yesterday
5 -5 6 -6 -5 6 4 4 4
you had to ask me where it was at,
6 -6 -6 -6 -7 6 6 6 6 -7
I couldn’t believe after all these years,
-5 -5 -5 6 5 6 5 4 4
you didn’t know me better than that
5 4 -4
Sweet lady.

6 5 4 4
Idiot wind,
-6 -6 -6 -6 -6 6 6 6 6 4
blowing every time you move your mouth,
-6 -6 -6 -6 -6 6 6 5 -4
Blowing down the backroads headin’ south.
6 5 4 4
Idiot wind,
-6 -6 -6 -6 -6 6 6 5 6 4
blowing every time you move your teeth,
5 -5 6 5 4 4
You’re an idiot, babe.
5 -5 6 6 6 6 6 -5 5 -4 4
It’s a wonder that you still know how to breathe.

I ran into the fortune-teller, who said beware of lightning that might
strike
I haven’t known peace and quiet for so long I can’t remember what it’s
like.
There’s a lone soldier on the cross, smoke pourin’ out of a boxcar
door,
You didn’t know it, you didn’t think it could be done, in the final
end he won the wars
After losin’ every battle.

I woke up on the roadside, daydreamin’ ’bout the way things sometimes
are
Visions of your chestnut mare shoot through my head and are makin’ me
see stars.
You hurt the ones that I love best and cover up the truth with lies.
One day you’ll be in the ditch, flies buzzin’ around your eyes,
Blood on your saddle.

Idiot wind, blowing through the flowers on your tomb,
Blowing through the curtains in your room.
Idiot wind, blowing every time you move your teeth,
You’re an idiot, babe.
It’s a wonder that you still know how to breathe.

It was gravity which pulled us down and destiny which broke us apart
You tamed the lion in my cage but it just wasn’t enough to change my
heart.
Now everything’s a little upside down, as a matter of fact the wheels
have stopped,
What’s good is bad, what’s bad is good, you’ll find out when you reach
the top
You’re on the bottom.

I noticed at the ceremony, your corrupt ways had finally made you
blind
I can’t remember your face anymore, your mouth has changed, your eyes
don’t look into mine.
The priest wore black on the seventh day and sat stone-faced while the
building burned.
I waited for you on the running boards, near the cypress trees, while
the springtime
turned Slowly into autumn.

Idiot wind, blowing like a circle around my skull,
From the Grand Coulee Dam to the Capitol.
Idiot wind, blowing every time you move your teeth,
You’re an idiot, babe.
It’s a wonder that you still know how to breathe.

I can’t feel you anymore, I can’t even touch the books you’ve read
Every time I crawl past your door, I been wishin’ I was somebody else
instead.
Down the highway, down the tracks, down the road to ecstasy,
I followed you beneath the stars, hounded by your memory
And all your ragin’ glory.

I been double-crossed now for the very last time and now I’m finally
free,
I kissed goodbye the howling beast on the borderline which separated
you from me.
You’ll never know the hurt I suffered nor the pain I rise above,
And I’ll never know the same about you, your holiness or your kind of
love,
And it makes me feel so sorry.

Idiot wind, blowing through the buttons of our coats,
Blowing through the letters that we wrote.
Idiot wind, blowing through the dust upon our shelves,
We’re idiots, babe.
It’s a wonder we can even feed ourselves.

-2 4 -4 -4 -4 -3
I pic-tured a rain-bow

5 5 -4 4 4
You held in your hands

5 -4 -4 -2
I had flash-es

2 5 5 5 5
But you saw the plan

Verse 1

-4 -4 -4 -4 -4 -4 -4 -4 -4
I wand-ered out in the world for years

4 6 -5 6 -4 -4 4
While you just stayed in your room

-4 -4 4 -4 -4
I saw the cres-cent

5 5 5 5 -4 4 4
You saw the whole of the moon

4 6 -5 5 4
The whole of the moon

5 5 5 5 -4 5 5
You were there in the turn-stiles

5 -4 5 5 5 5
With the wind at your heels

-4 5 5 -4 5
You stretched for the stars

-5 5 5 5 5 5
And you know how it feels

-4 -4 5 -4 5 -4 5 -4
To reach too high too far too soon

5 5 5 5 -4 4 4
You saw the whole of the moon

(spoken)(you can play -5b if u wish)
I was grounded

5 5 5 5 5
While you filled the skies

5 5 5 5 -4 4 4
I was dumb-found-ed by truths

5 5 5 5
You cut through lies

-4 -4 -4 -4 -4 -4 -4 -2
I saw the rain-dir-ty val-ley

6 -5 -5 5 4 5 -4 4 -4 -4
You saw brig-a-doon I saw the cres-cent

5 5 5 5 -4 4 4
You saw the whole of the moon

-2 4 4 4 -3b 4 5 5 5
I spoke a-bout the wings you just flew

-4 5 5 5 5 -4 4 4
I won-dered, i guessed, and i tried

5 5 5 5 5
You just knew I sighed

6 6 -5 5 5 5 5 4
But you swooned I saw the cres-cent

5 5 5 5 -4 4 4
You saw the whole of the moon

5 5 -4 4 4
The whole of the moon!

VERSE 2 same as 1
With a torch in your pocket
And the wind at your heels
You climbed on the ladder
And you know how it feels
To reach too high too far too soon
You saw the whole of the moon
The whole of the moon

(Spoken)
Unicorns and cannonballs,
Palaces and piers,
Trumpets, towers, and tenemets,
Wide oceans full of tears,
Flag, rags, ferry boats,
Scimitars and scarves,
Every precious dream and vision
Underneath the stars

5 6 6 -5 5 5 5
Yes, You climbed on the lad-der

6 6 6 -5 5 5
With the wind in your sails

6 6 -5 5 5 5
You came like a com-et

6 -5 5 5
Blaz-ing your trail

5 -4 5 -4 5 -4
Too high Too far Too soon

5 5 5 5 -4 4 4
You saw the whole of the moon

ENJOY!!!

4 -4 5 -4 5 5 5 -4 4
Do you ever feel like breaking down?
4 -4 5 -4 5 5 -4 4
Do you ever feel out of place?
4 4 -4 4 -4 4 -4 4
Like somehow you just don’t belong
4 4 4 -4 5 -4
And no one understands you
4 -4 5 -4 5 5 5 -4 4
Do you ever wanna run away?
4 -4 5 -4 5 5 -4 4
Do you lock yourself in your room?
4 4 -4 4 -4 4 -4 4
With the radio on turned up so loud
4 4 -4 5 -4 5 -4
That no one hears you screaming
4 -4 5 5 5 -4 5
No you don’t know what it’s like
-4 5 5 5 -4 4
When nothing feels all right
-4 -4 -4 -4 5 -4
You don’t know what it’s like
4 4 5 -4
To be like me

4 -4 5
To be hurt
4 -4 5
To feel lost
4 -4 5 -4 4 5 -4
To be left out in the dark
4 -4 5 4 -4 5
To be kicked when you’re down
4 4 -4 5 -4 4 5 -4
To feel like you’ve been pushed around
4 -4 5 -4 5 -4 5 -4 4
To be on the edge of breaking down
4 -4 5 -4 5 -4 5 -4
And no one’s there to save you
-3 4 -4 -4 -4 5 -4
No you don’t know what it’s like
-5 5 4 -4 4
Welcome to my life

Do you wanna be somebody else?
Are you sick of feeling so left out?
Are you desperate to find something more?
Before your life is over
Are you stuck inside a world you hate?
Are you sick of everyone around?
With their big fake smiles and stupid lies
While deep inside you’re bleeding

No you don’t know what it’s like
When nothing feels all right
You don’t know what it’s like
To be like me

To be hurt
To feel lost
To be left out in the dark
To be kicked when you’re down
To feel like you’ve been pushed around
To be on the edge of breaking down
And no one’s there to save you
No you don’t know what it’s like
Welcome to my life

5 -4 5 -4 4 4 4 -4 -4
No one ever lied straight to your face
5 -4 5 -4 5 5 5 5 -4 4
And no one ever stabbed you in the back
4 -4 5 -4 5 -4 4 -4 5 5 5 5
You might think I’m happy but I’m not gonna be
-4 4
okay
4 -4 5 -4 5 -4 5 -4 5 -4
Everybody always gave you what you wanted
4 -4 5 -4 4 5 5 -4 5 -4 4
You never had to work it was always there
4 4 -4 5 -4 -4 -4 5 -4
You don’t know what it’s like, what it’s like

4 -4 5
To be hurt
4 -4 5
To feel lost
4 -4 5 -4 4 5 -4
To be left out in the dark
4 -4 5 4 -4 5
To be kicked when you’re down
4 4 -4 5 -4 4 5 -4
To feel like you’ve been pushed around
4 -4 5 -4 5 -4 5 -4 4
To be on the edge of breaking down
4 -4 5 -4 5 -4 5 -4
And no one’s there to save you
-3 4 -4 -4 -4 5 -4 4 5 -4
No you don’t know what it’s like (what it’s like)

4 -4 5
To be hurt
4 -4 5
To feel lost
4 -4 5 -4 4 5 -4
To be left out in the dark
4 -4 5 4 -4 5
To be kicked when you’re down
4 4 -4 5 -4 4 5 -4
To feel like you’ve been pushed around
4 -4 5 -4 5 -4 5 -4 4
To be on the edge of breaking down
4 -4 5 -4 5 -4 5 -4
And no one’s there to save you
-3 4 -4 -4 -4 5 -4
No you don’t know what it’s like
-5 5 4 -4 4
Welcome to my life
-5 5 4 -4 4
Welcome to my life
-5 5 4 -4 4
Welcome to my life

CABARET
W: Fred Ebb
M: John Kander
Louis Armstrong, Liza Minelli
Key: Eb

-3* 4 -5* 7 -7*
What good is sit-ting
-8 8 -7* 7 -7*
a-lone in your room?
8 -7* 7 -7* 8 7
Come hear the mu-sic play.
8 -9* 9 -9* 9 -9 -7* 7
Life is a Cab-a-ret, old chum,
7 -7* 7 -7* 5 7
Come to the Cab-a-ret.

-3* 4 -5* 7 -7*
Put down the knit-ting,
-8 8 -7* 7 -7*
The book and the broom.
8 -7* 7 -7* 8 7
Time for a hol-i-day.
8 -9* 9 -9* 9 -9 -7* 7
Life is a Cab-a-ret, old chum,
7 -7* 7 -7* 5 7
Come to the Cab-a-ret.

-5* -5 -5* -8 or(-8*)
Come taste the wine,
-5* -5 -5* -7*
Come hear the band.
7 -6* 7 -9*
Come blow the horn,
-9* -9* 9 -9 -9*
Start cel-e-brat-ing;
-9 -9* -10
Right this way,
-9* -9 -7* 7* -6
Your ta-ble’s wait-ing

-3* 4 -5* 7 -7*
No use per-mit-ting
-8 8 -7* 7 -7*
some proph-et of doom
-8 8 -7* 7 -7* 8 8*
To wipe ev-�ry smile a-way.
8 -7* 7 -7* 8 7
Come hear the mu-sic play.
8 -9* 9 -9* 9 -9 -9* -7*
Life is a Cab-a-ret, old chum,
8 -9* 9 -9*-9*-9*
Come to the Cab-a-ret!

BRIGHTLY!
Verse 1
6 6 6 5 6 6 -6 6 5 6
What good is sitt-ing a-lone in your room,
-6 6 5 6 -6 5
Come hear the mus-ic play,
-6 7 -6 7 -6 -7 6 5
Life is a cab-ar-et, old chum,
5 6 5 6 -6 7
Come to the cab-ar-et.

Verse 2
6 6 6 5 6 6 -6 6 5 6
Put down the knitt-ing, the book and the broom,
6 -6 6 5 6 -6 5
It’s time for a hol-i-day,
-6 7 -6 7 -6 -7 6 5
Life is a cab-ar-et, old chum,
5 6 5 6 -6 7
Come to the cab-ar-et.

Verse 3
4 4 4 -6 4 4 4 6
Come taste the wine, come hear the band,
5 5 5 7 7 7 -6 -7 7
Come blow your horn, start cel-eb-ra-ting,
-7 7 -8 7 -7 6 -5 -4
Right this way, your ta-ble’s wait-ing.

Verse 4
6 6 6 5 6 6 -6 6 5 6
What’s good’s per-mitt-ing some proph-et of doom,
6 -6 6 5 6 -6 5
To wipe ev’ry smile a-way,
-6 7 -6 7 -6 -7 6 5
Life is a cab-ar-et, old chum,
5 5 6 5 6 -6 7
So come to the cab-ar-et.

Verse 5 SPOKEN

I used to have a girl friend known as Elsie,
With whom I shared four sordid rooms in Chelsea,
She wasn’t what you’d call a blushing flower,
As a matter of fact, she rented by the hour!
The day she died the neighbors came to snicker,
Well, that’s what comes from too much pills and
liqour!
But when I saw her laid out, like a Queen,
She was the happiest corpse, I’d ever, seen!
I think of Elsie to this very day,
I remember how she’d turn to me and say:

6 6 6 5 6 6 6 -6 6 5 6
“What good is sitt-ing all a-lone in your room,
-6 6 5 6 -6 5
Come hear the mus-ic play,
-6 7 -6 7 -6 -7 6 5
Life is a cab-ar-et, old chum,
5 6 5 6 -6 7
Come to the cab-ar-et”.

Verse 6
6 6 6 5 6 6 -6 6 5 6
Start by ad-mitt-ing from cra-dle to tomb,
6 -6 6 5 6 -6 5
It is’nt that long a stay,
-6 7 -6 7 -6 -7 6 5
Life is a cab-ar-et, old chum,
-6 7 -6 7 -6 -7 -8 6
On-ly a cab-ar-et, old chum,
6 -6 7 -6 7 8 -8 7
And I love a cab-ar-ar-et!

ANGIE BABY
By Alan O�Day
Key:Bb

You live your life in the songs you hear
-5 -6 7 7 -5 -5 -6 7 7
on the rock and roll ra-di- o
-5 -5 7 7 -6 -5 -3* 4-3*
and when a young girl
-5 -6 -6 7 7
does-n’t have an-y friends
-5 -5 -6 7 7 7
that�s a real-ly nice place to go
-5 -5 7 7 -6 -5 -3* 4-3*3
folks hop-in� you’d turn out cool
7 7 -6 -5 -6 -6 7
but they had to take you out of school
-5 -6 -6 -5 -6 -5 -6 7 -3*
you’re a lit-tle touched you know
3 3 3 -5 -5 5 -5
Ang-ie ba-by
-3* 4 3 3
lov-ers ap-pear in your room each night
-6 -6 7 7 -5 -5 -6 7 7
and they whirl you �cross the floor
-5 -5 7 -6 -5 -3* 4 -3*
but they al-ways seem to fade a-way
-5 -5 -6 7 7 -5 -6 7 7
when your dad-dy taps on your door
-5 -5 7 7 -6 -5 -3* 4-3*3
An-gie girl are you al-right?
7 -6 7 -5 -6 -6 7
tell the ra-di- o good-night
-5 -6 -6 -6 -6 7 -3*
all a-lone once more An-gie ba-by
3 -5 -5 5 -5 5 -3* 4 3 3

Chorus
An- gie ba-by
7-6 -6 5 -5
you’re a spec-ial la-dy
3 -2 7 -6 5 -5
liv-ing in a world of make be-lieve
7 7 7 7 -7 -7 -7 -7* -7*
well may- be
5 5-3* 3

Stop-pin� at her house
-6 7 7 -6 7
is a neigh-bor boy
-5 -5 -6 7 7
with e-vil on his mind
-5 7 -6 -5 -3* 4-3*
�cause he’s been peek-in� in An-gie’s room
-5 -6 7 7 -6 -5 -6 7 7
at night through her win-dow blind
-5 7 -6 -6 -5 -3* 4-3*3
I see your folks have gone a-way
3 7 7 7 -5 -6 -6 7
would you dance with me to-day
-5 -6 -6 -5 -6 7 -3*
I’ll show you how to have a good time
-3* -5 5 -5 5 -5 5 -5 -5 5
An-gie ba- by
-3* 4 -3*3 3

when he walks in her room
-5 -5 -6 7 -6 7
he feels con-fused
-5 -6 7 7
like he walked in-to a play
-5 -5 7 -6 -5 -3* 4-3*
and the mus-ic’s so loud
-5 -5 -6 -6 7 7
it spins him a-round
-5 -6 7 7 7
till his soul has lost it’s way
-5 -5 7 -6 -5 -3* 4-3*3
and as she turns the vol-ume down
-5 7 -6 7 -6 -7* 7 7
he’s get-ting small-er with the sound
-6 7 -6 7 -6 7 -6 7
it seems to pull him off the ground
-6 7 -6 7 -6 7 -6 7
toward the ra-di-o he’s bound
7 -6 7 -6 7 -6 7
nev-er to be found
-6 7 7 -6 7
the head-lines read that a boy dis-a-peared
-5 -6 7 7 -5 -5 -6 7 7 7
and ev-�ry-one thinks he died
-5 7 7 -6 -5 -3* 4-3*
�cept a craz-y girl with a sec-ret lov-er
-5 -5 -6 -6 7 -5 -5 -6 7 7 -6
who keeps her sat-is- fied
-5 7 -6 -5 -3* 4-3*3
it’s so nice to be in-sane
7 -6 7 -5 -6 -6 7
no one asks you to ex-plain
-5 -6 -6 -6 -6 7 -3*
ra-di-o by your side
3 -5-5 -5 -5* -5 5
An-gie ba- by
-3* 4 -3*3 3

Chorus
An- gie ba-by
7-6 -6 5 -5
you’re a spec-ial la-dy
3 -2 7 -6 5 -5
liv-ing in a world of make be-lieve
7 7 7 7 -7 -7 -7 -7* -7*
well may- be
5 5-3* 3
well may- be
5 5-3* 3
well may- be
5 5-3* 3
well may- be
5 5-3* 3

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. He is now recognized as a master of the blues, particularly the Delta blues style.

As a traveling performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law. These songs, recorded at low fidelity in improvised studios, were the totality of his recorded output. Most were released as 10-inch,  rpm singles from 1937–1938, with a few released after his death. Other than these recordings, very little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life; much of his story has been reconstructed after his death by researchers. Johnson’s poorly documented life and death have given rise to much legend. The one most closely a*sociated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success.

His music had a small, but influential, following during his life and in the two decades after his death. In late 1938 John Hammond sought him out for a concert at Carnegie Hall, From Spirituals to Swing, only to discover that Johnson had died. Brunswick Records, which owned the original recordings, was bought by Columbia Records, where Hammond was employed. Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson, also not knowing of his death. Law, who by then worked for Columbia Records, a*sembled a collection of Johnson’s recordings titled King of the Delta Blues Singers that was released by Columbia in 1961. It is widely credited with finally bringing Johnson’s work to a wider audience. The album would become influential, especially on the nascent British blues movement; Eric Clapton has called Johnson “the most important blues singer that ever lived.” Musicians such as Bob Dylan, Keith Richards, and Robert Plant have cited both Johnson’s lyrics and musicianship as key influences on their own work. Many of Johnson’s songs have been covered over the years, becoming hits for other artists, and his guitar licks and lyrics have been borrowed by many later musicians.

Renewed interest in Johnson’s work and life led to a burst of scholarship starting in the 1960s. Much of what is known about him was reconstructed by researchers such as Gayle Dean Wardlow and Bruce Conforth, especially in their 2019 award-winning biography of Johnson: Up Jumped the Devil: The Real Life of Robert Johnson (Chicago Review Press). Two films, the 1991 documentary The Search for Robert Johnson by John Hammond Jr., and a 1997 documentary, Can’t You Hear the Wind Howl, the Life and Music of Robert Johnson, which included reconstructed scenes with Keb’ Mo’ as Johnson, were attempts to document his life, and demonstrated the difficulties arising from the scant historical record and conflicting oral accounts. Over the years, the significance of Johnson and his music has been recognized by numerous organizations and publications, including the Rock and Roll, Grammy, and Blues Halls of Fame; and the National Recording Preservation Board.

Life and career

Early life

Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911,[3] to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker, with whom she had ten children. Charles Dodds had been forced by a lynch mob to leave Hazlehurst following a dispute with white landowners. Julia left Hazlehurst with baby Robert, but in less than two years she brought the boy to Memphis to live with her husband, who had changed his name to Charles Spencer.[4] Robert spent the next 8–9 years growing up in Memphis and attending the Carnes Avenue Colored School where he received lessons in arithmetic, reading, language, music, geography, and physical exercise.[5] It was in Memphis that he acquired his love for, and knowledge of, the blues and popular music. His education and urban context placed him apart from most of his contemporary blues musicians.

Robert rejoined his mother around 1919–1920 after she married an illiterate sharecropper named Will “Dusty” Willis. They originally settled on a plantation in Lucas Township in Crittenden County, Arkansas, but soon moved across the Mississippi River to Commerce in the Mississippi Delta, near Tunica and Robinsonville. They lived on the Abbay & Leatherman Plantation.[6] Julia’s new husband was 24 years her junior. Robert was remembered by some residents as “Little Robert Dusty”,[7] but he was registered at Tunica’s Indian Creek School as Robert Spencer. In the 1920 census, he is listed as Robert Spencer, living in Lucas, Arkansas, with Will and Julia Willis. Robert was at school in 1924 and 1927.[8] The quality of his signature on his marriage certificate[9] suggests that he was relatively well educated for a boy of his background. A school friend, Willie Coffee, who was interviewed and filmed in later life, recalled that as a youth Robert was already noted for playing the harmonica and jaw harp.[10] Coffee recalled that Robert was absent for long periods, which suggests that he may have been living and studying in Memphis.[11]

Once Julia informed Robert about his biological father, Robert adopted the surname Johnson, using it on the certificate of his marriage to sixteen-year-old Virginia Travis in February 1929. She died in childbirth shortly after.[12] Surviving relatives of Virginia told the blues researcher Robert “Mack” McCormick that this was a divine punishment for Robert’s decision to sing secular songs, known as “selling your soul to the Devil”. McCormick believed that Johnson himself accepted the phrase as a description of his resolve to abandon the settled life of a husband and farmer to become a full-time blues musician.[13]

Around this time, the blues musician Son House moved to Robinsonville, where his musical partner Willie Brown lived. Late in life, House remembered Johnson as a “little boy” who was a competent harmonica player but an embarrassingly bad guitarist. Soon after, Johnson left Robinsonville for the area around Martinsville, close to his birthplace, possibly searching for his natural father. Here he perfected the guitar style of House and learned other styles from Isaiah “Ike” Zimmerman.[14] Zimmerman was rumored to have learned supernaturally to play guitar by visiting graveyards at midnight.[15] When Johnson next appeared in Robinsonville, he seemed to have miraculously acquired a guitar technique.[16] House was interviewed at a time when the legend of Johnson’s pact with the devil was well known among blues researchers. He was asked whether he attributed Johnson’s technique to this pact, and his equivocal answers have been taken as confirmation.[17]

While living in Martinsville, Johnson fathered a child with Vergie Mae Smith. He married Caletta Craft in May 1931. In 1932, the couple settled for a while in Clarksdale, Mississippi, in the Delta, but Johnson soon left for a career as a “walking” or itinerant musician, and Caletta died in early 1933.

Itinerant musician

From 1932 until his death in 1938, Johnson moved frequently between the cities of Memphis and Helena, and the smaller towns of the Mississippi Delta and neighboring regions of Mississippi and Arkansas.[19][20] On occasion, he traveled much further. The blues musician Johnny Shines accompanied him to Chicago, Texas, New York, Canada, Kentucky, and Indiana.[21] Henry Townsend shared a musical engagement with him in St. Louis.[22] In many places he stayed with members of his large extended family or with female friends.[23] He did not marry again but formed some long-term relationships with women to whom he would return periodically. In other places he stayed with whatever woman he was able to seduce at his performance.[24][25] In each location, Johnson’s hosts were largely ignorant of his life elsewhere. He used different names in different places, employing at least eight distinct surnames.[26]

Biographers have looked for consistency from musicians who knew Johnson in different contexts: Shines, who traveled extensively with him; Robert Lockwood, Jr., who knew him as his mother’s partner; David “Honeyboy” Edwards, whose cousin Willie Mae Powell had a relationship with Johnson.[27] From a mass of partial, conflicting, and inconsistent eyewitness accounts,[28] biographers have attempted to summarize Johnson’s character. “He was well mannered, he was soft spoken, he was indecipherable”.[29] “As for his character, everyone seems to agree that, while he was pleasant and outgoing in public, in private he was reserved and liked to go his own way”.[30] “Musicians who knew Johnson testified that he was a nice guy and fairly average—except, of course, for his musical talent, his weakness for whiskey and women, and his commitment to the road.”[31]

When Johnson arrived in a new town, he would play for tips on street corners or in front of the local barbershop or a restaurant. Musical a*sociates have said that in live performances Johnson often did not focus on his dark and complex original compositions, but instead pleased audiences by performing more well-known pop standards of the day[32] – and not necessarily blues. With an ability to pick up tunes at first hearing, he had no trouble giving his audiences what they wanted, and certain of his contemporaries later remarked on his interest in jazz and country music. He also had an uncanny ability to establish a rapport with his audience; in every town in which he stopped, he would establish ties to the local community that would serve him well when he passed through again a month or a year later.

Shines was 20 when he met Johnson in 1936. He estimated Johnson was maybe a year older than himself (Johnson was actually four years older). Shines is quoted describing Johnson in Samuel Charters’s Robert Johnson:

Robert was a very friendly person, even though he was sulky at times, you know. And I hung around Robert for quite a while. One evening he disappeared. He was kind of a peculiar fellow. Robert’d be standing up playing some place, playing like nobody’s business. At about that time it was a hustle with him as well as a pleasure. And money’d be coming from all directions. But Robert’d just pick up and walk off and leave you standing there playing. And you wouldn’t see Robert no more maybe in two or three weeks. … So Robert and I, we began journeying off. I was just, matter of fact, tagging along.

During this time Johnson established what would be a relatively long-term relationship with Estella Coleman, a woman about 15 years his senior and the mother of the blues musician Robert Lockwood, Jr. Johnson reportedly cultivated a woman to look after him in each town he played in. He reputedly asked homely young women living in the country with their families whether he could go home with them, and in most cases, he was accepted, until a boyfriend arrived or Johnson was ready to move on.

In 1941, Alan Lomax learned from Muddy Waters that Johnson had performed in the area around Clarksdale, Mississippi.[34] By 1959, the historian Samuel Charters could add only that Will Shade, of the Memphis Jug Band, remembered Johnson had once briefly played with him in West Memphis, Arkansas.[35] In the last year of his life, Johnson is believed to have traveled to St. Louis, Chicago, Detroit, and New York City.[36] In 1938, Columbia Records producer John H. Hammond, who owned some of Johnson’s records, directed record producer Don Law to seek out Johnson to book him for the first “From Spirituals to Swing” concert at Carnegie Hall in New York. On learning of Johnson’s death, Hammond replaced him with Big Bill Broonzy, but he played two of Johnson’s records from the stage.

Recording sessions

In Jackson, Mississippi, around 1936, Johnson sought out H. C. Speir, who ran a general store and also acted as a talent scout. Speir put Johnson in touch with Ernie Oertle, who, as a salesman for the ARC group of labels, introduced Johnson to Don Law to record his first sessions in San Antonio, Texas. The recording session was held on November 23–25, 1936, in room 414 of the Gunter Hotel in San Antonio.[37] In the ensuing three-day session, Johnson played 16 selections and recorded alternate takes for most of them. Among the songs Johnson recorded in San Antonio were “I Believe I’ll Dust My Broom”, “Sweet Home Chicago”, and “Cross Road Blues”, which later became blues standards. The first to be released was “Terraplane Blues”, backed with “Last Fair Deal Gone Down”, which sold as many as 10,000 copies.[38]

Johnson traveled to Dallas, Texas, for another recording session with Don Law in a makeshift studio at the Vitagraph (Warner Bros.) Building,[39] on June 19–20, 1937.[40] Johnson recorded almost half of the 29 songs that make up his entire discography in Dallas and eleven records from this session were released within the following year. Most of Johnson’s “somber and introspective” songs and performances come from his second recording session.[41] Johnson did two takes of most of these songs, and recordings of those takes survived. Because of this, there is more opportunity to compare different performances of a single song by Johnson than for any other blues performer of his era.[42] In contrast to most Delta players, Johnson had absorbed the idea of fitting a composed song into the three minutes of a 78-rpm side.[43]

Death

Johnson died on August 16, 1938, at the age of 27, near Greenwood, Mississippi, of unknown causes. His death was not reported publicly; he merely disappeared from the historical record and it was not until almost 30 years later, when Gayle Dean Wardlow, a Mississippi-based musicologist researching Johnson’s life, found his death certificate, which listed only the date and location, with no official cause of death. No formal autopsy was done; instead, a pro forma examination was done to file the death certificate, and no immediate cause of death was determined. It is likely he had congenital syphilis and it was suspected later by medical professionals that this may have been a contributing factor in his death. However, 30 years of local oral tradition had, like the rest of his life story, built a legend which has filled in gaps in the scant historical record.[44]

Several differing accounts have described the events preceding his death. Johnson had been playing for a few weeks at a country dance in a town about 15 miles (24 km) from Greenwood. According to one theory, Johnson was murdered by the jealous husband of a woman with whom he had flirted. In an account by the blues musician Sonny Boy Williamson, Johnson had been flirting with a married woman at a dance, and she gave him a bottle of whiskey poisoned by her husband. When Johnson took the bottle, Williamson knocked it out of his hand, admonishing him to never drink from a bottle that he had not personally seen opened. Johnson replied, “Don’t ever knock a bottle out of my hand.” Soon after, he was offered another (poisoned) bottle and accepted it. Johnson is reported to have begun feeling ill the evening after and had to be helped back to his room in the early morning hours. Over the next three days his condition steadily worsened. Witnesses reported that he died in a convulsive state of severe pain. The musicologist Robert “Mack” McCormick claimed to have tracked down the man who murdered Johnson and to have obtained a confession from him in a personal interview, but he declined to reveal the man’s name.[13]

While strychnine has been suggested as the poison that killed Johnson, at least one scholar has disputed the notion. Tom Graves, in his book Crossroads: The Life and Afterlife of Blues Legend Robert Johnson, relies on expert testimony from toxicologists to argue that strychnine has such a distinctive odor and taste that it cannot be disguised, even in strong liquor. Graves also claims that a significant amount of strychnine would have to be consumed in one sitting to be fatal, and that death from the poison would occur within hours, not days.[45]

In their 2019 book Up Jumped the Devil, Bruce Conforth and Gayle Dean Wardlow suggest that the poison was naphthalene, from dissolved mothballs. This was “a common way of poisoning people in the rural South”, but was rarely fatal. However, Johnson had been diagnosed with an ulcer and with esophageal varices, and the poison was sufficient to cause them to hemorrhage. He died after two days of severe abdominal pain, vomiting, and bleeding from the mouth.[46]

The LeFlore County registrar, Cornelia Jordan, years later and after conducting an investigation into Johnson’s death for the state director of vital statistics, R. N. Whitfield, wrote a clarifying note on the back of Johnson’s death certificate:

I talked with the white man on whose place this negro died and I also talked with a negro woman on the place. The plantation owner said the negro man, seemingly about 26 years old, came from Tunica two or three weeks before he died to play banjo at a negro dance given there on the plantation. He stayed in the house with some of the negroes saying he wanted to pick cotton. The white man did not have a doctor for this negro as he had not worked for him. He was buried in a homemade coffin furnished by the county. The plantation owner said it was his opinion that the man died of syphilis.

In 2006, a medical practitioner, David Connell, suggested, on the basis of photographs showing Johnson’s “unnaturally long fingers” and “one bad eye”, that Johnson may have had Marfan syndrome, which could have both affected his guitar playing and contributed to his death due to aortic dissection.

Gravesite

The exact location of Johnson’s grave is officially unknown; three different markers have been erected at possible sites in church cemeteries outside Greenwood.

• Research in the 1980s and 1990s strongly suggests Johnson was buried in the graveyard of the Mount Zion Missionary Baptist Church near Morgan City, Mississippi, not far from Greenwood, in an unmarked grave. A one-ton cenotaph in the shape of an obelisk, listing all of Johnson’s song titles, with a central inscription by Peter Guralnick, was placed at this location in 1990, paid for by Columbia Records and numerous smaller contributions made through the Mt. Zion Memorial Fund.
• In 1990, a small marker with the epitaph “Resting in the Blues” was placed in the cemetery of Payne Chapel, near Quito, Mississippi, by an Atlanta rock group named the Tombstones, after they saw a photograph in Living Blues magazine of an unmarked spot alleged by one of Johnson’s ex-girlfriends to be Johnson’s burial site.
• More recent research by Stephen LaVere (including statements from Rosie Eskridge, the wife of the supposed gravedigger, in 2000) indicates that the actual grave site is under a big pecan tree in the cemetery of the Little Zion Church, north of Greenwood along Money Road. Through LaVere, Sony Music placed a marker at this site, which bears LaVere’s name as well as Johnson’s. Researchers Bruce Conforth and Gayle Dean Wardlow also concluded this was Johnson’s resting place in their 2019 biography.

John Hammond, Jr., in the documentary The Search for Robert Johnson (1991), suggests that owing to poverty and lack of transportation Johnson is most likely to have been buried in a pauper’s grave (or “potter’s field”) very near where he died.

Devil legend

According to legend, as a young man living on a plantation in rural Mississippi, Johnson had a tremendous desire to become a great blues musician. One of the legends often told says that Johnson was instructed to take his guitar to a crossroad near Dockery Plantation at midnight. (There are claims for at least a dozen other sites as the location of the crossroads.)[citation needed] There he was met by a large black man (the Devil) who took the guitar and tuned it. The Devil played a few songs and then returned the guitar to Johnson, giving him mastery of the instrument. This story of a deal with the Devil at the crossroads mirrors the legend of Faust. In exchange for his soul, Johnson was able to create the blues for which he became famous.

Various accounts

This legend was developed over time and has been chronicled by Gayle Dean Wardlow,[51] Edward Komara[52] and Elijah Wald, who sees the legend as largely dating from Johnson’s rediscovery by white fans more than two decades after his death.[53] Son House once told the story to Pete Welding as an explanation of Johnson’s astonishingly rapid mastery of the guitar. Welding reported it as a serious belief in a widely read article in Down Beat in 1966.[citation needed] Other interviewers failed to elicit any confirmation from House and there were fully two years between House’s observation of Johnson as first a novice and then a master.

Further details were absorbed from the imaginative retellings by Greil Marcus[54] and Robert Palmer.[55] Most significantly, the detail was added that Johnson received his gift from a large black man at a crossroads. There is dispute as to how and when the crossroads detail was attached to the Robert Johnson story. All the published evidence, including a full chapter on the subject in the biography Crossroads, by Tom Graves, suggests an origin in the story of the blues musician Tommy Johnson.[56] This story was collected from his musical a*sociate Ishman Bracey and his elder brother Ledell in the 1960s.[17] One version of Ledell Johnson’s account was published in David Evans’s 1971 biography of Tommy Johnson,[57] and was repeated in print in 1982 alongside House’s story in the widely read Searching for Robert Johnson, by Peter Guralnick.[58]

In another version, Ledell placed the meeting not at a crossroads but in a graveyard. This resembles the story told to Steve LaVere that Ike Zimmerman of Hazlehurst, Mississippi, learned to play the guitar at midnight while sitting on tombstones. Zimmerman is believed to have influenced the playing of the young Johnson.

Recent research by the blues scholar Bruce Conforth, in Living Blues magazine, makes the story clearer. Johnson and Ike Zimmerman did practice in a graveyard at night, because it was quiet and no one would disturb them, but it was not the Hazlehurst cemetery as had been believed: Zimmerman was not from Hazlehurst but nearby Beauregard, and he did not practice in one graveyard, but in several in the area.[60] Johnson spent about a year living with and learning from Zimmerman, who ultimately accompanied Johnson back to the Delta to look after him.

While Dockery, Hazlehurst and Beauregard have each been claimed as the locations of the mythical crossroads, there are also tourist attractions claiming to be “The Crossroads” in both Clarksdale and Memphis.[61] Residents of Rosedale, Mississippi, claim Johnson sold his soul to the devil at the intersection of Highways 1 and 8 in their town, while the 1986 movie Crossroads was filmed in Beulah, Mississippi. The blues historian Steve Cheseborough wrote that it may be impossible to discover the exact location of the mythical crossroads, because “Robert Johnson was a rambling guy”.

Interpretations

Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the trickster god of African origin, Legba, himself a*sociated with crossroads. Folklorist Harry M. Hyatt wrote that, during his research in the South from 1935 to 1939, when African-Americans born in the 19th or early 20th century said they or anyone else had “sold their soul to the devil at the crossroads”, they had a different meaning in mind. Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a “deal” (not selling the soul in the same sense as in the Faustian tradition cited by Graves) with the so-called devil at the crossroads.

The Blues and the Blues singer has really special powers over women, especially. It is said that the Blues singer could possess women and have any woman they wanted. And so when Robert Johnson came back, having left his community as an apparently mediocre musician, with a clear genius in his guitar style and lyrics, people said he must have sold his soul to the devil. And that fits in with this old African a*sociation with the crossroads where you find wisdom: you go down to the crossroads to learn, and in his case to learn in a Faustian pact, with the devil. You sell your soul to become the greatest musician in history.

This view that the devil in Johnson’s songs is derived from an African deity was disputed by the blues scholar David Evans in an essay published in 1999, “Demythologizing the Blues”:

There are … several serious problems with this crossroads myth. The devil imagery found in the blues is thoroughly familiar from western folklore, and nowhere do blues singers ever mention Legba or any other African deity in their songs or other lore. The actual African music connected with cults of Legba and similar trickster deities sounds nothing like the blues, but rather features polyrhythmic percussion and choral call-and-response singing.

The musicologist Alan Lomax dismissed the myth, stating, “In fact, every blues fiddler, banjo picker, harp blower, piano strummer and guitar framer was, in the opinion of both himself and his peers, a child of the Devil, a consequence of the black view of the European dance embrace as sinful in the extreme”.

Musical style

Johnson is considered a master of the blues, particularly of the Delta blues style. Keith Richards, of the Rolling Stones, said in 1990, “You want to know how good the blues can get? Well, this is it”.[67] But according to Elijah Wald, in his book Escaping the Delta, Johnson in his own time was most respected for his ability to play in a wide range of styles, from raw country slide guitar to jazz and pop licks, and for his ability to pick up guitar parts almost instantly upon hearing a song.[68] His first recorded song, “Kind Hearted Woman Blues”, in contrast to the prevailing Delta style of the time, more resembled the style of Chicago or St. Louis, with “a full-fledged, abundantly varied musical arrangement”.[69] The song was part of a cycle of spin-offs and response songs that began with Leroy Carr’s “Mean Mistreater Mama” (1934). According to Wald, it was “the most musically complex in the cycle”[70] and stood apart from most rural blues as a thoroughly composed lyric, rather than an arbitrary collection of more or less unrelated verses.[71] Unusual for a Delta player of the time, a recording exhibits what Johnson could do entirely outside of a blues style. “They’re Red Hot”, from his first recording session, shows that he was also comfortable with an “uptown” swing or ragtime sound similar to that of the Harlem Hamfats, but as Wald remarked, “no record company was heading to Mississippi in search of a down-home Ink Spots … [H]e could undoubtedly have come up with a lot more songs in this style if the producers had wanted them.”

Voice

An important aspect of Johnson’s singing was his use of microtonality. These subtle inflections of pitch help explain why his singing conveys such powerful emotion. Eric Clapton described Johnson’s music as “the most powerful cry that I think you can find in the human voice”. In two takes of “Me and the Devil Blues” he shows a high degree of precision in the complex vocal delivery of the last verse: “The range of tone he can pack into a few lines is astonishing.”[74] The song’s “hip humor and sophistication” is often overlooked. “[G]enerations of blues writers in search of wild Delta primitivism”, wrote Wald, have been inclined to overlook or undervalue aspects that show Johnson as a polished professional performer.[75]

Johnson is also known for using the guitar as “the other vocalist in the song”, a technique later perfected by B.B. King and his personified guitar named Lucille: “In Africa and in Afro-American tradition, there is the tradition of the talking instrument, beginning with the drums … the one-strand and then the six-strings with bottleneck-style performance; it becomes a competing voice … or a complementary voice … in the performance.”

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”,[77] said Richards, who later stated that “Robert Johnson was like an orchestra all by himself”.[73] “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 a*sociated 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.[78] 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.[79]

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.[80] 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.[81]

“From Four Until Late” shows Johnson’s mastery of a blues style not usually a*sociated 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.[82] 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”.[83] 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.[84] 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.”[85] 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.[86] 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”.[86] 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”.[86] Music educator James Perone also saw that the event “underscored Robert Johnson’s specific importance as a recording artist”.[84] In 1939, Columbia issued a final single, pairing “Preachin’ Blues” with “Love in Vain”.[87]

In 1942, commentary on Johnson’s “Terraplane Blues” and “Last Fair Deal Gone Down” was included in The Jazz Record Book, edited by Charles Edward Smith.[88] The authors described Johnson’s vocals as “imaginative” and “thrilling” and his guitar playing as “exciting as almost anything in the folk blues field”.[88] 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.[89] 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.”[90]

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.[91] Columbia Records’ first album of Johnson’s recordings, King of the Delta Blues Singers, was issued two years later.

Musicianship

Johnson is mentioned as one of the Delta artists who was a strong influence on blues singers in post-war styles.[92] However, it is Johnson’s guitar technique that is often identified as his greatest contribution.[93] 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”.[94] Sometimes, it has been attributed to Johnnie Temple, because he was the first to record a song in 1935 using it.[95] 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.”[95] 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.”[96] Conforth and Wardlow call it “one of the most important riffs in blues music”[95] and music historian Peter Guralnick believes Johnson “popularized a mode [walking bass style on guitar] which would rapidly become the accepted pattern”.[96] Although author Elijah Wald recognizes Johnson’s contribution in popularizing the innovation, he discounts its importance[97] 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.[99] Fellow Mississippi native Elmore James is the best known and is responsible for popularizing Johnson’s “Dust My Broom”.[100] In 1951, he recast the song as a Chicago-style blues, with electric slide guitar and a backing band.[101] 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 a*sociated with Chicago blues was used extensively by Jimmy Reed beginning with his first record “High and Lonesome” in 1953.[104] Sometimes called “the trademark Reed shuffle” (although also a*sociated his second guitarist, Eddie Taylor),[105] 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.[107][108] 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.”[94] Those most often identified are “Sweet Home Chicago” and “Dust My Broom”, but also include “Crossroads” and “Stop Breaking Down”.[96][109][110][111][112][113] As with many blues songs, there are melodic and lyrical precedents.[111] 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”.[114]

In the first decades after Johnsons’ death, these songs, with some variations in the titles and lyrics, were recorded by Tommy McClennan (1939),[115] Walter Davis (1941),[115] Sonny Boy Williamson I (1945),[116] Arthur Crudup (1949),[117] Elmore James (1951–1959), Baby Boy Warren (1954),[118] Roosevelt Sykes (1955),[119] Junior Parker (1958), and Forest City Joe (1959).[120] 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.[121]

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.[122] Over the years, these songs have been individually inducted into the Blues Hall’s “Classic of Blues Recording – Single or Album Track” category.

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”.[100] 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.[124] Although music historian Larry Birnbaum also sees the connection, he wrote that Johnson’s “contributions to the origins of rock ‘n’ roll are negligible”.[125] 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”.[126] 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.”[73]

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”.^[130] 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

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.[136] 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[when?] listed him as being 14 years old.[citation needed]

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.[137]

Johnson’s records were admired by record collectors from the time of their first release, and efforts were made to discover his biography, 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 Lockwood. In 1961, the sleeve notes to the album King of the Delta Blues Singers included reminiscences of 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 his family background in 1972, but died in 2015 without ever 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.[58] Later research has sought to confirm this account or to add minor details. A revised summary acknowledging major informants 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 and Music of Robert Johnson,[138] combines documentary segments with recreated scenes featuring Keb’ Mo’ as Johnson with narration by Danny Glover. Shines, Edwards and Robert Lockwood contribute interviews. These published biographical sketches achieve coherent narratives, partly by ignoring reminiscences and hearsay accounts which contradict or conflict with other 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.[139] Both were subsequently featured prominently in the printed materials a*sociated 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.[140][141] 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.[140] 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.[142] Its authenticity was claimed by the forensic artist Lois Gibson and by Johnson’s estate in 2013,[143] 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 David “Honeyboy” Edwards and Robert 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 while it is now known that Johnson did not meet Shines until early 1937.[144] In December 2015, a fourth photograph was published, purportedly showing Johnson, his wife Calletta Craft, Estella Coleman, and Robert Lockwood Jr.[145] 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 glaring errors in this photo: 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.[146]

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,[147] 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.[148] 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.[150] Johnson’s estate holds the copyrights to his songs.[151] 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 takes. 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[152] 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.”[152] Reviewers commented that the sound quality of the 2011 release was a substantial 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)