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"Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters , adapted the song and recorded their own versions.
Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues musician and songwriter. His singing, guitar playing and songwriting on his landmark 1936 and 1937 recordings have influenced later generations of musicians.
"Me and the Devil Blues" is a blues song by Robert Johnson. It tells the story of the singer's waking up one morning to the devil knocking on the door, telling him that "it's time to go". [1] The lyrics concluded with the lines "You may bury my body down by the highway side" / "So my old evil spirit can catch a Greyhound bus and ride."
"Cross Road Blues" (commonly known as "Crossroads") is a song written by the American blues artist Robert Johnson. He performed it solo with his vocal and acoustic slide guitar in the Delta blues style. The song has become part of the Robert Johnson mythology as referring to the place where he sold his soul to the Devil in
Included on this edition, is a previously unissued take of "Traveling Riverside Blues" (DAL.400-1) which was previously thought to be one of 19 Robert Johnson Recordings that were lost or destroyed. It was found in the archives of Alan Lomax, which had been purchased by the American Folklife Center of the Library of Congress. [26]
Prior to Johnson's recording, the phrase "hellhound on my trail" had been used in various blues songs. [1] Sylvester Weaver's "Devil Blues", recorded in 1927 contains: "Hellhounds start to chase me man, I was a running fool, My ankles caught on fire, couldn't keep my puppies cool" [3] and "Funny Paper" Smith in his 1931 "Howling Wolf Blues No. 3" sang: "I take time when I'm prowlin', an' wipe ...
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"Come On in My Kitchen" is a blues song by Robert Johnson. Music writer Elijah Wald has described it as "a hypnotic lament" and "his first unquestionable masterpiece". [1]A sometime traveling companion and fellow musician, Johnny Shines, recalled that Johnson's performance of the song could be overpowering: