Post by RINGO on Sept 25, 2019 23:03:10 GMT
Robert Leroy Johnson (8 May 1911 - 16 August 1938)
Vocal Range: A2 - D5
{Vocal Summary}The story of Robert Johnson has haunted rock music for generations -- a man who supposedly sold his soul to the devil in order to gain guitar skills that no one else could equal. Whether he engaged in such a bargain or not is unclear, but Johnson's legend has arguably defined the art of rock guitar-playing since the 1960s, particularly with musicians such as Eric Clapton. His virtuosity on the instrument certainly and understandably overshadows his abilities as a vocalist, but even among blues singers, Johnson's sharp-yet-light tenor identified him as a voice unto himself, and so it is for more than pure historical significance that he warrants a profile here.
Written by RINGO.[/size[
Written by RINGO.[/size[
Significant High Notes:
D5 ("Kind Hearted Woman Blues" take 1, "Terraplane Blues")
C♯5 ("Honeymoon Blues", "Milkcow's Calf Blues", "Stop Breakin' Down Blues")
C5 ("Stones in My Passway")
B4 ("Cross Road Blues" take 2, "Dead Shrimp Blues", "Kind Hearted Woman Blues" take 1, "Phonograph Blues" take 1, "Walkin' Blues"
B♭4 ("Honeymoon Blues", "I Believe I'll Dust My Broom", "Little Queen of Spades", "Me and the Devil Blues" take 1, "Milkcow's Calf Blues" take 2, "Terraplane Blues", "Walkin' Blues")
A4 ("Come On in My Kitchen" take 2, "Cross Road Blues", "Dead Shrimp Blues", "I'm a Steady Rollin' Man", "Last Fair Deal Gone Down", "Little Queen of Spades" take 2, "Over Judgement Day", "Phonograph Blues", "Ramblin' on My Mind" take 1, "Sweet Home Chicago", "When You Got a Good Friend" take 1)
G♯4 ("Hellhound on My Trail", "Honeymoon Blues", "Kind Hearted Woman Blues" take 1, "Love in Vain" take 1, "Me and the Devil Blues", "Milkcow's Calf Blues", "Stop Breakin' Down Blues", "Traveling Riverside Blues")
G4 ("I Believe I'll Dust My Broom", "Preachin' Blues (Up Jumped the Devil)", "Stones in My Passway", "They're Red Hot")
F♯4 ("Cross Road Blues", "Dead Shrimp Blues", "Kind Hearted Woman Blues" take 1, "Phonograph Blues" take 2, "Ramblin' on My Mind" take 1, "Sweet Home Chicago", "When You Got a Good Friend" take 1)
F4 ("Come On in My Kitchen", "Little Queen of Spades", "Love in Vain", "Me and the Devil Blues", "Phonograph Blues" take 1, "Ramblin' on My Mind" take 2, "Terraplane Blues", "They're Red Hot", "Walkin' Blues", "When You Got a Good Friend" take 2)
E4 ("32-20 Blues", "From Four Until Late", "Hellhound on My Trail", "I'm a Steady Rollin' Man", "Last Fair Deal Gone Down", "Over Judgement Day", "Stones in My Passway", "Traveling Riverside Blues")
Significant Low Notes:
F3 ("Come On in My Kitchen" take 2, "Milkcow's Calf Blues", "Ramblin' on My Mind" take 2, "When You Got a Good Friend" take 2)
E3 ("Hellhound on My Trail", "I Believe I'll Dust My Broom", "Last Fair Deal Gone Down", "Stones in My Passway")
E♭3 ("Drunken Hearted Man", "Love in Vain", "Malted Milk", "Phonograph Blues")
D3 ("32-20 Blues", "Terraplane Blues", "Traveling Riverside Blues")
C♯3 ("I'm a Steady Rollin' Man", "Little Queen of Spades")
C3 ("From Four Until Late", "They're Red Hot")
B2 ("Dead Shrimp Blues", "Kind Hearted Woman Blues" take 1, "Phonograph Blues" take 1)
B♭2 ("Honeymoon Blues', "Kind Hearted Woman Blues" take 2, "Little Queen of Spades", "Me and the Devil Blues", "Stop Breakin' Down Blues" take 2, "Traveling Riverside Blues")
A2 ("32-20 Blues", "Stones in My Passway")
{Questionable Notes}B4 ("Cross Road Blues" take 1 [5])
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[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
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[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
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Blue marks falsetto or whistle notes.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.
