American blues composer, guitarist, and singer whose eerie falsetto singing voice and masterful, rhythmic slide guitar influenced both his contemporaries and many later blues and rock musicians.

Born into the large family of a sharecropper, Johnson was reared in Memphis, Tenn., and near Robinsonville, Miss. He learned to play the harmonica and then the guitar, probably influenced both by recordings and by personal contact with Eddie “Son” House, Charley Patton (Patton, Charley), Willie Brown, and other well-known Mississippi Delta bluesmen. He traveled widely throughout Mississippi, Arkansas, Texas, and Tennessee and as far north as Chicago and New York, playing at house parties, juke joints, and lumber camps and on the street. In 1936–37 he made a series of recordings in San Antonio and Dallas, Tex. His repertoire included several blues songs by House and others, but Johnson's original numbers, such as “Me and the Devil Blues,” “Hellhound on My Trail,” and “Love in Vain” are his most compelling pieces. Despite the limited number of his recordings, Johnson had a major impact on other musicians, including Muddy Waters (Waters, Muddy) and Elmore James.

Johnson died of poisoning after drinking strychnine-laced whisky in a juke joint.

British composer and lutenist, who wrote music for a number of plays, including several by William Shakespeare (Shakespeare, William), and was considered one of England's leading lutenists.

Johnson was believed to be the son of John Johnson, a composer who was also a lutenist to Elizabeth I. From 1596 to 1603 he was indentured to Sir George Carey, 2nd Lord Hunsdon, and during this time he began studying music. He later became a court musician, serving as lutenist to James I (1604–25) and later Charles I (1625–33), and in 1628 he was named to the post of composer for the “lute and voices.” His successor was appointed on November 26, 1633, leading modern scholars to speculate that Johnson died shortly before that date.

About 1607 Johnson began working with the King's Men (previously known as Chamberlain's Men (Lord Chamberlain's Men)), an opportunity that likely came about through his relationship with Carey, who had earlier served as the theatrical company's patron. The troupe was closely associated with Shakespeare, and Johnson wrote ayres (solo songs featuring lute accompaniment) for several of his plays, including Cymbeline (1609–10) and The Winter's Tale (Winter's Tale, The) (1610–11). "Full fathom five" and "Where the bee sucks," perhaps his best-known songs, are from The Tempest (Tempest, The) (c. 1611). He also provided music for John Webster (Webster, John)'s The Duchess of Malfi (c. 1612/13) and a number of plays by Francis Beaumont (Beaumont, Francis) and John Fletcher (Fletcher, John). Johnson's ayres, which were typically declamatory in style, drew praise for their ability to establish character and mood. His compositions for the lute, of which about 20 are extant, were written for the 9- or 10-course Renaissance lute and utilized the instrument's full range. Johnson also collaborated, often with Ben Jonson (Jonson, Ben), on music for court masques, and his other works include dances, catches, and anthems.