Johnson comes from an era when the distinctions in music styles that today so divides audiences did not seem at all important. In the 1950s on the radio and in the clubs on Chicago's West Side, where Johnson grew up, one would ot only hear blues, but also doowop, jazz, rock 'n roll and rhythm and blues; a total melange. Johnson therefore grew up in a world of music where he and his friends and family would sing blues one day, doowops the next, and gospel on Sundays. And with this rich and varied background of influences Johnson propelled himself into the top ranks of compelling soul stylists during the 1960s.
Johnson, who also blows a fierce blues harp and plays rousing guitar, is best known for his natural instrument--his voice that is strong, sharp, and piecing and can really etch a song into one's consciousness. He projects a deep, contradictory, bittersweet feeling, and seems as though he is crying even when he sings a joyful rouser. With uncanny use of his distinct timbre Johnson sings vocals that are loaded with highly nuanced and subtle changes in pitch and volume that separate soul music from pop. And does he ever know how to punctuate, with perfectly placed falsetto whoops, wails and shouts that add maximum soul intensity to what he sings.
Johnson was born Syl Thompson July 1, 1936 in Holly Springs, Mississippi, and came to Chicago around the age of eight. His father played blues harp and asserts Johnson played guitar better than Lonnie Johnson. The Thompson family eventually moved to Chicago. They settled next door to blues great Magic Sam, and Syl and his brothers, Jimmy and Mac, spent a lot of time jamming with him. In his first professional gig, Syl lplayed behind harpist Shakey Jake, and then played succesively in bands led by Junior Wells, Billy Boy Arnold, and Eddie Boyd. He also played on recording sessions backing John Lee Hooker, Jimmy Reed and Elmore James.
In 1960 Johnson signed with King Records, and came out with a half dozen proto soul singles, some with blues guitarist Freddy King in support, but got no hits. This observer first experienced Johnson's talent back in 1966, when hot off a local hit, "Straight Love, No Chaser," he appeared at the Whiskey A-Go-Go in the Rush Street nightclub area. With a voice that penetrated to the bone he stole the show from the long-forgotten headliner, Tommy Hunt.
In 1967 Johnson was ensconced in a woodshedding studio on the South Michigan Avenue "Record Row" working on songs with a band called the Pieces of Peace recording for the Twilight label. Over the next several years he created a highly esteemed body of hard soul hits, notably "Come On Sock It To Me" (1967) which made Johnson a national star.
Around this time producer Willie Mitchell of Hi Records in Memphis caught Johnson's act at The Club on the South Side. Johnson's voice stayed with him. Mitchell recalled it as "strange, a sound he'd never heard before" and his eyes lighted up as he envisioned teaming Johnson up with his great rhythm section of the Hodges brothers and Howard Grimes. The producer therefore welcomed Johnson with open arms in 1968 when he asked to make a record. "Dresses Too Short" at the Hi studio using the Hi musicians. The song proved to be one of JOhnson's more memorable Twinight hits and its pumping rhythm married to Johnson's sharply etched vocals set the standard for future collaborations.
In 1971 when Johnson left Twinight, Mitchell quickly grabbed him up. For the next six years Johnson had a splendid recording career at Hi records, coming out with three superb albums and a passel of great singles, notably "I Want To Take You Home (To See Mama)" (1974), "Take Me To The River" (1975) and "I Only Have Love" (1975).
In 1980 Johnson returned to his West Side roots with a foray into blues with a single, "Brings Out The Blues In Me," and an album of the same name. The song was heavily derived froom the Rolling Stones' hit "Miss You." Johnson on his next project created a new kind of synthetic music that was both rootsy and contemporary with Ms. Fine Brown Frame, from 1982 The album incorporated seemingly two incompatible styles, blues and disco, and amazingly made it work. The title cut was Johnson's last hit record.
By the mid 1980s Johnson was basically semi-retired from the music business. He opened a string of fast-food fish restaurants and made occasional gigs at blues clubs. In 1992 his music juices were fueled again after he found out that a load of rappers, notably Hammer, Ghetto Boys, TLC, were sampling one of his old Twinight hits, "Different Strokes" and discovered that his youngest daughter, Syleena (just 18 years old) had blossomed into an outstanding singer.