[89] Rolling Stone magazine placed it at number three on its "Greatest Guitar Songs of All Time". [66][41] Clapton previously recorded "Ramblin' on My Mind" with Mayall and "From Four Until Late" with Cream using arrangements that followed Johnson's original songs more closely. [4] They mostly represented his original pieces and reflected current, piano-influenced musical trends. [7] The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth[7][11] and are among Johnson's most heartfelt and forceful. [12] The second take was released in 1961, when producer Frank Driggs substituted it for the original on Johnson's first long-playing record album compilation King of the Delta Blues Singers. [80] During their 2005 reunion, Cream revisited the song at the Royal Albert Hall and it is included on the Royal Albert Hall London May 2-3-5-6, 2005 album and video. [49] Writing for the foundation, Jim O'Neal noted that "regardless of mythology and rock 'n' roll renditions, Johnson's record was indeed a powerful one, a song that would stand the test of time on its own". However, Barry Levenson, who produced Cream's 1997 box set Those Were the Days, asserts: It's not edited, and I've got an audience tape from the same show which verifies that ... That was a typical performance of the song. After graduating with the first C5 New England class in 2009 Eric quickly joined the workforce. [41] Johnson uses a Spanish or open G tuning with the guitar tuned up to the key of B. [73] The song became the opening number on the live half of Cream's Wheels of Fire double album, released in August 1968 by Polydor Records in the UK and Atco Records in the US. Saying that he was a superlative guitar player, impassioned singer and masterful lyricist seems barely adequate to convey the importance of the work he accomplished in his 27 years. Eric worked for many non profit youth programs including Crossroads as a summer staff member for a number of years. Cream played "Crossroads" during their final concert at the Royal Albert Hall on November 26, 1968. [59] Their attention turned to Robert Johnson songs and Boyd proposed "Crossroads"[d] and Clapton chose "Traveling Riverside Blues". [30] It is the first recording to show his mastery of his mentor Son House's style, particularly in his slide guitar work. [19], Both versions of the song open with the protagonist kneeling at a crossroads to ask God's mercy, while the second sections tells of his failed attempts to hitch a ride. That blues rock interpretation was included as one of the "500 Songs That Shaped Rock and Roll" by Rock and Roll Hall of Fame. [33] However, Johnson infuses their relaxed urban approach with a more forceful rural one. I think there's something wrong with it. [34] Komara terms Johnson's guitar playing a "blues harp style". [28] Johnson may be expressing a real fear of trumped up vagrancy charges or even lynchings that still took place. E-mail: ericj@crossroadsma.org. [8] Others suggest that the song is about a deeper and more personal loneliness. [60][e], For the recording, Clapton developed an arrangement using lyrics from both songs with an adaption of the guitar line from the latter. King and Albert King. Rolling Stone placed it at number three on the magazine's list of the "Greatest Guitar Songs of All Time" in recognition of Clapton's guitar work. The verses are not consistent and range from fourteen to fifteen bars in length. [21] The first take of the song, which was used for the single, includes a fifth verse that is not included in the second take. (See last week's BTM). Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style.

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