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==Background==
==Background==
In the beginning of 2004, Clapton set out to record a new album with songs, representing the things going on in his life the British rock musician called "great". Him and his long-time collaborator [[Simon Climie]] worked on several songs Clapton wrote about love, peace and happiness. However, Clapton and Climie took too much time to finish the songs Clapton wanted to record in early 2004 and had already booked his studio musicians, namely [[Andy Fairweather Low]], [[Billy Preston]], [[Steve Gadd]], [[Doyle Bramhall II]] and [[Nathan East]]. When it came time to record the new studio album, Clapton had not enough material to record in the studio and suggested to play some tunes which were composed by one of his Blues heros from the [[Mississippi Delta]], Robert Johnson. In just two weeks, Clapton and his studio band recorded a whole album consisting of Johnson songs only. Clapton himself was very pleased with the recordings as well as Warner Bros. Records and Reprise Records manager Tom Whalley. Delighted by the positive reception, Clapton went to back to finish his original material which was released on ''[[Back Home (Eric Clapton album)|Back Home]]'' in 2005.<ref name="BIO">{{cite book|last=Clapton|first=Eric|year=2007|title=Mein Leben|trans_title=My Life|location=Germany|edition=3|publisher=[[Kiepenheuer & Witsch]]|pages=297–299|isbn=978-3-462-03934-4|language=de}}</ref>
In the beginning of 2004, Clapton set out to record a new album with songs, representing the things going on in his life the British rock musician called "great". Him and his long-time collaborator [[Simon Climie]] worked on several songs Clapton wrote about love, peace and happiness. However, Clapton and Climie took too much time to finish the songs Clapton wanted to record in early 2004 and had already booked his studio musicians, namely [[Andy Fairweather Low]], [[Billy Preston]], [[Steve Gadd]], [[Doyle Bramhall II]] and [[Nathan East]]. When it came time to record the new studio album, Clapton had not enough material to record in the studio and suggested to play some tunes which were composed by one of his Blues heroes from the [[Mississippi Delta]], Robert Johnson. In just two weeks, Clapton and his studio band recorded a whole album consisting of Johnson songs only. Clapton himself was very pleased with the recordings as well as Warner Bros. Records and Reprise Records manager Tom Whalley. Delighted by the positive reception, Clapton went to back to finish his original material which was released on ''[[Back Home (Eric Clapton album)|Back Home]]'' in 2005.<ref name="BIO">{{cite book|last=Clapton|first=Eric|year=2007|title=Mein Leben|trans_title=My Life|location=Germany|edition=3|publisher=[[Kiepenheuer & Witsch]]|pages=297–299|isbn=978-3-462-03934-4|language=de}}</ref>


In February of 2004, Clapton was interviewed about his new studio album: "It is a remarkable thing to have been driven and influenced all of my life by the work of one man", Clapton said. "And even though I accept that it has always been the keystone of my musical foundation, I still would not regard it as an obsession; instead, I prefer to think of it as a landmark that I navigate by, whenever I feel myself going adrift. I am talking, of course, about the work of Robert Johnson. Up until I heard his music, everything I had ever heard seemed as if it was dressed up for a shop window somewhere, so that when I heard him for the first time, it was like he was singing only for himself, and now and then, maybe God. At first, it scared me in its intensity, and I could only take it in small doses. Then I would build up strength and take a little more, but I could never really get away from it, and in the end, it spoiled me for everything else. Now, after all these years, his music is like my oldest friend, always in the back of my head, and on the horizon. It is the finest music I have ever heard. I have always trusted its purity, and I always will".<ref>{{cite web|url=http://www.whereseric.com/eric-clapton-news/303-eric-clapton-pays-homage-blues-great-robert-johnson-new-cd|title=Eric Clapton Pays Homage To Blues Great Robert Johnson On New CD|work=Where's Eric! The Eric Clapton Fan Club Magazine|publisher=Whereseric.com|date=February 2, 2004|accessdate=December 13, 2015}}</ref>
In February 2004, Clapton was interviewed about his new studio album: "It is a remarkable thing to have been driven and influenced all of my life by the work of one man", Clapton said. "And even though I accept that it has always been the keystone of my musical foundation, I still would not regard it as an obsession; instead, I prefer to think of it as a landmark that I navigate by, whenever I feel myself going adrift. I am talking, of course, about the work of Robert Johnson. Up until I heard his music, everything I had ever heard seemed as if it was dressed up for a shop window somewhere, so that when I heard him for the first time, it was like he was singing only for himself, and now and then, maybe God. At first, it scared me in its intensity, and I could only take it in small doses. Then I would build up strength and take a little more, but I could never really get away from it, and in the end, it spoiled me for everything else. Now, after all these years, his music is like my oldest friend, always in the back of my head, and on the horizon. It is the finest music I have ever heard. I have always trusted its purity, and I always will".<ref>{{cite web|url=http://www.whereseric.com/eric-clapton-news/303-eric-clapton-pays-homage-blues-great-robert-johnson-new-cd|title=Eric Clapton Pays Homage To Blues Great Robert Johnson On New CD|work=Where's Eric! The Eric Clapton Fan Club Magazine|publisher=Whereseric.com|date=February 2, 2004|accessdate=December 13, 2015}}</ref>


==Critical reception==
==Critical reception==
Line 45: Line 45:
''AllMusic'' critic [[Stephen Thomas Erlewine]] notes Clapton sounds very "comfortable and relaxed" on the studio album "as if he was having fun making music". Erlewine goes on in his review, calling the 2004 Blues album "simply the most enjoyable record he's made" since ''[[From the Cradle]]'' with the possible exception of ''[[Riding with the King (B.B. King and Eric Clapton album)|Riding with the King]]''. Comparing the album to Clapton's older Blues albums, the music critic notes: "in some respects it's a better blues album than [these other ones] since it never sounds as doggedly serious as that guitar–heavy affair". Erlewine finishes his review liking the whole concept and production of the album: "Some might take issue with this, and others may find the album too slickly produced – admittedly, blues albums should never boast a credit for Pro Tools, as this does – but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums". He awarded the release three and a half out of five possible stars.<ref name="AM1"/> ''Rolling Stone'' critic [[David Fricke]] rated ''Me and Mr. Johnson'' with four out of five stars, reviewing: "Clapton takes different routes back to blues school on this cover album, but does it so with mutual fealty and honest delight". Some of the songs, says Fricke, have "a blistering chorus or two" in them, "to better show off the dirty–rubber swing of Clapton's longtime road and studio band". The journalist finishes his review, finding "Clapton pays broad tribute to Johnson as a composer and public-domain synthesist".<ref name="RS1"/> The British ''Uncut'' magazine likes the background work of Clapton's studio band as they seem to an "authentic, bottomless thump" to the Johnson tunes and leave Clapton enough space to play "devastating" guitar and sing "like a man who has faced down more than a few canine devils of his own". The magazine award the release four out of five points.<ref name="UC1"/>
''AllMusic'' critic [[Stephen Thomas Erlewine]] notes Clapton sounds very "comfortable and relaxed" on the studio album "as if he was having fun making music". Erlewine goes on in his review, calling the 2004 Blues album "simply the most enjoyable record he's made" since ''[[From the Cradle]]'' with the possible exception of ''[[Riding with the King (B.B. King and Eric Clapton album)|Riding with the King]]''. Comparing the album to Clapton's older Blues albums, the music critic notes: "in some respects it's a better blues album than [these other ones] since it never sounds as doggedly serious as that guitar–heavy affair". Erlewine finishes his review liking the whole concept and production of the album: "Some might take issue with this, and others may find the album too slickly produced – admittedly, blues albums should never boast a credit for Pro Tools, as this does – but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums". He awarded the release three and a half out of five possible stars.<ref name="AM1"/> ''Rolling Stone'' critic [[David Fricke]] rated ''Me and Mr. Johnson'' with four out of five stars, reviewing: "Clapton takes different routes back to blues school on this cover album, but does it so with mutual fealty and honest delight". Some of the songs, says Fricke, have "a blistering chorus or two" in them, "to better show off the dirty–rubber swing of Clapton's longtime road and studio band". The journalist finishes his review, finding "Clapton pays broad tribute to Johnson as a composer and public-domain synthesist".<ref name="RS1"/> The British ''Uncut'' magazine likes the background work of Clapton's studio band as they seem to an "authentic, bottomless thump" to the Johnson tunes and leave Clapton enough space to play "devastating" guitar and sing "like a man who has faced down more than a few canine devils of his own". The magazine award the release four out of five points.<ref name="UC1"/>


Journalist [[Edna Gundersen]] from ''USA Today'' calls the 2004 studio album a "homage to the genre's godfather in 14 electric versions of acoustic blueprints that laid the groundwork for the '60s rock explosion" and rates the album with three and a half out of four possible stars because of it's "graceful, conveying an earthy intensity". It therefore outplayed his back then competitor album ''[[Honkin' on Bobo]]'' by [[Aerosmith]].<ref name="UT1"/> Critic Robert Gauthier from ''Entertainment Weekly'' thinks ''Me and Mr. Johnson'' is "likely become a coffee-table album" and notes "Clapton sounds reinvigorated in these 14 songs by "[[Cross Road Blues|Crossroads]]" soul–salesman Robert Johnson, with phlegm in his throat and fire in his belly". He also liked Billy Preston's work on keyboards and awarded the release a "B+" rating, meaning "very good".<ref name="EW1"/> Rob Webb from ''BBC Music'' reviewed: "Clapton is no longer God: he now plays the Devil. For him to take on Johnson's catalogue makes perfect sense. With both wailing electric guitar and acoustic–slide under his arm, Eric runs through 'When You Got a Good Friend', 'Milkcow's Calf Blues', 'Come On In My Kitchen' and a dozen other tried and tested Johnson tunes. They are all delivered with sincerity, love and respect. The band are as tight as a bottle-stop, the recording is as clear as a bell and Clapton's singing and playing sound just fine. Me and Mr Johnson will appeal to his AOR audience after a bit of authentic as much as it will to staunch blues fans hungry for digital-age renditions of Johnson standards".<ref name="BBC"/> ''Billboard'' critic Christopher Walsh thinks on ''Me and Mr. Johnson'' "Clapton is in fine form, setting aside the slick instrumentation and production that have marked much of his more recent work in favor of a smaller ensemble", creating as the "result a sparse sound, allowing Clapton's usual outstanding lead and slide guitar work to shine. Clapton and the stellar musicians behind him are obviously passionate about the music". Altough Walsh liked the music on the album, he would like Clapton to "let it loose" more.<ref name="10-04-2004"/>
Journalist [[Edna Gundersen]] from ''USA Today'' calls the 2004 studio album a "homage to the genre's godfather in 14 electric versions of acoustic blueprints that laid the groundwork for the '60s rock explosion" and rates the album with three and a half out of four possible stars because of its "graceful, conveying an earthy intensity". It therefore outplayed his back then competitor album ''[[Honkin' on Bobo]]'' by [[Aerosmith]].<ref name="UT1"/> Critic Robert Gauthier from ''Entertainment Weekly'' thinks ''Me and Mr. Johnson'' is "likely become a coffee-table album" and notes "Clapton sounds reinvigorated in these 14 songs by "[[Cross Road Blues|Crossroads]]" soul–salesman Robert Johnson, with phlegm in his throat and fire in his belly". He also liked Billy Preston's work on keyboards and awarded the release a "B+" rating, meaning "very good".<ref name="EW1"/> Rob Webb from ''BBC Music'' reviewed: "Clapton is no longer God: he now plays the Devil. For him to take on Johnson's catalogue makes perfect sense. With both wailing electric guitar and acoustic–slide under his arm, Eric runs through 'When You Got a Good Friend', 'Milkcow's Calf Blues', 'Come On In My Kitchen' and a dozen other tried and tested Johnson tunes. They are all delivered with sincerity, love and respect. The band are as tight as a bottle-stop, the recording is as clear as a bell and Clapton's singing and playing sound just fine. Me and Mr Johnson will appeal to his AOR audience after a bit of authentic as much as it will to staunch blues fans hungry for digital-age renditions of Johnson standards".<ref name="BBC"/> ''Billboard'' critic Christopher Walsh thinks on ''Me and Mr. Johnson'' "Clapton is in fine form, setting aside the slick instrumentation and production that have marked much of his more recent work in favor of a smaller ensemble", creating as the "result a sparse sound, allowing Clapton's usual outstanding lead and slide guitar work to shine. Clapton and the stellar musicians behind him are obviously passionate about the music". Although Walsh liked the music on the album, he would like Clapton to "let it loose" more.<ref name="10-04-2004"/>


==Track listing==
==Track listing==
Line 270: Line 270:


===Background===
===Background===
In his 2007 autobiography, Clapton wrote that he asked his long-time friend [[Hiroshi Fujiwara]] to direct a video which would accompany some tracks from his then new studio release ''Me and Mr. Johnson'' for either TV or Internet broadcasting, however, not for commericals. Fujiwara agreed and said he was interested to work with Clapton on this project but would also like his friend Stephen Schible, the director of the movie ''[[Lost in Translation (film)|Lost in Translation]]'', to work with him and Clapton. When Schible got to the scene, he quickly decided to not just stick to the idea of doing some shortform videos Clapton had brought up but to film a whole documentary about why Clapton loved Robert Johnson and how Johnson influenced him as well as other musicians and the Blues in general. When Clapton agreed and finished filming for the video release, he was amazed by the recordings and consented to release the recordings. With ''Sessions for Robert J'', Clapton felt he payed his dues to Robert Johnson.<ref name="BIO"/>
In his 2007 autobiography, Clapton wrote that he asked his long-time friend [[Hiroshi Fujiwara]] to direct a video which would accompany some tracks from his then new studio release ''Me and Mr. Johnson'' for either TV or Internet broadcasting, however, not for commercials. Fujiwara agreed and said he was interested to work with Clapton on this project but would also like his friend Stephen Schible, the director of the movie ''[[Lost in Translation (film)|Lost in Translation]]'', to work with him and Clapton. When Schible got to the scene, he quickly decided to not just stick to the idea of doing some shortform videos Clapton had brought up but to film a whole documentary about why Clapton loved Robert Johnson and how Johnson influenced him as well as other musicians and the Blues in general. When Clapton agreed and finished filming for the video release, he was amazed by the recordings and consented to release the recordings. With ''Sessions for Robert J'', Clapton felt he payed his dues to Robert Johnson.<ref name="BIO"/>


===Critical reception===
===Critical reception===
Line 302: Line 302:
|}
|}


''Sessions for Robert J'' was not very successful on the album charts, which is mostly due to its precessor released earlier in Spring of 2004. However, the compact disc album peaked at number 74 on the official Austrian album charts where it stayed for one week on chart in 2004.<ref name="Ö3"/> In France, the Clapton album reached number 120 on the album charts, compiled by the Syndicat National de l'Édition Phonographique and spent a total of six weeks on the chart, reaching even into the next year.<ref name="SNEP"/> In Japan, ''Sessions for Robert J'' sold about 6,000 units in its first week on chart, peaking at number 189. By the end of 2011, however, the release sold 60,000 copies in the Asian country.<ref name="Oricon"/> In Canada, the album did not reach the music charts, but was a medium sucess, selling about 20,000 copies in the nation. In the United Kingdom, the blues cover album also did not reach the official albums chart, however, sold close to 25,000 copies in Great Britain.<ref name="Keil"/> In the United States, both the album and the video release was most successful, reaching position 172 on the ''Billboard'' 200 albums chart, where the album stayed for two weeks.<ref name="BB200"/> The release also topped the ''Billboard'' magazines Blues albums chart, and spent a total of 49 weeks on the genre chart until 2006.<ref name="BBBL"/> The video DVD release reached number 21 on the American Top Music Video charts, also compiled by the ''Billboard'' magazine.<ref name="BBDVD"/> In the United States, the album sold more than 230,000 copies alone. In total, ''Sessions for Robert J'' has sold more than 400,000 copies worldwide.<ref name="Keil"/>
''Sessions for Robert J'' was not very successful on the album charts, which is mostly due to its precessor released earlier in Spring of 2004. However, the compact disc album peaked at number 74 on the official Austrian album charts where it stayed for one week on chart in 2004.<ref name="Ö3"/> In France, the Clapton album reached number 120 on the album charts, compiled by the Syndicat National de l'Édition Phonographique and spent a total of six weeks on the chart, reaching even into the next year.<ref name="SNEP"/> In Japan, ''Sessions for Robert J'' sold about 6,000 units in its first week on chart, peaking at number 189. By the end of 2011, however, the release sold 60,000 copies in the Asian country.<ref name="Oricon"/> In Canada, the album did not reach the music charts, but was a medium success, selling about 20,000 copies in the nation. In the United Kingdom, the blues cover album also did not reach the official albums chart, however, sold close to 25,000 copies in Great Britain.<ref name="Keil"/> In the United States, both the album and the video release was most successful, reaching position 172 on the ''Billboard'' 200 albums chart, where the album stayed for two weeks.<ref name="BB200"/> The release also topped the ''Billboard'' magazines Blues albums chart, and spent a total of 49 weeks on the genre chart until 2006.<ref name="BBBL"/> The video DVD release reached number 21 on the American Top Music Video charts, also compiled by the ''Billboard'' magazine.<ref name="BBDVD"/> In the United States, the album sold more than 230,000 copies alone. In total, ''Sessions for Robert J'' has sold more than 400,000 copies worldwide.<ref name="Keil"/>


===Track listings===
===Track listings===

Revision as of 21:47, 15 December 2015

Untitled

Me and Mr. Johnson is the sixteenth studio album recorded by the British Rock musician Eric Clapton and was released on March 23 in 2004 for Reprise Records. This album is a tribute to the legendary Bluesman Robert Johnson. Originally, Clapton's sixteenth studio album was not planned to become a Blues hommage release and was recorded out of missing ideas for new recording material. Me and Mr. Johnson sold more than two million albums worldwide and reached the Top 10 in more than 15 countries. Sir Peter Blake painted the album cover, using a series of photographs taken of Clapton rather than painting the British Rock legend from life.[3] A companion album and video release entitled Sessions for Robert J featuring different versions of each Johnson cover Clapton did was released on December 7 the same year.

Background

In the beginning of 2004, Clapton set out to record a new album with songs, representing the things going on in his life the British rock musician called "great". Him and his long-time collaborator Simon Climie worked on several songs Clapton wrote about love, peace and happiness. However, Clapton and Climie took too much time to finish the songs Clapton wanted to record in early 2004 and had already booked his studio musicians, namely Andy Fairweather Low, Billy Preston, Steve Gadd, Doyle Bramhall II and Nathan East. When it came time to record the new studio album, Clapton had not enough material to record in the studio and suggested to play some tunes which were composed by one of his Blues heroes from the Mississippi Delta, Robert Johnson. In just two weeks, Clapton and his studio band recorded a whole album consisting of Johnson songs only. Clapton himself was very pleased with the recordings as well as Warner Bros. Records and Reprise Records manager Tom Whalley. Delighted by the positive reception, Clapton went to back to finish his original material which was released on Back Home in 2005.[4]

In February 2004, Clapton was interviewed about his new studio album: "It is a remarkable thing to have been driven and influenced all of my life by the work of one man", Clapton said. "And even though I accept that it has always been the keystone of my musical foundation, I still would not regard it as an obsession; instead, I prefer to think of it as a landmark that I navigate by, whenever I feel myself going adrift. I am talking, of course, about the work of Robert Johnson. Up until I heard his music, everything I had ever heard seemed as if it was dressed up for a shop window somewhere, so that when I heard him for the first time, it was like he was singing only for himself, and now and then, maybe God. At first, it scared me in its intensity, and I could only take it in small doses. Then I would build up strength and take a little more, but I could never really get away from it, and in the end, it spoiled me for everything else. Now, after all these years, his music is like my oldest friend, always in the back of my head, and on the horizon. It is the finest music I have ever heard. I have always trusted its purity, and I always will".[5]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic[6]
Rolling Stone[7]
Uncut[8]
USA Today[9]
Entertainment WeeklyB+[10]
BBC Music(positive)[11]
Billboard(positive)[12]

AllMusic critic Stephen Thomas Erlewine notes Clapton sounds very "comfortable and relaxed" on the studio album "as if he was having fun making music". Erlewine goes on in his review, calling the 2004 Blues album "simply the most enjoyable record he's made" since From the Cradle with the possible exception of Riding with the King. Comparing the album to Clapton's older Blues albums, the music critic notes: "in some respects it's a better blues album than [these other ones] since it never sounds as doggedly serious as that guitar–heavy affair". Erlewine finishes his review liking the whole concept and production of the album: "Some might take issue with this, and others may find the album too slickly produced – admittedly, blues albums should never boast a credit for Pro Tools, as this does – but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums". He awarded the release three and a half out of five possible stars.[6] Rolling Stone critic David Fricke rated Me and Mr. Johnson with four out of five stars, reviewing: "Clapton takes different routes back to blues school on this cover album, but does it so with mutual fealty and honest delight". Some of the songs, says Fricke, have "a blistering chorus or two" in them, "to better show off the dirty–rubber swing of Clapton's longtime road and studio band". The journalist finishes his review, finding "Clapton pays broad tribute to Johnson as a composer and public-domain synthesist".[7] The British Uncut magazine likes the background work of Clapton's studio band as they seem to an "authentic, bottomless thump" to the Johnson tunes and leave Clapton enough space to play "devastating" guitar and sing "like a man who has faced down more than a few canine devils of his own". The magazine award the release four out of five points.[8]

Journalist Edna Gundersen from USA Today calls the 2004 studio album a "homage to the genre's godfather in 14 electric versions of acoustic blueprints that laid the groundwork for the '60s rock explosion" and rates the album with three and a half out of four possible stars because of its "graceful, conveying an earthy intensity". It therefore outplayed his back then competitor album Honkin' on Bobo by Aerosmith.[9] Critic Robert Gauthier from Entertainment Weekly thinks Me and Mr. Johnson is "likely become a coffee-table album" and notes "Clapton sounds reinvigorated in these 14 songs by "Crossroads" soul–salesman Robert Johnson, with phlegm in his throat and fire in his belly". He also liked Billy Preston's work on keyboards and awarded the release a "B+" rating, meaning "very good".[10] Rob Webb from BBC Music reviewed: "Clapton is no longer God: he now plays the Devil. For him to take on Johnson's catalogue makes perfect sense. With both wailing electric guitar and acoustic–slide under his arm, Eric runs through 'When You Got a Good Friend', 'Milkcow's Calf Blues', 'Come On In My Kitchen' and a dozen other tried and tested Johnson tunes. They are all delivered with sincerity, love and respect. The band are as tight as a bottle-stop, the recording is as clear as a bell and Clapton's singing and playing sound just fine. Me and Mr Johnson will appeal to his AOR audience after a bit of authentic as much as it will to staunch blues fans hungry for digital-age renditions of Johnson standards".[11] Billboard critic Christopher Walsh thinks on Me and Mr. Johnson "Clapton is in fine form, setting aside the slick instrumentation and production that have marked much of his more recent work in favor of a smaller ensemble", creating as the "result a sparse sound, allowing Clapton's usual outstanding lead and slide guitar work to shine. Clapton and the stellar musicians behind him are obviously passionate about the music". Although Walsh liked the music on the album, he would like Clapton to "let it loose" more.[12]

Track listing

All tracks are written by Robert Johnson

Me and Mr. Johnson track listing[13]
No.TitleLength
1."When You Got a Good Friend"3:20
2."Little Queen of Spades"4:57
3."They're Red Hot"3:25
4."Me and the Devil Blues"2:56
5."Traveling Riverside Blues"4:31
6."Last Fair Deal Gone Down"2:35
7."Stop Breakin' Down Blues"2:30
8."Milkcow's Calf Blues"3:18
9."Kind Hearted Woman Blues"4:06
10."Come on in My Kitchen"3:35
11."If I Had Possession Over Judgement Day"3:27
12."Love in Vain"4:02
13."32-20 Blues"2:58
14."Hell Hound on My Trail"3:51
Total length:49:31

Personnel

Charts and certifications

Sessions for Robert J

Untitled

Sessions for Robert J is the seventeenth studio album by the British rock guitarist and singer-songwriter Eric Clapton and was released on December 7, 2004 through Reprise Records. The release is a companion project to his previously released album Me and Mr. Johnson and features different recordings of the songs Clapton released on his first studio effort.[70] In addition to the compact disc release of the recorded material, a DVD was released, showing Clapton and his band travelling around the United Kingdom and United States just before and after his 2004 Crossroads Guitar Festival, recording some takes of Johnson's songs in video.[71] Songs that were not included on the first album include: "From Four 'Til Late", "Terraplane Blues", "Ramblin' on my Mind", "Sweet Home Chicago", and "Stones in my Passway". Several songs are performed in duet by Clapton on steel-string acoustic guitar and Doyle Bramhall II on steel string acoustic and dobro guitars. Between sessions, Clapton discusses Johnson's profound influence on him and other musicians. One notable segment features Clapton performing in the 508 Park Avenue building in Dallas, Texas, that served as a makeshift studio in 1937 for Johnson to cut his legendary recordings.[72]

Background

In his 2007 autobiography, Clapton wrote that he asked his long-time friend Hiroshi Fujiwara to direct a video which would accompany some tracks from his then new studio release Me and Mr. Johnson for either TV or Internet broadcasting, however, not for commercials. Fujiwara agreed and said he was interested to work with Clapton on this project but would also like his friend Stephen Schible, the director of the movie Lost in Translation, to work with him and Clapton. When Schible got to the scene, he quickly decided to not just stick to the idea of doing some shortform videos Clapton had brought up but to film a whole documentary about why Clapton loved Robert Johnson and how Johnson influenced him as well as other musicians and the Blues in general. When Clapton agreed and finished filming for the video release, he was amazed by the recordings and consented to release the recordings. With Sessions for Robert J, Clapton felt he payed his dues to Robert Johnson.[4]

Critical reception

Canadian music journalist Darryl Sterdan from Jam! magazine likes both the compact disc and DVD video release, noting that Clapton "picked up where he left off with last spring's Me and Mr. Johnson, covering more classics by Delta blues pioneer Robert Johnson in assorted settings". Sterdan awarded the release four out of five possible stars, especially enjoying the recordings from 508 Park Avenue, where several Blues icons recorded their music more than 60 years ago.[73] AllMusic critic Thom Jurek likes Sessions for Robert J and awarded the release three out of possible five stars.[74] For his review for the AllMusic website, Jurek notes:

It appears that Eric Clapton had more Robert Johnson in his blood than he thought – or perhaps it was planned this way. This DVD/CD set […], showcases Clapton mining the Robert Johnson vein ever more deeply in no less than four different settings. The DVD features 19 acoustic and electric performances recorded in rehearsal spaces in Dallas and in England, as well as in the 508 Park Avenue in Dallas, a studio Johnson himself recorded in, in 1937. There is one more segment, a recorded solo acoustic in a hotel room in California. The band that joins Clapton in the rehearsal studios is composed of guitar master Doyle Bramhall II, organist Billy Preston, Steve Gadd on drums, pianist Chris Stainton and Nathan East on bass. The electric performances, particularly 'Milkcow's Calf's Blues', 'Stop Breakin' Down Blues', and especially 'I Wish I Had Possession Over Judgment Day', have some real life and stomp in them. Of the acoustic tracks, 'Terraplane Blues' works best. The DVD also contains a selection of behind-the-scenes footage that will be of interest only to those fans who need to see everything. The CD contains 11 cuts culled from the DVD and the sequencing is in some ways preferable.

— Thom Jurek, AllMusic[74]

Chart performance

Chart (2004–06) Peak
position
Austrian Albums (Ö3 Austria)[75] 74
French Albums (SNEP)[76] 120
Japanese Albums (Oricon)[48] 189
US Billboard 200[41] 172
US Top Blues Albums (Billboard)[42] 1
US Top Music Videos (Billboard)[77] 21

Sessions for Robert J was not very successful on the album charts, which is mostly due to its precessor released earlier in Spring of 2004. However, the compact disc album peaked at number 74 on the official Austrian album charts where it stayed for one week on chart in 2004.[75] In France, the Clapton album reached number 120 on the album charts, compiled by the Syndicat National de l'Édition Phonographique and spent a total of six weeks on the chart, reaching even into the next year.[76] In Japan, Sessions for Robert J sold about 6,000 units in its first week on chart, peaking at number 189. By the end of 2011, however, the release sold 60,000 copies in the Asian country.[48] In Canada, the album did not reach the music charts, but was a medium success, selling about 20,000 copies in the nation. In the United Kingdom, the blues cover album also did not reach the official albums chart, however, sold close to 25,000 copies in Great Britain.[54] In the United States, both the album and the video release was most successful, reaching position 172 on the Billboard 200 albums chart, where the album stayed for two weeks.[41] The release also topped the Billboard magazines Blues albums chart, and spent a total of 49 weeks on the genre chart until 2006.[42] The video DVD release reached number 21 on the American Top Music Video charts, also compiled by the Billboard magazine.[77] In the United States, the album sold more than 230,000 copies alone. In total, Sessions for Robert J has sold more than 400,000 copies worldwide.[54]

Track listings

All tracks are written by Robert Johnson

Compact disc track listing[78]
No.TitleLength
1."Sweet Home Chicago"5:17
2."Milkcow's Calf Blues"3:49
3."Terraplane Blues"3:36
4."If I Had Possession Over Judgement Day"3:23
5."Stop Breakin' Down Blues"2:56
6."Little Queen of Spades"5:27
7."Traveling Riverside Blues"4:26
8."Me and the Devil Blues"2:50
9."From Four Until Late"3:01
10."Kind Hearted Woman Blues"5:39
11."Ramblin' on My Mind"2:42
Total length:45:38
DVD track listing[79]
No.TitleLength
1."Kind Hearted Woman Blues" (Session 1 – recorded at 11:04am, on March 14, 2004 at Hook End Manor, Checkendon, England)5:18
2."They're Red Hot" (Session 1 – recorded at 11:04am, on March 14, 2004 at Hook End Manor, Checkendon, England)3:20
3."Hell Hound on My Trail" (Session 1 – recorded at 11:04am, on March 14, 2004 at Hook End Manor, Checkendon, England)4:49
4."Sweet Home Chicago" (Session 1 – recorded at 11:04am, on March 14, 2004 at Hook End Manor, Checkendon, England)5:51
5."When You Got a Good Friend" (Session 1 – recorded at 11:04am, on March 14, 2004 at Hook End Manor, Checkendon, England)5:01
6."Milkcow's Calf Blues" (Session 2 – recorded at 10:45am, on June 2, 2004 in Las Colinas, Irving, Texas)3:42
7."If I Had Possession Over Judgement Day" (Session 2 – recorded at 10:45am, on June 2, 2004 in Las Colinas, Irving, Texas)3:17
8."Stop Breakin' Down Blues" (Session 2 – recorded at 10:45am, on June 2, 2004 in Las Colinas, Irving, Texas)2:52
9."Terraplane Blues" (Session 3 – recorded at 8:30pm, on June 3, 2004 in 508 Park Avenue, Dallas, Texas)3:30
10."Hell Hound on My Trail" (Session 3 – recorded at 8:30pm, on June 3, 2004 in 508 Park Avenue, Dallas, Texas)3:20
11."Me and the Devil Blues" (Session 3 – recorded at 8:30pm, on June 3, 2004 in 508 Park Avenue, Dallas, Texas)2:43
12."From Four Until Late" (Session 3 – recorded at 8:30pm, on June 3, 2004 in 508 Park Avenue, Dallas, Texas)3:03
13."Love in Vain" (Session 3 – recorded at 8:30pm, on June 3, 2004 in 508 Park Avenue, Dallas, Texas)3:19
14."Ramblin' on My Mind" (Session 4 – recorded at 10:16am, on August 14, 2004 at the Hotel Casa del Mar, Santa Monica, California)2:46
15."Stones in My Passway" (Session 4 – recorded at 10:16am, on August 14, 2004 at the Hotel Casa del Mar, Santa Monica, California)2:29
16."Love in Vain" (Session 4 – recorded at 10:16am, on August 14, 2004 at the Hotel Casa del Mar, Santa Monica, California)2:53
17."Little Queen of Spades" (DVD Bonus)5:53
18."Traveling Riverside Blues" (DVD Bonus)4:23
19."Behind the Scenes Footage" (DVD Bonus)5:04
20."Interviews" (DVD Bonus)n/a
21."Credits" (DVD Bonus)6:00
Total length:96:54

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