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| B-side = "[[Ramblin' on My Mind]]"
| B-side = "[[Ramblin' on My Mind]]"
| Released = {{Start date|1937|05}}
| Released = {{Start date|1937|05}}
| Format = [[Gramophone record|10" 78 rpm record]]
| Format = [[Gramophone record|Ten-inch 78 rpm record]]
| Recorded = [[Gunter Hotel]], San Antonio, Texas November 27, 1936
| Recorded = [[Gunter Hotel]], San Antonio, Texas November 27, 1936
| Genre = [[Blues]]
| Genre = [[Blues]]
Line 14: Line 14:
| Producer = [[Don Law]]
| Producer = [[Don Law]]
}}
}}
"'''Cross Road Blues'''" (more commonly known as "'''Crossroads'''") is a [[blues]] song written and recorded by American blues artist [[Robert Johnson]] in 1936. It is a solo performance in the [[Delta blues]]-style with Johnson's vocal accompanied by his acoustic slide guitar. Although its lyrics do not contain any specific references, the song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the devil in exchange for his musical talents.
"'''Cross Road Blues'''" (more commonly known as "'''Crossroads'''") is a [[blues]] song written and recorded by American blues artist [[Robert Johnson]] in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the [[Delta blues]]-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the devil in exchange for his musical talents, although the lyrics do not contain any specific references.


Bluesman [[Elmore James]] revived the song with recordings in 1954 and 1960–1961. English guitarist [[Eric Clapton]] with [[Cream (band)|Cream]] popularized the song as "Crossroads" in the late 1960s. Their [[blues rock]] interpretation inspired many cover versions and the Rock and Roll Hall of Fame included it as one of the "500 Songs That Shaped Rock and Roll". ''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.
==Original song==
===Lyrics and interpretation===
The song opens with the protagonist at an intersection kneeling in despair to beg forgiveness, while the second section tells of his failed attempts to hitch a ride as night approaches:
:Standin' at the crossroad, I tried to flag a ride (2×)
:Didn't nobody seem to know me, everybody pass me by
:Standin' at the crossroad, risin' sun goin' down (2×)
:I believe to my soul now, po' Bob is sinkin' down
In the last two sections, Johnson expresses apprehension at being stranded without a "sweet woman that love{{sic}} and feel my care" and asks that his friend [[Willie Brown (musician)|Willie Brown]] be advised of his predicament.


==Recording==
According to historian [[Leon Litwack]], in the 1936 rural South, blacks had good reason to be afraid of being caught alone at night in an unfamiliar place—trumped up vagrancy charges and even [[lynchings]] still took place.<ref name="Litwack 1998 410–411">{{cite book | title=Trouble in Mind: Black Southerners in the Age of Jim Crow | publisher=Vintage Books | last=Litwack | first=Leon F | authorlink=Leon Litwack | year=1998 | pages=410–411 | isbn=978-0-394-52778-9}}</ref> Others suggest that the song is also about a deeper and more personal loneliness with the imagery of the singer falling to his knees and the absence of a "sweet woman".<ref>{{cite book | title=Rock Music Styles: A History | publisher=McGraw-Hill | last=Charlton | first=Katherine | year=2008 | page=13 | isbn=978-0-07-312162-8}}</ref> The song has been used to perpetuate the myth of Johnson selling his soul to the devil for his musical ability, although nothing in the actual lyrics deals with a [[Faustian bargain]].<ref>{{cite book | title=Robert Johnson: Mythmaking and Contemporary American Culture | publisher=University of Illinois Press | author=Schroeder, Patricia R. | year=2004 | page=37 | isbn=978-0-252-02915-8}}</ref> How much Johnson himself contributed to this myth is debated, although many agree "the 'devil angle' made for good marketing".<ref>{{cite book | title=Delta Blues | publisher=W. W. Norton | author=Gioia, Ted | authorlink=Ted Gioia | year=2008 | page=164 | isbn=978-0-393-33750-1}}</ref>
Little is known about Johnson's life and musical career,{{sfn|Wald|2004|p=106}} although his recordings are well documented.{{sfn|LaVere|1990|pp=46–47}} In October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for [[American Record Corporation|ARC Records]].{{sfn|Komara|2007|p=56}} After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session.{{sfn|LaVere|1990|p=15}} Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936.{{sfn|LaVere|1990|pp=46–47}} During the first session, he recorded his most commercially appealing songs.{{sfn|Wald|2004|p=131}} They represented his most original pieces and reflected current, piano-influenced musical trends.{{sfn|Komara|2007|p=57}}{{sfn|LaVere|1990|p=21}}{{sfn|Wald|2004|p=149}} The songs include "[[Terraplane Blues]]" (his first single and most popular record){{sfn|LaVere|1990|p=15}} along with "[[Sweet Home Chicago]]" and "[[I Believe I'll Dust My Broom]]", which became [[blues standards]] after others recorded them.{{sfn|Palmer|1981|p=125}}{{sfn|Wald|2004|p=188}}


A second and third recording date took place in San Antonio after a two-day break.{{efn|The two-day break in the San Antonio recording sessions may not have been voluntary; one account puts Johnson in jail after a run in with local police.{{sfn|Pearson|McCulloch|2003|p=74}}}} Johnson reached back into his long-standing repertoire for songs to record.{{sfn|Wald|2004|p=149}} The material reflects the styles of country blues performers [[Charley Patton]] and [[Son House]], who influenced Johnson in his youth.{{sfn|Wald|2004|p=149}}{{sfn|Komara|2007|p=58}} The songs are among Johnson's most heartfelt and forceful{{sfn|LaVere|1990|p=21}} and music historian [[Ted Gioia]] sees a shift in the lyrical themes:
===Composition===
{{quote|At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges&nbsp;... [he] evokes the themes of damnation and redemption, darkness and light&nbsp;... glimpses into the musician's inner life, and all its attendant turmoils.{{sfn|Gioia|2008|p=179}}}}
As with many Johnson songs, "Cross Road Blues" was inspired by earlier blues songs. Author Edward Komara has identified "Straight Alky Blues" (1929 Vocalion 1290) by [[Leroy Carr]] and [[Scrapper Blackwell]] as a "melodic precedent".<ref>
{{cite book
| last1 = Komara
| first1 = Edward
| last2 = Wardlow
| first2 = Gayle Dean
| authorlink2 = Gayle Dean Wardlow
| title = Chasin' That Devil Music: Searching for the Blues
| year = 1998
| publisher = Miller Freeman
| isbn = 978-0-87930-552-9
| page = 204
}}</ref> Writer [[Elijah Wald]] sees it as an extension of Johnson's arrangement for his first single "[[Terraplane Blues]]", but with more slide guitar and "the first piece to showcase his [Johnson's] command of the rootsy, [[Son House]]-derived Delta style".<ref>{{cite book | title=Escaping the Delta: Robert Johnson and the Invention of the Blues | publisher=Amistad | author=Wald, Elijah | authorlink=Elijah Wald | year=2004 | page=155 | isbn=978-0-06-052427-2}}</ref>


"Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936.{{sfn|LaVere|1990|p=46}} The sessions continued at an improvised studio in Room 414 at the [[Gunter Hotel]]. ARC producers [[Art Satherley]] and [[Don Law]] supervised the recording and used a portable disc cutting machine.{{sfn|Wald|2004|p=120}} It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it.{{sfn|Pearson|McCulloch|2003|p=73}} Two similar takes of the song were recorded.{{sfn|Komara|2007|pp=60–61}}
As with many early blues songs, "Cross Road Blues" differs from a well-defined [[twelve-bar blues]] structure. The verses are not consistent and range from fourteen to fifteen bars in length.<ref name="Covach">{{cite book | title=Understanding Rock: Essays in Musical Analysis | publisher=Oxford University Press | author=Covach, John | year=1997 | pages=63–71 | isbn=978-0-19-510005-1}}</ref> Additionally, the harmonic progression is often implied rather than stated (full IV and V chords are not used).<ref name="Covach"/> Johnson uses a Spanish or [[open G tuning]] with the guitar tuned up to the key of B. This facilitates Johnson's use of a [[Slide (guitar technique)|slide]], while maintaining the rhythm on the lower strings. According to music writer John Covach, "the slide permits a greater variety of melodic nuance [thus] allowing the guitar to imitate the voice more closely".<ref name="Covach"/>


==Lyrics and interpretation==
===Releases===
A crossroads or an intersection rural roads is one of the few landmarks in the [[Mississippi Delta]], a flat featureless plain between the Mississippi and Yazoo rivers.{{sfn|Palmer|1981|p=126}}{{efn|In Johnson's time, "cross road" was the preferred usage for "crossroads".}} It is part of the local iconography and various businesses use the name, such as gas stations, banks, and retail shops.{{sfn|Palmer|1981|p=127}} A crossroads is also where cars are more likely to slow down or stop, thus presenting the best opportunity for a hitchiker.{{sfn|Wald|2004|pp=274–275}} In the simplest reading, Johnson describes being unable to catch a ride at an intersection before the sun sets.{{sfn|Pearson|McCulloch|2003|p=76}} However, many see different levels of meaning and some have attached a supernatural significance to the song.{{sfn|Pearson|McCulloch|2003|p=76}}
"Cross Road Blues" was recorded during Robert Johnson's last recording session in San Antonio, Texas, on November 27, 1936. Two similar takes of the song were recorded—the first was released in May 1937 on the then standard [[gramophone record|10-inch 78&nbsp;rpm record]].<ref>[[American Record Corporation|ARC]] labels catalogue number 7–05–81, [[Vocalion Records|Vocalion]] cat. no. 03519.</ref><ref name="O'Neal"/> As with most Johnson records, the single (with its flip side "[[Ramblin' on My Mind]]") "sold disappointingly"<ref>{{cite book | title=Deep Blues | publisher=Penguin Books | author=Palmer, Robert | authorlink=Robert Palmer (writer) | year=1981 | page=128 | isbn=0-14-006223-8}}</ref> and remained out of print after its initial release until the appearance of ''[[The Complete Recordings (Robert Johnson album)|The Complete Recordings]]'' in 1990. The second take was released in 1961, when producer [[Frank Driggs]] substituted it for the original on Johnson's [[LP album|long-playing record album]] ''[[King of the Delta Blues Singers]]''.<ref name="O'Neal"/> This take was also included on the 1990 ''Complete Recordings'' (at 2:29, it is :10 shorter than the original 2:39 single version).

Both versions of the song open with the protagonist at a crossroads kneeling to ask God's mercy, while the second sections tells of his failed attempts to hitch a ride.{{sfn|Schroeder|2004|pp=37–38}} In the third and fourth sections, he expresses apprehension at being stranded as darkness approaches and asks that his friend Willie Brown be advised that "I'm sinkin' down".{{sfn|Schroeder|2004|p=38}} The first take of the song, which was used for the single, includes a fifth verse that is not included in the second take. In it he laments not having a "sweet woman" in his distress.{{sfn|Pearson|McCulloch|2003|p=77}}
Blues historian [[Samuel Charters]] sees the song as having elements of protest and social commentary.{{sfn|Pearson|McCulloch|2003|pp=76–77}} The second verse includes "the sun goin' down now boy, dark gon' catch me here", a reference to the "sundown laws" or [[curfew]] during [[racial segregation in the United States]].{{sfn|Pearson|McCulloch|2003|pp=76–77}} Signs in the rural South advised "Nigger, don't let the sun set on you here".{{sfn|Pearson|McCulloch|2003|pp=76–77}} Johnson may be expressing a real fear of trumped up vagrancy charges or even [[lynchings]] that still took place.{{sfn|Palmer|1990|p=125}} Others suggest that the song is about a deeper and more personal loneliness.{{sfn|Charlton|2008|p=13}}{{sfn|Schroeder|2004|p=38}} Writers Barry Lee Pearson and Bill McCulloch argue that the fifth verse of the single version, which was not reissued until 1990, captures the essence of the song: "left alone, abandoned, or mistreated, he stands at the crossroad, looking this way or that for his woman".{{sfn|Pearson|McCulloch|2003|p=77}}

The song has been used to perpetuate the myth of Johnson selling his soul to the devil for his musical ability.{{sfn|Pearson|McCulloch|2003|p=76}} Nothing in the actual lyrics deals with a [[Faustian bargain]], but the verses have been interpreted as a description of the singer's fear of losing his soul to the devil (presumably in exchange for his talent).{{sfn|Schroeder|2004|pp=37–38}} Music historian [[Elijah Wald]] points out that Johnson's lyrics that do not support the idea and that it is a conflation of blues singer [[Tommy Johnson]]'s public persona and elements of [[folklore]] with Johnson's image of the crossroads.{{sfn|Wald|2004|p=274}} However, Palmer believes that Johnson was "fascinated with and probably obsessed by supernatural imagery."{{sfn|Palmer|1981|p=127}} His song "[[Hellhound on My Trail]]" tells of trying to stay ahead of the [[Hellhound|demon hound]] which is pursuing him and in "[[Me and the Devil Blues]]" he sings, "Early this mornin' when you knocked upon my door, and I said 'Hello Satan I believe it's time to go'".{{sfn|Schroeder|2009|p=37}}{{sfn|LaVere|1990|pp=38, 41}} These songs contribute to the Faustian myth; how much Johnson promoted the idea is debated, although many agree "the 'devil angle' made for good marketing".{{sfn|Gioia|2008|p=164}}

==Composition==
{{under construction |placedby=Ojorojo |section=yes}}
"Cross Road Blues" may have been in Johnson repertoire since 1932{{sfn|Pearson|McCulloch|2003|pp=75–76}} and was the first recording to show his mastery of the Delta blues style of Son House.{{sfn|Wald|2004|p=155}}{{efn|Johnson recorded two popular Son House songs "[[Walkin' Blues]]" and "Preaching Blues" at the same session after "Cross Road Blues".{{sfn|Komara|2007|p=63}}}} Author Edward Komara has identified "Straight Alky Blues" by [[Leroy Carr]] and [[Scrapper Blackwell]] as a melodic precedent which uses an extension of Johnson's arrangement for his first single "[[Terraplane Blues]]".{{sfn|Komara|2007|p=59}}{{efn|Leroy Carr and Scrapper Blackwell's "Straight Alky Blues" was released in 1929 on Vocalion Records (no. 1290).}}

The songs differs from a well-defined [[twelve-bar blues]] structure. The verses are not consistent and range from fourteen to fifteen bars in length.{{sfn|Headlam|1997|pp=63–71}} Additionally, the harmonic progression is often implied rather than stated (full IV and V chords are not used).{{sfn|Headlam|1997|pp=63–71}} Johnson uses a Spanish or [[open G tuning]] with the guitar tuned up to the key of B.{{sfn|Komara|2007|p=59}} This facilitates Johnson's use of a [[Slide (guitar technique)|slide]], while maintaining the rhythm on the lower strings.{{sfn|Komara|2007|p=59}}

==Releases==
ARC and [[Vocalion Records]] issued the first take of "Cross Road Blues" in May 1937 on the then standard [[gramophone record|ten-inch 78&nbsp;rpm record]].{{sfn|LaVere|1990|p=46}} The single, with its flip side "[[Ramblin' on My Mind]]", sold poorly.{{sfn|Palmer|1981|p=128}} The song remained out of print after its initial release until the LaVere produced ''[[The Complete Recordings (Robert Johnson album)|The Complete Recordings]]'' box set in 1990.{{sfn|LaVere|1990|p=46}} The second take was released in 1961, when producer [[Frank Driggs]] substituted it for the original on Johnson's first [[LP album|long-playing record album]] compliation ''[[King of the Delta Blues Singers]]''.<ref name="O'Neal"/> This take was also included on the 1990 ''Complete Recordings'' (at 2:29, it is :10 shorter than the original 2:39 single version).{{sfn|LaVere|1990|p=46, back cover}}


==Elmore James versions==
==Elmore James versions==
American blues singer and guitarist [[Elmore James]], who popularized Robert Johnson's "[[Dust My Broom]]", recorded two variations on "Cross Road Blues". Both titled "Standing at the Crossroads", they feature James' trademark "Dust My Broom" amplified slide-guitar figure and a backing ensemble. James' lyrics focus more on the lost-love aspect of the song:
American blues singer and guitarist [[Elmore James]], who popularized Robert Johnson's "[[Dust My Broom]]", recorded two variations on "Cross Road Blues".{{sfn|Charters|1973|p=51}} Both titled "Standing at the Crossroads", they feature James' trademark "Dust My Broom" amplified slide-guitar figure and a backing ensemble. James' lyrics focus on the lost-love aspect of the song:{{sfn|Charters|1973|p=51}}
:Well I was standin' at the crossroad, and my baby not around (2&times;)
{{quote|<poem>Well I was standin' at the crossroad, and my baby not around (2&times;)
:Well I begin to wonder, 'Is poor Elmore sinkin' down'
Well I begin to wonder, 'Is poor Elmore sinkin' down'</poem>}}
James first recorded the song in August 1954 at [[Modern Records]]' new studio in Culver City, California.{{sfn|Topping|1993|p=15}} [[Maxwell Davis]] supervised the session and a group of professional studio musicians provided the backup.{{sfn|Topping|1993|p=15}} The song was produced in a newer style that Modern used successfully for [[B.B. King]] and James' slide guitar was placed further back in the mix.{{sfn|Topping|1993|p=15}} [[Flair Records]], another of the [[Bihari brothers]]' Modern labels, released the single, backed with "Sunny Land".{{sfn|Topping|1993|p=15}} The song became a regional hit, but did not reach the national charts.{{sfn|Topping|1993|p=15}} Labels associated with Modern included "Standing at the Crossroads" on several compilation albums, such as ''Blues After Hours'' (Crown), ''The Blues in My Heart – The Rhythm in My Soul'' (Custom Records), and ''Original Folk Blues'' ([[Kent Records]]).{{sfn|Topping|1993|p=36}}
James first recorded "Standing at the Crossroads" in September 1954 in Los Angeles for the [[Bihari brothers]]' [[Flair Records]].<ref>[[Flair Records|Flair]] catalogue number 1057.</ref> His second version was recorded in New York City in 1960 or 1961 during one of his last sessions for [[Bobby Robinson (record producer)|Bobby Robinson]]'s Fury/Fire/Enjoy group of labels. Both versions appear on numerous James' compilations.

In 1959, producer [[Bobby Robinson (record producer)|Bobby Robinson]] signed James to his [[Fury Records|Fury]]/[[Fire Records|Fire]]/[[Enjoy Records|Enjoy]] group of labels.{{sfn|Morris|Haig|1992|p=12}} In addition to new material, Robinson had James revisit several of his older songs, including "Standing at the Crossroads".{{sfn|Morris|Haig|1992|p=13}} James re-recorded it at Beltone Studios in New York City in late 1960 or early 1961 during one of his last sessions.{{sfn|Morris|Haig|1992|p=13}} Studio musicians again provided the backup and the horn section included baritone saxophone by [[Paul Williams (saxophonist)|Paul Williams]].{{sfn|Morris|Haig|1992|p=13}} [[Bell Records]]' subsidiary labels released the song after James' death in 1965 – Flashback Records released a single with a reissue of "[[The Sky Is Crying]]" and Sphere Sound Records included it on a James compilation album also titled ''The Sky Is Crying''.<ref>
{{cite web
| url = http://www.discogs.com/Elmo-James-The-Sky-Is-Crying/release/3627028
| title = Elmo James – The Sky Is Crying (Sphere Sound Records)
| website = [[Discogs]]
| publisher = Zink Media, Inc.
| accessdate = December 9, 2014
}}</ref> Both the 1954 and 1960–1961 versions appear on numerous later James compilations.<ref>
{{cite web
| url = http://www.allmusic.com/song/standing-at-the-crossroads-mt0000436728
| title = Elmore James: Standing at the Crossroads – Appears On
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = December 8, 2014
| ref = harv
}}</ref>


[[Homesick James]], Elmore's cousin, with whom he had recorded and toured, also recorded a rendition titled "Crossroads". The session for Chicago-based [[USA Records]] took place on July 23, 1963. Homesick used an instrumental arrangement similar to Elmore's; however, all of his lyrics were derived from Robert Johnson's second take, and, given the recording date, suggest that he benefitted from the 1961 release.
[[Homesick James]], who recorded and toured with his cousin Elmore,{{sfn|Dahl|2002|pp=2–3}} also recorded a rendition titled "Crossroads".{{sfn|Charters|1973|p=51}} Homesick derived his guitar style from Elmore, which music critic Bill Dahl describes as "aggressive, sometimes chaotic slide work".{{sfn|Dahl|2002|pp=2–3}} Unlike Elmore, however, he uses most of the lyrics from Johnson's second take, which had been first issued in 1961.{{sfn|Dahl|2002|p=2–3}} The July 23, 1963, recording session produced Homesick's only single for Chicago-based [[USA Records]], "Crossroads" backed with "My Baby's Sweet".{{sfn|Dahl|2002|pp=2–3}}


==Eric Clapton/Cream interpretation==
==Eric Clapton/Cream interpretation==
Line 64: Line 78:
| B-side = "Passing the Time"
| B-side = "Passing the Time"
| Released = {{start date|1969}}
| Released = {{start date|1969}}
| Format = [[Gramophone record|7" 45&nbsp;rpm record]]
| Format = [[Gramophone record|Seven-inch 45&nbsp;rpm record]]
| Recorded = [[Winterland Ballroom]], San Francisco March 10, 1968 (1st show)
| Recorded = [[Winterland Ballroom]], San Francisco, March 10, 1968 (1st show)
| Genre = [[Hard rock]], [[blues rock]]
| Genre = [[Hard rock]], [[blues rock]]
| Length = {{Duration|m=4|s=16}}
| Length = {{Duration|m=4|s=16}}
Line 72: Line 86:
| Producer = [[Felix Pappalardi]]
| Producer = [[Felix Pappalardi]]
}}
}}
===Background===
In February 1966, prior to joining [[Cream (band)|Cream]], [[Eric Clapton]] recorded the song as "Crossroads" with a short-lived studio project, dubbed [[Eric Clapton and the Powerhouse]]. Powerhouse consisted of [[Steve Winwood]] on vocals, Clapton on guitar, [[Jack Bruce]] on bass guitar, [[Paul Jones (singer)|Paul Jones]] on harmonica, Ben Palmer on piano, and [[Pete York]] on drums. Their loose, [[R&B]]-influenced interpretation of the song was released on the [[Elektra Records]] compilation album ''[[What's Shakin']]'' in June 1966. It features the guitar figure that Clapton later used with Cream and a harmonica solo by Jones.
In early 1966, while still with [[John Mayall's Bluesbreakers]], [[Eric Clapton]] adapted the song for a recording session with an ''ad hoc'' studio group, dubbed [[Eric Clapton and the Powerhouse]].{{sfn|Roberty|1993|p=24}} [[Elektra Records]] producer [[Joe Boyd]] brought together [[Steve Winwood]] on vocals, Clapton on guitar, [[Jack Bruce]] on bass guitar, [[Paul Jones (singer)|Paul Jones]] on harmonica, Ben Palmer on piano, and [[Pete York]] on drums for the project.{{sfn|Roberty|1993|p=24}} Boyd recalled that he and Clapton reviewed potential songs; Clapton wanted to record [[Albert King]]'s "[[Crosscut Saw (song)|Crosscut Saw]]", but Boyd preferred to adapt an older country blues.{{sfn|Boyd|2010|p=111}} Their attention turned to Robert Johnson songs and Boyd proposed "Standing at the Crossroads"{{sic}}{{efn|Boyd refers to Johnson's song as "Standing at the Crossroads".}} and Clapton chose "[[Traveling Riverside Blues]]".{{sfn|Boyd|2010|pp=111–112}}{{efn|"Traveling Riverside Blues", like the second take of "Cross Road Blues", was first issued in 1961 on Johnson's ''[[King of the Delta Blues Singers]]'' compilation.{{sfn|LaVere|1990|pp=46–47}}}}


For the recording, Clapton developed an arrangement using lyrics from both songs with an adaption of the guitar line from the latter.{{sfn|Boyd|2010|p=112}}{{efn|[[Led Zeppelin]] later used lyrics from "Traveling Riverside Blues" with [[Howlin' Wolf]]'s "[[Killing Floor (Howlin' Wolf song)|Killing Floor]]" set to a rock arrangement for "[[The Lemon Song]]".}} Biographer [[Michael Schumacher]] describes the Powerhouse's performance as slower and more blues-derived than Cream's.{{sfn|Schumacher|2003|p=63}} Winwood sings and Jones plays the riff on harmonica similar to what Clapton later used with Cream (Jones also provides the instrumental solo; Clapton plays rhythm guitar throughout the song).{{efn|Schumacher also describes Winwood's vocals as differing from Cream's recordings.{{sfn|Schumacher|2003|p=63}}}} Elektra released the 2:32 recording, titled "Crossroads", on the compilation album ''[[What's Shakin']]'' in June 1966.{{sfn|McDermott|1995|p=39}} After the Powerhouse session, Clapton continued playing with Mayall.{{sfn|Roberty|1993|p=24}} Author Marc Roberty lists "Crossroads" in a typical set for the Bluesbreakers in the spring of 1966.{{sfn|Roberty|1993|p=24}}
On March 10, 1968, Cream recorded a live version {{anchor|Crossroads (Eric Clapton cover)}} of "Crossroads" during a performance at the [[Winterland Ballroom]] in San Francisco. It features an up-beat [[hard rock]] arrangement by Clapton and an eight-note guitar [[riff]] and has both [[Major scale|major]] and [[minor scale]] centers.<ref name="Mandel">{{cite book | title=The Billboard Illustrated Encyclopedia of Jazz & Blues | publisher=Billboard Books | author=Mandel, Howard | year=2005 | page=217 | isbn=0-8230-8266-0}}</ref> According to Clapton, the riff is an embellishment of Robert Johnson's guitar lines and "was the easiest for me to see as a rock and roll vehicle".<ref name="Covach"/> Unlike Johnson's or James' versions, Cream's song has "a straight eighth-note [rock] rhythm", with Bruce's bass line "combin[ing] with [Baker's] drums to create and continually emphasize continuity in the regular metric drive", according to Covach.<ref name="Covach"/> In addition to Johnson's opening and closing lyrics, Clapton twice adds a section from Johnson's "[[Traveling Riverside Blues]]".<ref>Another Johnson song first released on 1961's ''[[King of the Delta Blues Singers]]''.</ref>


===Cream version===
Cream's Winterland recording of "Crossroads" was released on the group's ''[[Wheels of Fire]]'' album in August 1968. A single was also released, reaching number 28 in the [[Billboard Hot 100|''Billboard'' Hot 100]].<ref>{{cite web | url=http://www.allmusic.com/album/wheels-of-fire-mw0000189640/awards | title=Wheels of Fire – Billboard Singles | publisher=Rovi Corp. | work=[[Allmusic]] | accessdate=July 12, 2013}}</ref> Although extensively reworked by Clapton and Cream, both the original album and single credit the songwriter as Robert Johnson or R. Johnson. Writer [[Anthony DeCurtis]] describes "Crossroads" as a "Cream classic—edited, as it was, by engineer [[Tom Dowd]] for the ''Wheels of Fire'' album—compared to the much longer renditions the band typically fired up".<ref>{{cite AV media notes | others=[[Eric Clapton]] | title=[[Crossroads (Eric Clapton album)|Crossroads]] | publisher=Polydor | last=DeCurtis | first=Anthony | authorlink=Anthony DeCurtis | year=1988 | | type=Box set booklet | page=9 | id=835 261-2}}</ref> Music critic [[Stephen Thomas Erlewine]] attributes the editing to producer [[Felix Pappalardi]], who "cut together the best bits of a winding improvisation to a tight four minutes, giving this track a relentless momentum that's exceptionally exciting".<ref>{{cite web | url=http://www.allmusic.com/album/wheels-of-fire-mw0000189640 | title=Cream: Wheels of Fire – Album Review | publisher=Rovi Corp. | work=[[AllMusic]] | accessdate=July 12, 2013 | last=Erlewine | first=Stephen Thomas | authorlink=Stephen Thomas Erlewine}}</ref>
{{anchor|Crossroads (Eric Clapton cover)}}
"Crossroads" became a part of Cream's repertoire when Clapton began performing with Bruce and [[Ginger Baker]] in July 1966. Their version features a prominent guitar riff with hard-driving, upbeat instrumental backing and soloing.<ref name="Gilliam">
{{cite web
| url = http://www.allmusic.com/song/crossroads-mt0004930760
| title = Cream: Crossroads – Song Review
| last = Gilliam
| first = Richard
| authorlink =
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = December 9, 2014
| ref = harv
}}</ref>{{sfn|Headlam|1997|pp=71–72}} Clapton had 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.{{sfn|Schumacher|2003|p=99}} However, he envisioned "Crossroads" as a rock song:
{{quote|It became, then, a question of finding something that had a riff, a form that could be interpreted, simply, in a band format. In 'Crossroads' there was a very definite riff. He [Johnson] was playing it full-chorded with the slide as well. I just took it on a single string or two strings and embellished it. Out of all of the songs it was the easiest for me to see as a rock and roll vehicle.{{sfn|Headlam|1997|pp=69}}}}
He takes Johnson's guitar line and simplifies it with a straight eighth-note or rock rhythm.{{sfn|Headlam|1997|p=69}} Clapton and Bruce on bass continuously emphasize the riff throughout the song to give it a strong and regular metric drive combined with Baker's drumming.{{sfn|Headlam|1997|p=71}} Johnson's irregular measures are also standardized to typical twelve-bar sections in which the I–IV–V progression is clearly stated.{{sfn|Headlam|1997|p=71}} Clapton does not adapt Johnson's slide guitar technique or open tuning; instead he follows the electric guitar soloing approach by [[B.B. King]] and [[Albert King]].{{sfn|Headlam|1997|p=71}} However, he makes full use of a duple shuffle pattern or boogie bass line while singing (Johnson only used it for two bars in "Cross Road Blues").{{sfn|Headlam|1997|p=71}}{{efn|Johnson's adaptation of the boogie line for guitar is one of his major innovations.{{sfn|Wald|2004|pp=136–137}} He first used it in "Dust My Broom"{{sfn|Wald|2004|p=136}} and Elmore James' plays it for the rhythm guitar parts on "Standing at the Crossroads".}}


Clapton also simplifies and standardizes Johnson's vocal lines.{{sfn|Headlam|1997|p=71}} Schumacher calls Clapton's vocal on "Crossroads" his best and most assured with Cream.{{sfn|Schumacher|2003|p=99}} In addition to Johnson's opening and closing lyrics, he twice adds the same section from "Traveling Riverside Blues":{{sfn|Headlam|1997|p=91}}{{efn|The section from "Traveling Riverside Blues" may have been repeated in the editing process.}}
After Cream's breakup in 1968, Clapton has continued to perform "Crossroads" in a variety of settings. Live recordings appear on ''[[Live at the Fillmore (Derek and the Dominos album)|Live at the Fillmore]]'' (with [[Derek and the Dominos]]), ''[[Crossroads 2: Live in the Seventies]]'', ''[[The Secret Policeman's Other Ball]]'', and other albums. Clapton has also used the name for the [[Crossroads Centre]], a drug rehabilitation center he founded, and for the [[Crossroads Guitar Festival]]s to benefit the center.
{{quote|<poem>I'm going down to Rosedale, take my rider by my side (2&times;)
You can still barrel house baby, on the riverside</poem>}}
During the instrumental break, Cream takes an improvisational approach characteristic of their later live performances.{{sfn|Headlam|1997|p=72}} Bruce's bass lines blend rhythm and harmony and Baker adds fills and more complex techniques typical of drummers in jazz trios.{{sfn|Headlam|1997|p=72}} However, the momentum is never allowed to dissipate and the drive is constantly reinforced.{{sfn|Headlam|1997|p=72}}


==Recognition and influence==
===Recording and releases===
Cream recorded the song on November 28, 1966, for broadcast on the [[BBC Home Service|BBC]] ''Guitar Club'' radio program.<ref>
In 1986, Robert Johnson's "Cross Road Blues" was inducted into the [[Blues Foundation]] Hall of Fame, noting 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".<ref name="O'Neal">{{cite web | url=http://www.blues.org/awards-search/hall-of-fame-inductees/hall-of-fame-inductees-winners/?y=19 | title=Classics of Blues Recordings – Singles or Album Tracks | publisher=The [[Blues Foundation]] | website=Blues Hall of Fame Inductees Winners | accessdate=July 12, 2013 | last=O'Neal | first=Jim | authorlink=Jim O'Neal | year=1986}}</ref>
{{cite web
In 1998, it received a [[Grammy Hall of Fame Award]], which "honor[s] recordings of lasting qualitative or historical significance".<ref>{{cite web | url=http://www.grammy.org/recording-academy/awards/hall-of-fame#c | title=Grammy Hall of Fame Awards – Past Recipients | publisher=[[National Academy of Recording Arts and Sciences|The Recording Academy]] | accessdate=Junly 12, 2003 | year=1998}}</ref> In 1995, Cream's "Crossroads" was included on the [[Rock and Roll Hall of Fame]]'s list of the "500 Songs That Shaped Rock and Roll".<ref>{{cite web | url=http://www.rockhall.com/exhibithighlights/500-songs | title=500 Songs That Shaped Rock and Roll | publisher=[[Rock and Roll Hall of Fame]] | website=Exhibit Highlights | accessdate=July 12, 2013 | year=1995 | archiveurl=http://web.archive.org/web/20070502032502/www.rockhall.com/exhibithighlights/500-songs-by-name-ac/ | archivedate=2007}}</ref> [[Rolling Stone (magazine)|''Rolling Stone'']] magazine placed it at number three on its "Greatest Guitar Songs of All Time".<ref>{{cite journal | url=http://www.rollingstone.com/news/coverstory/20947527 | title=100 Greatest Guitar Songs of All Time | accessdate=July 12, 2013 | journal=[[Rolling Stone]] | year=2003 | archiveurl=http://web.archive.org/web/20080530212553/http://www.rollingstone.com/news/coverstory/20947527/page/4 | archivedate=2003}}</ref>
| url = http://www.allmusic.com/album/bbc-sessions-mw0000023539
| title = Cream: BBC Sessions – Review
| last = Unterberger
| first = Richie
| authorlink = Richie Unterberger
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = December 8, 2014
| ref = harv
}}</ref> At less than two minutes in length, Clapton only sings the first and last sections, with his guitar solo replacing the middle "Traveling Riverside Blues" verse. It appeared on bootlegalbums before finally being released in 2003 on ''[[BBC Sessions (Cream album)|BBC Sessions]]''. On March 10, 1968, Cream recorded it again during a concert at the [[Winterland Ballroom]] in San Francisco.{{sfn|DeCurtis|1988|p=23}} The recording was edited from a much longer performance that was typical for the trio.{{sfn|DeCurtis|1988|p=9}} Writer [[Anthony DeCurtis]] credits the trimming to engineer [[Tom Dowd]].{{sfn|DeCurtis|1988|p=9}} Music critic [[Stephen Thomas Erlewine]] attributes the editing to producer [[Felix Pappalardi]], who "cut together the best bits of a winding improvisation to a tight four minutes", to allow the song's drive more continuity.<ref>
{{cite web
| url = http://www.allmusic.com/album/wheels-of-fire-mw0000189640
| title = Cream: Wheels of Fire – Album Review
| last = Erlewine
| first = Stephen Thomas
| authorlink = Stephen Thomas Erlewine
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = July 12, 2013
}}</ref>{{efn|Without mentioning the editing, Schumacher commented, "Given the passion of the solo performances on 'Crossroads,' it seems almost miraculous that Cream is able to return to the song itself."{{sfn|Schumacher|2003|p=100}}}} "Crossroads" became the opening number on the live half of Cream's ''[[Wheels of Fire]]'' double album, released in August 1968.{{sfn|DeCurtis|1988|p=23}} A single followed in 1969 after the group's breakup and it reached number 28 on the [[Billboard Hot 100|''Billboard'' Hot 100]] pop chart.<ref>
{{cite web
| url = http://www.allmusic.com/album/wheels-of-fire-mw0000189640/awards
| title = Wheels of Fire – Billboard Singles
| publisher = Rovi Corp.
| work = [[AllMusic]]
| accessdate = July 12, 2013
}}</ref> Both the original album and single credit the songwriter as Robert Johnson or R. Johnson, although Clapton and Cream extensively reworked the song.<ref>
{{cite web
| url = http://www.discogs.com/Cream-Wheels-Of-Fire/release/4849719
| title = Cream – Wheels of Fire (Atco)
| website = [[Discogs]]
| publisher = Zink Media, Inc.
| accessdate = December 8, 2014
}}</ref><ref>
{{cite web
| url = http://www.discogs.com/Cream-Crossroads-Passing-The-Time/release/529628
| title = Cream – Crossroads/Passing the Time (Atco)
| website = [[Discogs]]
| publisher = Zink Media, Inc.
| accessdate = December 8, 2014
}}</ref>


Cream played "Crossroads" during their final concert at the [[Royal Albert Hall]] on November 26, 1968. The expanded version of ''[[Cream's Farewell Concert]]'' film released in 1977 contains the performance.<ref>
Numerous musicians have recorded renditions of "Cross Road Blues", usually following Cream's arrangement. Some of these include:<ref>{{cite web | url=http://www.allmusic.com/search/songs/crossroads | title=Crossroads – Song Search Results | publisher=Rovi Corp. | work=[[AllMusic]] | accessdate=July 12, 2013}}</ref>[[the Allman Joys]], [[the Doors]] (on their ''[[Pittsburgh Civic Arena (album)|Live In Pittsburgh 1970]]'' album), [[Free (band)|Free]], [[Jeff Healey]], [[Cyndi Lauper]], [[Lynyrd Skynyrd]] (on their ''[[One More from the Road]]'' live album), [[John Mayer]], [[Phish]], [[Paul Rodgers]], [[Rush (band)|Rush]], [[Todd Rundgren]], [[Robin Trower]], [[Leslie West]], and [[Johnny Winter]].
{{cite web
| url = http://www.allmusic.com/album/the-cream-farewell-concert-dvd-mw0001587605
| title = Cream: The Cream Farewell Concert
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = December 11, 2014
| ref = harv
}}</ref> 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.<ref>
{{cite web
| url = http://www.allmusic.com/album/live-at-the-royal-albert-hall-2005-mw0002219106
| title = Live at the Royal Albert Hall 2005
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = December 11, 2014
| ref = harv
}}</ref> After Cream's breakup in 1968, Clapton continued to perform "Crossroads" in a variety of settings.{{sfn|Headlam|1997|p=69}} Live recordings appear on ''[[Live at the Fillmore (Derek and the Dominos album)|Live at the Fillmore]]'' (with [[Derek and the Dominos]]), ''[[Crossroads 2: Live in the Seventies]]'', ''[[The Secret Policeman's Other Ball]]'', and other albums.<ref>
{{cite web
| url = http://www.allmusic.com/song/crossroads-mt0033231307
| title = Eric Clapton: Crossroads – Appears On
| work = [[AllMusic]]
| publisher = Rovi Corp.
| accessdate = December 8, 2014
| ref = harv
}}</ref> Clapton has also used the name for the [[Crossroads Centre]], a drug rehabilitation center he founded, and for the [[Crossroads Guitar Festival]]s to benefit the center.


==Recognition and influence==
[[Linsey Alexander]]'s song "Saving Robert Johnson" brings the myth around "Crossroads" into the present day with the lyrics, "I want you to e-mail the devil, I want you to poke him on Facebook."<ref name="Blues Blast">{{cite web|last=Szalony|first=Greg|title=Linsey Alexander - Been There Done That|url=http://www.thebluesblast.com/bluesartists/linseyalexander.htm|publisher=Blues Blast Magazine|accessdate=28 January 2013}}</ref> Alexander's critically acclaimed "Saving Robert Johnson"<ref name="Living Blues">{{cite web|last=Whiteis|first=David|title=CD Reviews October 2012 – Linsey Alexander|url=http://www.livingblues.com/index.php/inside-living-blues/cd-reviews.html|publisher=Living Blues|accessdate=28 January 2013}}</ref> was included in the Mississippi Blues Project, an extensive review of Mississippi blues produced by [[WXPN]] in Philadelphia.<ref name="Mississippi Blue Project">{{cite web|last=Meister|first=Jonny|title=The Mix: The Mississippi Blues Project|url=http://www.npr.org/2012/10/01/161816032/the-mix-the-mississippi-blues-project|publisher=NPR Music|accessdate=28 January 2013}}</ref>
In 1986, Robert Johnson's "Cross Road Blues" was inducted into the [[Blues Foundation]] Hall of Fame, noting 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".<ref name="O'Neal">
{{cite web
| url = http://www.blues.org/awards-search/hall-of-fame-inductees/hall-of-fame-inductees-winners/?y=19
| last = O'Neal
| first = Jim
| authorlink = Jim O'Neal
| title = 1986 Hall of Fame Inductees: Cross Road Blues – Robert Johnson (ARC/Vocalion, 1936)
| website = The [[Blues Foundation]]
| year = 1986
| accessdate = July 12, 2013
}}</ref>
In 1998, it received a [[Grammy Hall of Fame Award]], which "honor[s] recordings of lasting qualitative or historical significance".<ref>
{{cite web
| url = http://www.grammy.org/recording-academy/awards/hall-of-fame#c
| title = Grammy Hall of Fame Awards – Past Recipients
| publisher = [[National Academy of Recording Arts and Sciences|The Recording Academy]]
| year = 1998
| accessdate = July 12, 2003
}}</ref> In 1995, Cream's "Crossroads" was included on the [[Rock and Roll Hall of Fame]]'s list of the "500 Songs That Shaped Rock and Roll".<ref>
{{cite web
| url = http://www.rockhall.com/exhibithighlights/500-songs
| title = 500 Songs That Shaped Rock and Roll
| publisher = [[Rock and Roll Hall of Fame]]
| website = Exhibit Highlights
| year = 1995
| archiveurl = http://web.archive.org/web/20070502032502/www.rockhall.com/exhibithighlights/500-songs-by-name-ac/
| archivedate = 2007
| accessdate = July 12, 2013
}}</ref> [[Rolling Stone (magazine)|''Rolling Stone'']] magazine placed it at number three on its "Greatest Guitar Songs of All Time".<ref>
{{cite journal
| year = 2003
| title = 100 Greatest Guitar Songs of All Time
| journal = [[Rolling Stone]]
| url = http://www.rollingstone.com/news/coverstory/20947527
| archiveurl = http://web.archive.org/web/20080530224813/www.rollingstone.com/news/coverstory/20947527/page/4
| archivedate = 2008
| accessdate = July 12, 2013
}}</ref>


[[AllMusic]]'s Richard Gilliam identifies Cream's "Crossroads" as the first recording to bring Robert Johnson to the attention of popular music audiences and allow reissues of his original recordings to sell in the millions.<ref name="Gilliam"/> By combining elements of hard rock and blues, he adds it inspired "a new generation of blues-influenced artists".<ref name="Gilliam"/> Rock musicians have recorded numerous renditions based on Cream's arrangement.<ref>
==See also==
{{cite web
*[[Crossroads (1986 film)]]
| url = http://www.allmusic.com/search/songs/crossroads
| work = [[AllMusic]]
| title = Crossroads – Song Search Results
| publisher = Rovi Corp.
| accessdate = July 12, 2013
}}</ref>


==References==
==Notes==
; Footnotes
{{Reflist|2}}
{{Notelist|30em}}
; Citations
{{Reflist|20em}}
; References
*{{cite book
| last = Boyd
| first = Joe
| authorlink = Joe Boyd
| title = White Bicycles: Making Music in the 1960s
| year = 2010
| publisher = Serpent's Tail
| isbn = 978-1-85242-489-3
| ref = harv}}
*{{cite book
| last = Charlton
| first = Katherine
| title = Rock Music Styles: A History
| year = 2008
| publisher = McGraw-Hill
| isbn = 978-0-07-312162-8
| ref = harv}}
*{{cite book
| last = Samuel
| first = Charters
| authorlink = Samuel Charters
| title = Robert Johnson
| publisher = Oak Publications
| year = 1973
| isbn = 0-8256-0059-6
| ref = harv}}
*{{cite AV media notes
| title = [[Crossroads (Eric Clapton album)|Crossroads]]
| others = [[Eric Clapton]]
| year = 1988
| last = DeCurtis
| first = Anthony
| authorlink = Anthony DeCurtis
| type = Box set booklet
| publisher = Polydor Records
| id = 835 261-2
| ref = harv}}
*{{cite AV media notes
| title = The USA Records Blues Story
| others = Various artists
| year = 2002
| last = Dahl
| first = Bill
| type = Album notes
| publisher = Fuel 2000 Records
| id = 302 961 209 2
| ref = harv}}
*{{cite book
| last = Gillett
| first = Charlie
| authorlink = Charlie Gillett
| title = The Sound of the City
| year = 1972
| publisher = Dell Publishing Co}}
*{{cite book
| last = Gioia
| first = Ted
| authorlink = Ted Gioia
| title = Delta Blues
| publisher = W. W. Norton
| year = 2008
| isbn = 978-0-393-33750-1
| ref = harv}}
*{{cite book
| last = Headlam
| first = Dave
| editor1-last = Covach
| editor1-first = John
| editor2-last = Boone
| editor2-first = Graeme M.
| title = Understanding Rock: Essays in Musical Analysis
| year = 1997
| publisher = Oxford University Press
| isbn = 978-0-19-510005-1
| ref = harv}}
*{{cite encyclopedia
| last = Herzhaft
| first = Gerard
| encyclopedia = Encyclopedia of the Blues
| title = Crossroads
| year = 1992
| publisher = University of Arkansas Press
| isbn = 1-55728-252-8
| ref = harv}}
*{{cite book
| last = Komara
| first = Edward
| title = The Road to Robert Johnson: The Genesis and Evolution of Blues in the Delta From the Late 1800s Through 1938
| year = 2007
| publisher = Hal Leonard
| isbn = 978-0-634-00907-5
| ref = harv}}
*{{cite AV media notes
| title = [[The Complete Recordings (Robert Johnson album)|The Complete Recordings]]
| others = [[Robert Johnson]]
| first = Stephen
| last = LaVere
| type = Box set booklet
| year = 1990
| publisher = Columbia Records
| id = C2K 46222
| ref = harv}}
*{{cite book
| last = Litwack
| first = Leon F.
| authorlink = Leon Litwack
| title = Trouble in Mind: Black Southerners in the Age of Jim Crow
| year = 1998
| publisher = Vintage Books
| isbn = 978-0-394-52778-9
| ref = harv}}
*{{cite AV media notes
| title = [[The Finer Things]]
| others = [[Steve Winwood]]
| first = John
| last = McDermott
| type = CD set booklet
| year = 1995
| publisher = Island Records
| id = 314 516 860-2
| ref = harv}}
*{{cite AV media notes
| title = Elmore James: King of the Slide Guitar
| others = [[Elmore James]]
| first1 = Chris
| last1 = Morris
| first2 = Diana
| last2 = Haig
| type = Box set booklet
| year = 1992
| publisher = Capricorn Records
| id = 9 42006-2
| ref = harv}}
*{{cite book
| last = Palmer
| first = Robert
| authorlink = Robert Palmer (writer)
| title = Deep Blues
| year = 1981
| publisher = Penguin Books
| isbn = 0-14-006223-8
| ref = harv}}
*{{cite book
| last1 = Pearson
| first1 = Barry Lee
| last2 = McCulloch
| first2 = Bill
| title = Robert Johnson: Lost and Found
| year = 2008
| publisher = University of Illinois Press
| isbn = 978-0-252-07528-5
| ref = harv}}
*{{cite book
| last = Roberty
| first = Mark
| title = Slowhand: The Complete Life and Times of Eric Clapton
| year = 1993
| publisher = Crown Trade Paperbacks
| isbn = 0-517-88118-7
| ref = harv}}
*{{cite book
| last = Schumacher
| first = Michael
| title = Crossroads: The Life and Music of Eric Clapton
| year = 2003
| publisher = Citadel Press
| isbn = 978-0806524665
| ref = harv}}
*{{cite AV media notes
| title = Elmore James: The Classic Early Recordings 1951–1956
| others = [[Elmore James]]
| first = Ray
| last = Topping
| type = Box set booklet
| year = 1993
| publisher = Virgin Records America/Flair
| id = 7243 8 39632 2 5
| ref = harv}}
*{{cite book
| last = Wald
| first = Elijah
| authorlink = Elijah Wald
| title = Escaping the Delta: Robert Johnson and the Invention of the Blues
| year = 2004
| publisher = Amistad
| isbn = 978-0-06-052427-2
| ref = harv}}
*{{cite book
| last = Wardlow
| first = Gayle Dean
| authorlink = Gayle Dean Wardlow
| title = Chasin' that Devil Music: Searching for the Blues
| year = 1998
| publisher = Miller Freeman Books
| isbn = 0-87930-552-5
| ref = harv}}
*{{cite book
| last = Whitburn
| first = Joel
| authorlink = Joel Whitburn
| title = Top R&B Singles 1942–1988
| year = 1988
| publisher = Record Research, Inc
| isbn = 0-89820-068-7
| ref = harv}}


{{Robert Johnson}}
{{Robert Johnson}}
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[[Category:1954 singles]]
[[Category:1954 singles]]
[[Category:Elmore James songs]]
[[Category:Elmore James songs]]
[[Category:1968 singles]]
[[Category:1969 singles]]
[[Category:Cream (band) songs]]
[[Category:Cream (band) songs]]
[[Category:Song recordings produced by Felix Pappalardi]]
[[Category:Song recordings produced by Felix Pappalardi]]

Revision as of 19:27, 11 December 2014

"Crossroads (song)" redirects here. For other songs of that title, see Crossroads.
"Cross Road Blues"
Song
B-side"Ramblin' on My Mind"

"Cross Road Blues" (more commonly known as "Crossroads") is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the devil in exchange for his musical talents, although the lyrics do not contain any specific references.

Bluesman Elmore James revived the song with recordings in 1954 and 1960–1961. English guitarist Eric Clapton with Cream popularized the song as "Crossroads" in the late 1960s. Their blues rock interpretation inspired many cover versions and the Rock and Roll Hall of Fame included it as one of the "500 Songs That Shaped Rock and Roll". 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.

Recording

Little is known about Johnson's life and musical career,[1] although his recordings are well documented.[2] In October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for ARC Records.[3] After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session.[4] Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936.[2] During the first session, he recorded his most commercially appealing songs.[5] They represented his most original pieces and reflected current, piano-influenced musical trends.[6][7][8] The songs include "Terraplane Blues" (his first single and most popular record)[4] along with "Sweet Home Chicago" and "I Believe I'll Dust My Broom", which became blues standards after others recorded them.[9][10]

A second and third recording date took place in San Antonio after a two-day break.[a] Johnson reached back into his long-standing repertoire for songs to record.[8] The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth.[8][12] The songs are among Johnson's most heartfelt and forceful[7] and music historian Ted Gioia sees a shift in the lyrical themes:

At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges ... [he] evokes the themes of damnation and redemption, darkness and light ... glimpses into the musician's inner life, and all its attendant turmoils.[13]

"Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936.[14] The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine.[15] It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it.[16] Two similar takes of the song were recorded.[17]

Lyrics and interpretation

A crossroads or an intersection rural roads is one of the few landmarks in the Mississippi Delta, a flat featureless plain between the Mississippi and Yazoo rivers.[18][b] It is part of the local iconography and various businesses use the name, such as gas stations, banks, and retail shops.[19] A crossroads is also where cars are more likely to slow down or stop, thus presenting the best opportunity for a hitchiker.[20] In the simplest reading, Johnson describes being unable to catch a ride at an intersection before the sun sets.[21] However, many see different levels of meaning and some have attached a supernatural significance to the song.[21]

Both versions of the song open with the protagonist at a crossroads kneeling to ask God's mercy, while the second sections tells of his failed attempts to hitch a ride.[22] In the third and fourth sections, he expresses apprehension at being stranded as darkness approaches and asks that his friend Willie Brown be advised that "I'm sinkin' down".[23] The first take of the song, which was used for the single, includes a fifth verse that is not included in the second take. In it he laments not having a "sweet woman" in his distress.[24]

Blues historian Samuel Charters sees the song as having elements of protest and social commentary.[25] The second verse includes "the sun goin' down now boy, dark gon' catch me here", a reference to the "sundown laws" or curfew during racial segregation in the United States.[25] Signs in the rural South advised "Nigger, don't let the sun set on you here".[25] Johnson may be expressing a real fear of trumped up vagrancy charges or even lynchings that still took place.[26] Others suggest that the song is about a deeper and more personal loneliness.[27][23] Writers Barry Lee Pearson and Bill McCulloch argue that the fifth verse of the single version, which was not reissued until 1990, captures the essence of the song: "left alone, abandoned, or mistreated, he stands at the crossroad, looking this way or that for his woman".[24]

The song has been used to perpetuate the myth of Johnson selling his soul to the devil for his musical ability.[21] Nothing in the actual lyrics deals with a Faustian bargain, but the verses have been interpreted as a description of the singer's fear of losing his soul to the devil (presumably in exchange for his talent).[22] Music historian Elijah Wald points out that Johnson's lyrics that do not support the idea and that it is a conflation of blues singer Tommy Johnson's public persona and elements of folklore with Johnson's image of the crossroads.[28] However, Palmer believes that Johnson was "fascinated with and probably obsessed by supernatural imagery."[19] His song "Hellhound on My Trail" tells of trying to stay ahead of the demon hound which is pursuing him and in "Me and the Devil Blues" he sings, "Early this mornin' when you knocked upon my door, and I said 'Hello Satan I believe it's time to go'".[29][30] These songs contribute to the Faustian myth; how much Johnson promoted the idea is debated, although many agree "the 'devil angle' made for good marketing".[31]

Composition

"Cross Road Blues" may have been in Johnson repertoire since 1932[32] and was the first recording to show his mastery of the Delta blues style of Son House.[33][c] Author Edward Komara has identified "Straight Alky Blues" by Leroy Carr and Scrapper Blackwell as a melodic precedent which uses an extension of Johnson's arrangement for his first single "Terraplane Blues".[35][d]

The songs differs from a well-defined twelve-bar blues structure. The verses are not consistent and range from fourteen to fifteen bars in length.[36] Additionally, the harmonic progression is often implied rather than stated (full IV and V chords are not used).[36] Johnson uses a Spanish or open G tuning with the guitar tuned up to the key of B.[35] This facilitates Johnson's use of a slide, while maintaining the rhythm on the lower strings.[35]

Releases

ARC and Vocalion Records issued the first take of "Cross Road Blues" in May 1937 on the then standard ten-inch 78 rpm record.[14] The single, with its flip side "Ramblin' on My Mind", sold poorly.[37] The song remained out of print after its initial release until the LaVere produced The Complete Recordings box set in 1990.[14] The second take was released in 1961, when producer Frank Driggs substituted it for the original on Johnson's first long-playing record album compliation King of the Delta Blues Singers.[38] This take was also included on the 1990 Complete Recordings (at 2:29, it is :10 shorter than the original 2:39 single version).[39]

Elmore James versions

American blues singer and guitarist Elmore James, who popularized Robert Johnson's "Dust My Broom", recorded two variations on "Cross Road Blues".[40] Both titled "Standing at the Crossroads", they feature James' trademark "Dust My Broom" amplified slide-guitar figure and a backing ensemble. James' lyrics focus on the lost-love aspect of the song:[40]

Well I was standin' at the crossroad, and my baby not around (2×)
Well I begin to wonder, 'Is poor Elmore sinkin' down'

James first recorded the song in August 1954 at Modern Records' new studio in Culver City, California.[41] Maxwell Davis supervised the session and a group of professional studio musicians provided the backup.[41] The song was produced in a newer style that Modern used successfully for B.B. King and James' slide guitar was placed further back in the mix.[41] Flair Records, another of the Bihari brothers' Modern labels, released the single, backed with "Sunny Land".[41] The song became a regional hit, but did not reach the national charts.[41] Labels associated with Modern included "Standing at the Crossroads" on several compilation albums, such as Blues After Hours (Crown), The Blues in My Heart – The Rhythm in My Soul (Custom Records), and Original Folk Blues (Kent Records).[42]

In 1959, producer Bobby Robinson signed James to his Fury/Fire/Enjoy group of labels.[43] In addition to new material, Robinson had James revisit several of his older songs, including "Standing at the Crossroads".[44] James re-recorded it at Beltone Studios in New York City in late 1960 or early 1961 during one of his last sessions.[44] Studio musicians again provided the backup and the horn section included baritone saxophone by Paul Williams.[44] Bell Records' subsidiary labels released the song after James' death in 1965 – Flashback Records released a single with a reissue of "The Sky Is Crying" and Sphere Sound Records included it on a James compilation album also titled The Sky Is Crying.[45] Both the 1954 and 1960–1961 versions appear on numerous later James compilations.[46]

Homesick James, who recorded and toured with his cousin Elmore,[47] also recorded a rendition titled "Crossroads".[40] Homesick derived his guitar style from Elmore, which music critic Bill Dahl describes as "aggressive, sometimes chaotic slide work".[47] Unlike Elmore, however, he uses most of the lyrics from Johnson's second take, which had been first issued in 1961.[47] The July 23, 1963, recording session produced Homesick's only single for Chicago-based USA Records, "Crossroads" backed with "My Baby's Sweet".[47]

Eric Clapton/Cream interpretation

"Cross Road Blues"
Song
B-side"Passing the Time"

Background

In early 1966, while still with John Mayall's Bluesbreakers, Eric Clapton adapted the song for a recording session with an ad hoc studio group, dubbed Eric Clapton and the Powerhouse.[48] Elektra Records producer Joe Boyd brought together Steve Winwood on vocals, Clapton on guitar, Jack Bruce on bass guitar, Paul Jones on harmonica, Ben Palmer on piano, and Pete York on drums for the project.[48] Boyd recalled that he and Clapton reviewed potential songs; Clapton wanted to record Albert King's "Crosscut Saw", but Boyd preferred to adapt an older country blues.[49] Their attention turned to Robert Johnson songs and Boyd proposed "Standing at the Crossroads" [sic][e] and Clapton chose "Traveling Riverside Blues".[50][f]

For the recording, Clapton developed an arrangement using lyrics from both songs with an adaption of the guitar line from the latter.[51][g] Biographer Michael Schumacher describes the Powerhouse's performance as slower and more blues-derived than Cream's.[52] Winwood sings and Jones plays the riff on harmonica similar to what Clapton later used with Cream (Jones also provides the instrumental solo; Clapton plays rhythm guitar throughout the song).[h] Elektra released the 2:32 recording, titled "Crossroads", on the compilation album What's Shakin' in June 1966.[53] After the Powerhouse session, Clapton continued playing with Mayall.[48] Author Marc Roberty lists "Crossroads" in a typical set for the Bluesbreakers in the spring of 1966.[48]

Cream version

"Crossroads" became a part of Cream's repertoire when Clapton began performing with Bruce and Ginger Baker in July 1966. Their version features a prominent guitar riff with hard-driving, upbeat instrumental backing and soloing.[54][55] Clapton had 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.[56] However, he envisioned "Crossroads" as a rock song:

It became, then, a question of finding something that had a riff, a form that could be interpreted, simply, in a band format. In 'Crossroads' there was a very definite riff. He [Johnson] was playing it full-chorded with the slide as well. I just took it on a single string or two strings and embellished it. Out of all of the songs it was the easiest for me to see as a rock and roll vehicle.[57]

He takes Johnson's guitar line and simplifies it with a straight eighth-note or rock rhythm.[57] Clapton and Bruce on bass continuously emphasize the riff throughout the song to give it a strong and regular metric drive combined with Baker's drumming.[58] Johnson's irregular measures are also standardized to typical twelve-bar sections in which the I–IV–V progression is clearly stated.[58] Clapton does not adapt Johnson's slide guitar technique or open tuning; instead he follows the electric guitar soloing approach by B.B. King and Albert King.[58] However, he makes full use of a duple shuffle pattern or boogie bass line while singing (Johnson only used it for two bars in "Cross Road Blues").[58][i]

Clapton also simplifies and standardizes Johnson's vocal lines.[58] Schumacher calls Clapton's vocal on "Crossroads" his best and most assured with Cream.[56] In addition to Johnson's opening and closing lyrics, he twice adds the same section from "Traveling Riverside Blues":[61][j]

I'm going down to Rosedale, take my rider by my side (2×)
You can still barrel house baby, on the riverside

During the instrumental break, Cream takes an improvisational approach characteristic of their later live performances.[62] Bruce's bass lines blend rhythm and harmony and Baker adds fills and more complex techniques typical of drummers in jazz trios.[62] However, the momentum is never allowed to dissipate and the drive is constantly reinforced.[62]

Recording and releases

Cream recorded the song on November 28, 1966, for broadcast on the BBC Guitar Club radio program.[63] At less than two minutes in length, Clapton only sings the first and last sections, with his guitar solo replacing the middle "Traveling Riverside Blues" verse. It appeared on bootlegalbums before finally being released in 2003 on BBC Sessions. On March 10, 1968, Cream recorded it again during a concert at the Winterland Ballroom in San Francisco.[64] The recording was edited from a much longer performance that was typical for the trio.[65] Writer Anthony DeCurtis credits the trimming to engineer Tom Dowd.[65] Music critic Stephen Thomas Erlewine attributes the editing to producer Felix Pappalardi, who "cut together the best bits of a winding improvisation to a tight four minutes", to allow the song's drive more continuity.[66][k] "Crossroads" became the opening number on the live half of Cream's Wheels of Fire double album, released in August 1968.[64] A single followed in 1969 after the group's breakup and it reached number 28 on the Billboard Hot 100 pop chart.[68] Both the original album and single credit the songwriter as Robert Johnson or R. Johnson, although Clapton and Cream extensively reworked the song.[69][70]

Cream played "Crossroads" during their final concert at the Royal Albert Hall on November 26, 1968. The expanded version of Cream's Farewell Concert film released in 1977 contains the performance.[71] 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.[72] After Cream's breakup in 1968, Clapton continued to perform "Crossroads" in a variety of settings.[57] Live recordings appear on Live at the Fillmore (with Derek and the Dominos), Crossroads 2: Live in the Seventies, The Secret Policeman's Other Ball, and other albums.[73] Clapton has also used the name for the Crossroads Centre, a drug rehabilitation center he founded, and for the Crossroads Guitar Festivals to benefit the center.

Recognition and influence

In 1986, Robert Johnson's "Cross Road Blues" was inducted into the Blues Foundation Hall of Fame, noting 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".[38] In 1998, it received a Grammy Hall of Fame Award, which "honor[s] recordings of lasting qualitative or historical significance".[74] In 1995, Cream's "Crossroads" was included on the Rock and Roll Hall of Fame's list of the "500 Songs That Shaped Rock and Roll".[75] Rolling Stone magazine placed it at number three on its "Greatest Guitar Songs of All Time".[76]

AllMusic's Richard Gilliam identifies Cream's "Crossroads" as the first recording to bring Robert Johnson to the attention of popular music audiences and allow reissues of his original recordings to sell in the millions.[54] By combining elements of hard rock and blues, he adds it inspired "a new generation of blues-influenced artists".[54] Rock musicians have recorded numerous renditions based on Cream's arrangement.[77]

Notes

Footnotes
  1. ^ The two-day break in the San Antonio recording sessions may not have been voluntary; one account puts Johnson in jail after a run in with local police.[11]
  2. ^ In Johnson's time, "cross road" was the preferred usage for "crossroads".
  3. ^ Johnson recorded two popular Son House songs "Walkin' Blues" and "Preaching Blues" at the same session after "Cross Road Blues".[34]
  4. ^ Leroy Carr and Scrapper Blackwell's "Straight Alky Blues" was released in 1929 on Vocalion Records (no. 1290).
  5. ^ Boyd refers to Johnson's song as "Standing at the Crossroads".
  6. ^ "Traveling Riverside Blues", like the second take of "Cross Road Blues", was first issued in 1961 on Johnson's King of the Delta Blues Singers compilation.[2]
  7. ^ Led Zeppelin later used lyrics from "Traveling Riverside Blues" with Howlin' Wolf's "Killing Floor" set to a rock arrangement for "The Lemon Song".
  8. ^ Schumacher also describes Winwood's vocals as differing from Cream's recordings.[52]
  9. ^ Johnson's adaptation of the boogie line for guitar is one of his major innovations.[59] He first used it in "Dust My Broom"[60] and Elmore James' plays it for the rhythm guitar parts on "Standing at the Crossroads".
  10. ^ The section from "Traveling Riverside Blues" may have been repeated in the editing process.
  11. ^ Without mentioning the editing, Schumacher commented, "Given the passion of the solo performances on 'Crossroads,' it seems almost miraculous that Cream is able to return to the song itself."[67]
Citations
  1. ^ Wald 2004, p. 106.
  2. ^ a b c LaVere 1990, pp. 46–47.
  3. ^ Komara 2007, p. 56.
  4. ^ a b LaVere 1990, p. 15.
  5. ^ Wald 2004, p. 131.
  6. ^ Komara 2007, p. 57.
  7. ^ a b LaVere 1990, p. 21.
  8. ^ a b c Wald 2004, p. 149.
  9. ^ Palmer 1981, p. 125.
  10. ^ Wald 2004, p. 188.
  11. ^ Pearson & McCulloch 2003, p. 74.
  12. ^ Komara 2007, p. 58.
  13. ^ Gioia 2008, p. 179.
  14. ^ a b c LaVere 1990, p. 46.
  15. ^ Wald 2004, p. 120.
  16. ^ Pearson & McCulloch 2003, p. 73.
  17. ^ Komara 2007, pp. 60–61.
  18. ^ Palmer 1981, p. 126.
  19. ^ a b Palmer 1981, p. 127.
  20. ^ Wald 2004, pp. 274–275.
  21. ^ a b c Pearson & McCulloch 2003, p. 76.
  22. ^ a b Schroeder 2004, pp. 37–38.
  23. ^ a b Schroeder 2004, p. 38.
  24. ^ a b Pearson & McCulloch 2003, p. 77.
  25. ^ a b c Pearson & McCulloch 2003, pp. 76–77.
  26. ^ Palmer 1990, p. 125.
  27. ^ Charlton 2008, p. 13.
  28. ^ Wald 2004, p. 274.
  29. ^ Schroeder 2009, p. 37.
  30. ^ LaVere 1990, pp. 38, 41.
  31. ^ Gioia 2008, p. 164.
  32. ^ Pearson & McCulloch 2003, pp. 75–76.
  33. ^ Wald 2004, p. 155.
  34. ^ Komara 2007, p. 63.
  35. ^ a b c Komara 2007, p. 59.
  36. ^ a b Headlam 1997, pp. 63–71.
  37. ^ Palmer 1981, p. 128.
  38. ^ a b O'Neal, Jim (1986). "1986 Hall of Fame Inductees: Cross Road Blues – Robert Johnson (ARC/Vocalion, 1936)". The Blues Foundation. Retrieved July 12, 2013.
  39. ^ LaVere 1990, p. 46, back cover.
  40. ^ a b c Charters 1973, p. 51.
  41. ^ a b c d e Topping 1993, p. 15.
  42. ^ Topping 1993, p. 36.
  43. ^ Morris & Haig 1992, p. 12.
  44. ^ a b c Morris & Haig 1992, p. 13.
  45. ^ "Elmo James – The Sky Is Crying (Sphere Sound Records)". Discogs. Zink Media, Inc. Retrieved December 9, 2014.
  46. ^ "Elmore James: Standing at the Crossroads – Appears On". AllMusic. Rovi Corp. Retrieved December 8, 2014. {{cite web}}: Invalid |ref=harv (help)
  47. ^ a b c d Dahl 2002, pp. 2–3. Cite error: The named reference "FOOTNOTEDahl20022–3" was defined multiple times with different content (see the help page).
  48. ^ a b c d Roberty 1993, p. 24.
  49. ^ Boyd 2010, p. 111.
  50. ^ Boyd 2010, pp. 111–112.
  51. ^ Boyd 2010, p. 112.
  52. ^ a b Schumacher 2003, p. 63.
  53. ^ McDermott 1995, p. 39.
  54. ^ a b c Gilliam, Richard. "Cream: Crossroads – Song Review". AllMusic. Rovi Corp. Retrieved December 9, 2014. {{cite web}}: Invalid |ref=harv (help)
  55. ^ Headlam 1997, pp. 71–72.
  56. ^ a b Schumacher 2003, p. 99.
  57. ^ a b c Headlam 1997, pp. 69. Cite error: The named reference "FOOTNOTEHeadlam199769" was defined multiple times with different content (see the help page).
  58. ^ a b c d e Headlam 1997, p. 71.
  59. ^ Wald 2004, pp. 136–137.
  60. ^ Wald 2004, p. 136.
  61. ^ Headlam 1997, p. 91.
  62. ^ a b c Headlam 1997, p. 72.
  63. ^ Unterberger, Richie. "Cream: BBC Sessions – Review". AllMusic. Rovi Corp. Retrieved December 8, 2014. {{cite web}}: Invalid |ref=harv (help)
  64. ^ a b DeCurtis 1988, p. 23.
  65. ^ a b DeCurtis 1988, p. 9.
  66. ^ Erlewine, Stephen Thomas. "Cream: Wheels of Fire – Album Review". AllMusic. Rovi Corp. Retrieved July 12, 2013.
  67. ^ Schumacher 2003, p. 100.
  68. ^ "Wheels of Fire – Billboard Singles". AllMusic. Rovi Corp. Retrieved July 12, 2013.
  69. ^ "Cream – Wheels of Fire (Atco)". Discogs. Zink Media, Inc. Retrieved December 8, 2014.
  70. ^ "Cream – Crossroads/Passing the Time (Atco)". Discogs. Zink Media, Inc. Retrieved December 8, 2014.
  71. ^ "Cream: The Cream Farewell Concert". AllMusic. Rovi Corp. Retrieved December 11, 2014. {{cite web}}: Invalid |ref=harv (help)
  72. ^ "Live at the Royal Albert Hall 2005". AllMusic. Rovi Corp. Retrieved December 11, 2014. {{cite web}}: Invalid |ref=harv (help)
  73. ^ "Eric Clapton: Crossroads – Appears On". AllMusic. Rovi Corp. Retrieved December 8, 2014. {{cite web}}: Invalid |ref=harv (help)
  74. ^ "Grammy Hall of Fame Awards – Past Recipients". The Recording Academy. 1998. Retrieved July 12, 2003.
  75. ^ "500 Songs That Shaped Rock and Roll". Exhibit Highlights. Rock and Roll Hall of Fame. 1995. Archived from the original on 2007. Retrieved July 12, 2013. {{cite web}}: Check date values in: |archivedate= (help)
  76. ^ "100 Greatest Guitar Songs of All Time". Rolling Stone. 2003. Archived from the original on 2008. Retrieved July 12, 2013. {{cite journal}}: Check date values in: |archivedate= (help)
  77. ^ "Crossroads – Song Search Results". AllMusic. Rovi Corp. Retrieved July 12, 2013.
References
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