• Meet Me At The Crossroads Song Lyrics
• Standing At The Crossroads Song

Original 78 record label by Released May 1937 ( 1937-05) Format Recorded November 27, 1936, San Antonio, Texas Length 2: 39 Robert Johnson ' Cross Road Blues' (also known as ' Crossroads') is a song written and recorded by American blues artist in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the -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 revived the song with recordings in 1954 and 1960–1961.

Check out Angels Meet Me At the Crossroads by Bobby Horton on Amazon Music. From the Album Homespun Songs of 19th Century America. Bone Thugs-n-Harmony - The Crossroads Lyrics. Bone, Bone, Bone Bone, Bone, Bone Bone, Bone, Bone Now tell me, whatcha gonna do when there ain't nowhere to run When judgment comes for y. So y'all go, rest y'all souls 'coz I know, I'ma meet you up at the crossroad Y'all know, y'all forever got.

English guitarist with popularized the song as 'Crossroads' in the late 1960s. Their 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. Contents. Recording Little is known about Johnson's life and musical career, although his recordings are well documented. In October 1936, Johnson auditioned for music store owner and sometime talent scout in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for.

After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936. During the first session, he recorded his most commercially appealing songs. They mostly represented his original pieces and reflected current, piano-influenced musical trends. The songs include ' (his first single and most popular record) along with ' and ', which became after others recorded them. A second and third recording date took place in San Antonio after a two-day break. Johnson reached back into his long-standing repertoire for songs to record.

The material reflects the styles of country blues performers and, who influenced Johnson in his youth. The songs are among Johnson's most heartfelt and forceful, and music historian 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. 'Cross Road Blues' was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936.

The sessions continued at an improvised studio in Room 414 at the. ARC producers and supervised the recording and used a portable disc cutting machine. It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it. Two similar takes of the song were recorded. Lyrics and interpretation.

Tourism marker at intersection of historical Highways 61 and 49 in Clarksdale, Mississippi (one of several purported crossroads sites) A crossroads or an of rural roads is one of the few landmarks in the, a flat featureless plain between the Mississippi and Yazoo rivers. It is part of the local iconography and various businesses use the name, such as gas stations, banks, and retail shops. A crossroads is also where cars are more likely to slow down or stop, thus presenting the best opportunity for a hitchiker. In the simplest reading, Johnson describes his grief at being unable to catch a ride at an intersection before the sun sets. However, many see different levels of meaning and some have attached a supernatural significance to the song.

Both versions of the song open with the protagonist kneeling at a crossroads to ask God's mercy, while the second sections tells of his failed attempts to hitch a ride. In the third and fourth sections, he expresses apprehension at being stranded as darkness approaches and asks that his friend be advised that 'I'm sinkin' down'. 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. The song has been used to perpetuate the myth of Johnson selling his soul to the Devil for his musical ability. The lyrics do not contain any references to Satan or a, but they have been interpreted as a description of the singer's fear of losing his soul to the Devil (presumably in exchange for his talent). Music historian believes that Johnson's verses do not support the idea.

Delta bluesman promoted himself as having made a deal with the Devil and Southern identifies a or graveyard as the site of such a pact, which Wald identifies as likely sources of the myth. However, musicologist points out that Johnson was 'fascinated with and probably obsessed by supernatural imagery.' His song ' tells of trying to stay ahead of the which is pursuing him and in ' he sings, 'Early this mornin' when you knocked upon my door, and I said 'Hello Satan I believe it's time to go'. 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'.

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

Composition. First 47 seconds 'Cross Road Blues' reflects Johnson's Delta blues roots and may have been in his repertoire since 1932. It is the first recording to show his mastery of his mentor Son House's style, particularly in his. Music historian Edward Komara identifies parts of 'Straight Alky Blues' by and (1929) along with ' subsequent adaptation as 'Black River Blues' (1930) as melodic precedents. However, Johnson infuses their relaxed urban approach with a more forceful rural one. Komara terms Johnson's guitar playing a 'blues harp style'.

It contrasts with Johnson's finger-picking 'piano style', which uses a boogie-style accompaniment on the bass strings while playing melody and harmonies on the higher strings. Harp-style playing employs sharp percussive accents on the bass strings (an imitation of the sharp draw used by harmonica players) and allows Johnson to explore different chordings and fills. Johnson uses this technique for 'Terraplane Blues', which shares many common elements with 'Cross Road Blues'. The song's structure differs from a well-defined. The verses are not consistent and range from fourteen to fifteen bars in length. Additionally, the harmonic progression is often implied rather than stated (full IV and V chords are not used).

Johnson uses a Spanish or with the guitar tuned up to the. This facilitates Johnson's use of a slide, which features as prominently in the song as the vocal. The slide parts function more as a second 'answer' vocal than accompaniment, with the tension underscoring the dark turmoil of the lyrics. Charters characterizes the song's rhythm as ambiguous, imparting both a and 8 8 feel.

Music writer Dave Headlam elaborates on Johnson's rhythm: Meter itself is a compositional and performance device which comes in and out of focus in response to the fluid rthyms and changing accents in the lower beats. The irregular groupings extend to smaller beat divisions, with an interplay between triplet 'swing' and duple divisions of the beat. Johnson's irregular rhythms and variation in support of the metric beat suggest a more personal, idiosyncratic vision. The two takes of the song are performed at moderate, but somewhat different tempos. Both begin slower and speed up; the first is about 106 (bpm), while the second is about 96 bpm. Johnson prepares to go into the fifth section for the slower second take, but the engineer apparently cut him off because of the. In addition to the slower tempo, Johnson sings the verses at a lower pitch, although both takes are in the same key.

This allows for greater variation and nuance in the vocal. Together with refinements to some guitar parts, the differences serve to help further distinguish the second take from 'Terraplane Blues' and give it more of its own character. Releases ARC and issued the first take of 'Cross Road Blues' in May 1937 on the then standard 78 rpm record. The single, with its flip side ', sold poorly. The song remained out of print after its initial release until box set in 1990.

The second take was released in 1961, when producer substituted it for the original on Johnson's first compilation. This take was also included on the 1990 Complete Recordings (at 2:29, it is 10 seconds shorter than the original 2:39 single version). Elmore James versions American blues singer and guitarist, who popularized Robert Johnson's ', 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 on the lost-love aspect of the song. 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 ' new studio in Culver City, California. Supervised the session and a group of professional studio musicians provided the backup.

The song was produced in a newer style that Modern used successfully for and James' slide guitar was placed further back in the mix., another of the ' Modern labels, released the single, backed with 'Sunny Land'. The song became a regional hit, but did not reach the national charts. Labels associated with Modern included 'Standing at the Crossroads' on several James compilation albums, such as Blues After Hours , The Blues in My Heart – The Rhythm in My Soul , and Original Folk Blues. In 1959, producer signed James to his // group of labels. In addition to new material, Robinson had James revisit several of his older songs, including 'Standing at the Crossroads'. James re-recorded it at Beltone Studios in New York City in late 1960 or early 1961 during one of his last sessions.

Studio musicians again provided the backup and the horn section included baritone saxophone. ' subsidiary labels released the song after James' death in 1965 – Flashback Records released a single with a reissue of ' and Sphere Sound Records included it on a James compilation album also titled The Sky Is Crying.

Both the 1954 and 1960–1961 versions appear on numerous later James compilations., who recorded and toured with his cousin Elmore, also recorded a rendition titled 'Crossroads'. Homesick derived his guitar style from Elmore, which music critic Bill Dahl describes as 'aggressive, sometimes chaotic slide work'. Unlike Elmore, however, he uses most of the lyrics from Johnson's second take, which had been first issued in 1961. The July 23, 1963, recording session produced Homesick's only single for Chicago-based, 'Crossroads' backed with 'My Baby's Sweet'.

Eric Clapton/Cream interpretation Background In early 1966, while still with, adapted the song for a recording session with an ad hoc studio group, dubbed. Producer brought together on vocals, Clapton on guitar, on bass guitar, on harmonica, Ben Palmer on piano, and on drums for the project. Boyd recalled that he and Clapton reviewed potential songs; Clapton wanted to record 's ', but Boyd preferred to adapt an older country blues. Their attention turned to Robert Johnson songs and Boyd proposed 'Crossroads' and Clapton chose '.

For the recording, Clapton developed an arrangement using lyrics from both songs with an adaption of the guitar line from the latter. Biographer Michael Schumacher describes the Powerhouse's performance as slower and more blues-based than Cream's. 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). Elektra released the 2:32 recording, titled 'Crossroads', on the compilation album in June 1966. After the Powerhouse session, Clapton continued playing with Mayall. Author Marc Roberty lists 'Crossroads' in a typical set for the Bluesbreakers in the spring of 1966.

Cream version 'Crossroads'. 1969 Italian single picture sleeve by from the album Released.

August 1968 ( 1968-08) (album). January 1969 (US single) Recorded March 10, 1968 (1st show) Venue, San Francisco. Length 4: 13. (UK).

(US) 'Crossroads' became a part of Cream's repertoire when Clapton began performing with Jack Bruce and in July 1966. Their version features a prominent guitar with hard-driving, upbeat instrumental backing and soloing. Clapton previously recorded ' with Mayall and ' with Cream using arrangements that followed Johnson's original songs more closely. However, he envisioned 'Crossroads' as a 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. Clapton simplifies Johnson's guitar line and sets it to a straight or rock rhythm. He and Bruce on bass continuously emphasize the riff throughout the song to give it a strong and regular combined with Baker's drumming. Johnson's irregular are also standardized to typical sections in which the I–IV–V is clearly stated.

Clapton does not adapt Johnson's slide guitar technique or open tuning; instead he follows the electric guitar soloing approach of B.B. However, he employs a Johnson guitar innovation, the duple shuffle or, while singing (Johnson only used it for two bars in 'Cross Road Blues'). Clapton also simplifies and standardizes Johnson's vocal lines. Schumacher calls Clapton's vocal on 'Crossroads' his best and most assured with Cream.

In addition to Johnson's opening and closing lyrics, he twice adds the same section from 'Traveling Riverside Blues'. 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 characteristic of their later live performances. Bruce's bass lines were aggressively driven, yet his lines were independent and unique. His blend rhythm and harmony complimented well with Baker’s drum fills and more complex techniques typical of drummers in. However, the momentum is never allowed to dissipate and is constantly reinforced.

Recording and releases Cream recorded the song on November 28, 1966, for broadcast on the Guitar Club radio program. 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 bootleg albums before finally being released in 2003 on. On March 10, 1968, Cream recorded it again during a concert at the in San Francisco. The song became the opening number on the live half of Cream's double album, released in August 1968 by in the UK and in the US. After the group's breakup, Atco issued the song as a single in January 1969, which reached number 28 on the US pop chart and 17 on. Both the original album and single credit the songwriter as Robert Johnson or R.

Johnson, although Clapton and Cream extensively reworked the song. Cream played 'Crossroads' during their final concert at the on November 26, 1968.

The expanded version of film released in 1977 contains the performance. During their 2005 reunion, Cream revisited the song at the Royal Albert Hall and it is included on the album and video. After Cream's breakup in 1968, Clapton continued to perform 'Crossroads' in a variety of settings. Live recordings appear on (with ), and other albums.

Clapton has also used the name for the, a drug rehabilitation facility he founded, and for the to benefit it. Views on editing for album version Clapton biographer Schumacher notes 'Given the passion of the solo performances on 'Crossroads,' it seems almost miraculous that Cream is able to return to the song itself.' Several music writers have explained that Cream's recording for Wheels of Fire was edited from a much longer performance that was typical for the trio – in the notes for Clapton's box set, credits the trimming to engineer, while critic attributes the editing to producer, who 'cut together the best bits of a winding improvisation to a tight four minutes', to allow the song's drive more continuity. In a 1985 interview, Clapton was asked if the song had been edited. He replied: I can't remember. I really haven't heard that in so long—and I really don't like it, actually.

I think there's something wrong with it. I wouldn't be at all surprised if we weren't lost at that point in the song, because that used to happen a lot.

However, Barry Levenson, who produced Cream's 1997 box set, asserts: It's not edited, and I've got an audience tape from the same show which verifies that. That was a typical performance of the song. I've listened to a lot of tapes, and all of the 'Cross Road Blues (Crossroads)' that I've heard come in at four minutes and change. They never seemed to expand it beyond that. Recognition and influence In 1986, Robert Johnson's 'Cross Road Blues' was inducted into the Hall of Fame.

Writing for the foundation, Jim O'Neal noted that 'regardless of mythology and rock 'n' roll renditions, Johnson's record was indeed a powerful one, a song that would stand the test of time on its own'. In 1998, it received a to acknowledge its quality and place in recording history. In 1995, the listed Cream's 'Crossroads' as one of the '500 Songs That Shaped Rock and Roll'. Magazine placed it at number three on its 'Greatest Guitar Songs of All Time'.

'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 over a million copies. By combining elements of and blues, he adds it inspired 'a new generation of blues-influenced artists'. Rock musicians have recorded numerous renditions based on Cream's arrangement. Notes Footnotes.

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. In Johnson's time, 'cross road' was the preferred usage for 'crossroads'. Johnson recorded two popular Son House songs, ' and 'Preaching Blues', at the same session after 'Cross Road Blues'. According to Son House, Johnson began playing harmonica when he was 15 or 16 years old and 'could blow harmonica pretty good.

Everybody liked it.' . Boyd refers to Johnson's song as 'Standing at the Crossroads'. 'Traveling Riverside Blues', like the second take of 'Cross Road Blues', was first issued in 1961 on Johnson's compilation.

later used lyrics from 'Traveling Riverside Blues' with 's ' set to a rock arrangement for '. Schumacher also describes Winwood's vocals as differing from Cream's recordings. Johnson first recorded an adaptation of the boogie bass line for guitar in 'Dust My Broom'.

Later, Elmore James used it for the rhythm guitar parts on 'Standing at the Crossroads'. ^, pp. 46–47. ^, pp. 60–61., pp. 274–275. ^, pp. 37–38., pp. 38, 41.

^, pp. 76–77., pp. 75–76., pp. 155, 158., pp. 60, 62., pp. 44–45., pp. 54, 62. ^, pp. 71–72., pp. 155–156. ^ (November 10, 2016). Retrieved February 9, 2017., p. 46, back cover. The Sky Is Crying (Album notes).

Retrieved December 8, 2014. ^, pp. 2–3., pp. 111–112. Ward, Thomas. Retrieved December 14, 2014. Janovitz, Bill. Retrieved December 14, 2014.

^ Gilliam, Richard. Retrieved December 9, 2014., pp. 136–137. Retrieved December 8, 2014. Retrieved February 9, 2017. (Album notes).

Crossroads (Single). Retrieved December 11, 2014. Retrieved December 11, 2014. Retrieved December 8, 2014.

Retrieved July 12, 2013. Retrieved July 12, 2003. Archived from on 2007-05-02. Retrieved July 12, 2013. Archived from on 2008-05-30. Retrieved July 12, 2013.

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. Length 3: 44, Tony C (original version) singles chronology ' (1995) ' Tha Crossroads' (1996) ' (1996) ' Tha Crossroads' is a song written and performed by group, taken from their album and released in 1996. The song is dedicated to the group's mentor, the late icon, and other family members. The song was the highest-debuting rap single when it debuted at number two on the.

It is their biggest selling single, reaching number one on the Hot 100, and in 1997, the song won a Grammy for Best Rap Performance by a Duo or Group. Contents.

Background 'Crossroad' originally debuted in 1995 on the album. It was dedicated to Bone's dead friend Wallace (Wally) Laird III, but after the death of they decided to remake it as 'Tha Crossroads'. The original song appears on the edited version of the album, though the European release has the original as track number 8 and the remix as track 18. The song is performed by four of the group's members, (, and ). After receiving high praise for their song the group decided to make it their third single for their already released album,. The song was a smash hit worldwide and reached the top of the.

Meet Me At The Crossroads Song Lyrics

It has been certified 2x platinum in the. In 2008, 'Tha Crossroads' was ranked number 33 on VH1's 100 Greatest Songs of Hip Hop. Music video The music video was filmed on February 27–28, 1996. It opens with the female vocal group Tre' (Kimberly Cromartie, Rebecca Forsha and Maniko Williams) singing the traditional spiritual ' in a church funeral setting, followed by the members of Bone Thugs-n-Harmony singing the main song in several settings, such as a church and a mountain top. The main focus of the video is an imposing man with sunglasses and a trench coat, akin to a. Bone are among the few who can see the man, and watch him as he gathers souls of various individuals who are marked for death, such as a young man who leaves his distraught mother behind (presumably have died after entering life as a gang member), Bone's friend Mike G, Wish Bone's uncle Charles, and a newborn baby (possibly to have died from a childbirth complication).

The Reaper then leads the souls, with the baby in his arms, up a mountain where he reveals himself to be an angel, then takes the dead to. 'Tha Crossroads' was nominated for the at the in 1996, although it lost to Coolio's '.' Track listings Australian CD single. 'Tha Crossroads' (D.J.

U-Neek's Mo Thug remix) – 3:50. 'Tha Crossroads' (D.J. U-Neek's remix instrumental) – 3:48.

'Crossroad' (LP version – radio edit) – 3:33. '1st of tha Month' (The Kruder and Dorfmeister remix) – 6:15. 'Thuggish Ruggish Bone' – 4:42 Charts and sales. 'Offering'.

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'Uproar' Released August 19, 2002 Format, Recorded 2002 Length 3: 10 (radio edit) Bryon McCane II, Anthony Henderson, Steven Howse, Charles Scruggs & Joe singles chronology ' Crossroads' (2002) ' (2002) ' Crossroads', a retitled and reworked version of 'Tha Crossroads', was released by British ten-piece hip-hop group as their first single in August 2002. Background The group's cover version of 'Crossroads' was recorded for inclusion on their first studio album,. The decision to record and release 'Crossroads' came about during the final stages of the album production: until June 2002, the song 'Standard Flow' was planned for release as the group's first single, with a promotional version of the 'Standard Flow' even made available on August 5.

Despite being labelled as a cover version, only the chorus from the original version remains, with the verses replaced by new lyrics written by the band. Despite being the only 'cover version' the group ever recorded, it became the band's only number one single, staying at the top of the for one week in August 2002. Two versions of the song exist: the main version, which features in the music video and on In the Beginning, and the full version, which contains two extra verses, which appears on the second physical release of the single. Music video The music video for 'Crossroads' directed by was premiered in July 2002. The video runs for a total length of three minutes and forty-eight seconds and shows the band performing the song on top of an unfinished flyover in the centre of Cape Town. The video also shows scenes of an underpass where a number of homeless people are living, and individual shots of each band member. The video was filmed with the phantom effect, which provides a 'shadow' type movement for each member of the band.

Track listing. Digital single. 'Crossroads' (radio edit) – 3:10. 'Uproar' – 3:25. UK CD #1. 'Crossroads' (radio edit) – 3:10. 'Uproar' – 3:25.

Standing At The Crossroads Song

'Crossroads' (CD-ROM video) – 3:45. UK CD #2. 'Crossroads' (full version) – 3:50. 'Offering' – 3:20. 'Crossroads' (T.N.T Remix) – 3:50. Cassette. 'Crossroads' (radio edit) – 3:10.

'Crossroads' (full version) – 3:50 Chart positions Chart (2002) Peak position 82 13 1 See also. References.

CUDA, HEIDI SIEGMUND (1996-06-15). Los Angeles Times. Retrieved 2015-10-20. Retrieved 2015-10-20.

' (in German). ' (in Dutch).

' (in French). ' (in French). ' (in German). PhonoNet GmbH. ' (in Dutch).

THE OFFICIAL NZ MUSIC CHART. Retrieved 23 November 2016.

(in German). Retrieved August 7, 2015. Retrieved 2010-08-27. Geoff Mayfield (December 25, 1999).

Retrieved October 15, 2010. ^ Roberts, David (2006).

London: Guinness World Records Limited. Retrieved 2014-04-02. External links. at.