![]() ![]() Two similar takes of the song were recorded. It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine. The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. 'Cross Road Blues' was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936. glimpses into the musician's inner life, and all its attendant turmoils. evokes the themes of damnation and redemption, darkness and light. The songs are among Johnson's most heartfelt and forceful, and music historian Ted Gioia sees a shift in the lyrical themes:Īt the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges. The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth. Johnson reached back into his long-standing repertoire for songs to record. ![]() Ī second and third recording date took place in San Antonio after a two-day break. The songs include 'Terraplane Blues' (his first single and most popular record) along with 'Sweet Home Chicago' and 'I Believe I'll Dust My Broom', which became blues standards after others recorded them. They mostly represented his original pieces and reflected current, piano-influenced musical trends. During the first session, he recorded his most commercially appealing songs. Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936. ![]() After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Speir in Jackson, Mississippi Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for ARC Records. In October 1936, Johnson auditioned for music store owner and sometime talent scout H. ![]() Little is known about Johnson's life and musical career, although his recordings are well documented. 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. 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'. English guitarist Eric Clapton with Cream popularized the song as 'Crossroads' in the late 1960s. Bluesman Elmore James revived the song with recordings in 19â∱961. ![]()
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