tennessee homesick blues

"[84] 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 Crossroads box set, Anthony DeCurtis credits the trimming to engineer Tom Dowd,[85] while 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. [59] 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. [78] Both the original album and single credit the songwriter as Robert Johnson or R. Johnson, although Clapton and Cream extensively reworked the song.[79][80]. [54] In addition to new material, Robinson had James revisit several of his older songs, including "Standing at the Crossroads". It was originally recorded by American country music artist David Allan Coe for his album of the same name Tennessee Whiskey, whose version peaked at number 77 on the Billboard Hot Country Singles chart in 1981. [49], As with most of Johnson's recordings, "Cross Road Blues" remained out of print after its initial release until The Complete Recordings box set in 1990. [58] The July 23, 1963, recording session produced Homesick's only single for Chicago-based USA Records, "Crossroads" backed with "My Baby's Sweet". 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. A1. [14] Two similar takes of the song were recorded. He replied: I can't remember. [67] Rock musicians have recorded numerous renditions based on Cream's arrangement.[92]. [38] Zachary D. Massey (1864–1923): Throughout his life, Massey served as a U.S. Representative for Tennessee's 1st district, a senator in the Tennessee Senate, and postmaster of Sevierville. I think there's something wrong with it. [53], In 1959, producer Bobby Robinson signed James to his Fury/Fire/Enjoy group of labels. [24] However, Johnson later recorded two songs that include Satanic references: in "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'". Patton referred to a crossroads in his 1929 song "Joe Kirby", although the verse mentions a railroad crossing. $3.99 STREAM NOW. Johnson first recorded an adaptation of the boogie bass line for guitar in "Dust My Broom". The pair decided to write a song together after meeting each other at the Bluebird Cafe in Nashville. [24][25] Delta bluesman Tommy Johnson promoted himself as having made a deal with the Devil and Southern folklore identifies a crossroads or graveyard as the site of such a pact, which Wald identifies as likely sources of the myth. The Band, ?The Night They Drove Old Dixie Down? Their version features a prominent guitar riff with hard-driving, upbeat instrumental backing and soloing. [70] Schumacher calls Clapton's vocal on "Crossroads" his best and most assured with Cream. [20], 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. [39] A YouTube video featuring Kris Jones at the wheel of his pickup truck, recorded by his daughter Dayla, went viral and has gained over 35 million views. [17][18] It was certified Platinum by the RIAA on May 4, 2016,[19] and reached over a million in sales in the US by January 2017. Louis Armstrong, ?West End Blues? [42] [h] Elektra released the 2:32 recording, titled "Crossroads", on the compilation album What's Shakin' in June 1966. [69] He 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. [50] 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". "Cross Road Blues" (also known as "Crossroads") is a blues song written and recorded by American blues artist Robert Johnson in 1936. [21] Music historians believe that Johnson's verses do not support the idea. [70] However, he employs a Johnson guitar innovation, the duple shuffle pattern or boogie bass line, while singing (Johnson only used it for two bars in "Cross Road Blues"). [46] In addition to the slower tempo, Johnson sings the verses at a lower pitch, although both takes are in the same key. [29] 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. King and Albert King. Cream played "Crossroads" during their final concert at the Royal Albert Hall on November 26, 1968. In Johnson's time, "cross road" was the preferred usage for "crossroads". [15] Both begin slower and speed up; the first is about 106 beats per minute (bpm), while the second is about 96 bpm. [75] After the group's breakup, Atco issued the song as a single in January 1969,[76] which reached number 28 on the US Billboard Hot 100 pop chart[77] and 17 on Cashbox. The Band, ?The Weight? 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. It was originally recorded by American country music artist David Allan Coe for his album of the same name Tennessee Whiskey, whose version peaked at number 77 on the Billboard Hot Country Singles chart in 1981. [1] After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. 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 … [59] 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. [11] Stapleton first sang his version on the spur of the moment while the band were playing during a soundcheck before a show in Charlottesville, Virginia. I just took it on a single string or two strings and embellished it. [55] James re-recorded it at Beltone Studios in New York City in late 1960 or early 1961 during one of his last sessions. [69], Clapton simplifies Johnson's guitar line and sets it to a straight eighth-note or rock rhythm. II.An early studio take, done in a faster tempo, was released on The Bootleg Series Vol. [20] However, many see different levels of meaning and some have attached a supernatural significance to the song. 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. [38][d] Johnson uses this technique for "Terraplane Blues", which shares many common elements with "Cross Road Blues".[40][41]. Deana Martin gave "Tennessee Whiskey" a new beat when she recorded it for her 2016 album Swing Street. [51], American blues singer and guitarist Elmore James, who popularized Robert Johnson's "Dust My Broom", recorded two variations on "Cross Road Blues". [7] The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth[7][11] and are among Johnson's most heartfelt and forceful. [69] 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. [43], ARC and Vocalion Records issued the first take of "Cross Road Blues" in May 1937 on the then standard 78 rpm record. A perfect addition to your lineup of favorite Christmas movies, A Country Christmas Story follows a … Blues For Your Own; Blues In My Mind; Blues Stay Away From Me; Body And Soul; Bonaparte’s Retreat; Bonnie Blue Eyes; Bootleg John; Born To Lose; Bound To Ride; Bouquet In Heaven; Bramble And The Rose, The; Brand New Broken Heart; Brand New Shoes; Brand New Tennessee Waltz; Bravest Cowboy; Bright Morning Stars; … "Tennessee Whiskey" is a country song written by Dean Dillon and Linda Hargrove. [20] The lyrics do not contain any references to Satan or a Faustian bargain, 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). [23], "Cross Road Blues" reflects Johnson's Delta blues roots and may have been in his repertoire since 1932. [45] However, the momentum is never allowed to dissipate and is constantly reinforced. [3] During the first session, he recorded his most commercially appealing songs. [35] Komara terms Johnson's guitar playing a "blues harp style". [9][10] Based solely on two days sales after the broadcast, it reached number one on the Hot Country Songs chart, and number 23 on Billboard Hot 100, selling 131,000 copies. [56] Both the 1954 and 1960–1961 versions appear on numerous later James compilations. [61][f], For the recording, Clapton developed an arrangement using lyrics from both songs with an adaption of the guitar line from the latter. 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.[87]. They never seemed to expand it beyond that. Bluesman Elmore James revived the song with recordings in 1954 and 1960–1961. [45], Cream recorded the song on November 28, 1966, for broadcast on the BBC Guitar Club radio program. George Jones' 1983 version of … [12] His producer Dave Cobb heard the song and suggested that he should record the song for his album. [70] Johnson's irregular measures are also standardized to typical twelve-bar sections in which the I–IV–V blues progression is clearly stated. [52] Labels associated with Modern included "Standing at the Crossroads" on several James 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). [34] However, Johnson infuses their relaxed urban approach with a more forceful rural one. [82] After Cream's breakup in 1968, Clapton continued to perform "Crossroads" in a variety of settings. The performance was described as the best moment of the night by music writers. amazon.com. [47] 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. In March 2018, it was announced that Tennessee Whiskey: The Musical, a play for Broadway and based on the story of Dean Dillon, is in the pre-production phase. [36] 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. "Tennessee Whiskey" was written in 1981 by Dean Dillon and Linda Hargrove. [40] Homesick derived his guitar style from Elmore, which music critic Bill Dahl describes as "aggressive, sometimes chaotic slide work". [62][g] Biographer Michael Schumacher describes the Powerhouse's performance as slower and more blues-based than Cream's. The song has been covered by several artists, including Chris Stapleton, whose breakout performance of the song at the Country Music Association (CMA) Awards with Justin Timberlake propelled the song to a greater level of popularity. Arrested Development, ?Tennessee? [70][i], Clapton also simplifies and standardizes Johnson's vocal lines. 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. Boyd refers to Johnson's song as "Standing at the Crossroads". In 'Crossroads' there was a very definite riff. The expanded version of Cream's Farewell Concert film released in 1977 contains the performance. [88], In 1986, Robert Johnson's "Cross Road Blues" was inducted into the Blues Foundation Hall of Fame. Schumacher also describes Winwood's vocals as differing from Cream's recordings. For a long time now, IQ tests have been part of our life and education system. [12] With the flip side "Ramblin' on My Mind", it was the third of eleven singles released during Johnson's lifetime. [90] Rolling Stone magazine placed it at number three on its "Greatest Guitar Songs of All Time". [43] The slide parts function more as a second "answer" vocal than accompaniment, with the tension underscoring the dark turmoil of the lyrics. [65] 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). [50] 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). [21], Stapleton and Timberlake also performed the song at the Pilgrimage Music & Cultural Festival[22] and at the Man of the Woods Tour's Nashville concert. [40] Both titled "Standing at the Crossroads", they feature James' trademark "Dust My Broom" amplified slide-guitar figure and a backing ensemble. [8] Others suggest that the song is about a deeper and more personal loneliness. Everybody liked it.". 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. [26][27] 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". Hank Ballard and the Midnighters, ?Work With Me Annie? [52] The song became a regional hit, but did not reach the national charts. BRIT Certified UK record labels association the BPI administers and certifies the iconic BRIT Certified Platinum, Gold and Silver Awards Programme. Called "one of his most durable compositions", "The Sky Is Crying" became a R&B record chart hit and has been interpreted and … 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×) [15][16] It peaked at number 20 on the Hot 100 the following week, selling a further 118,000 copies. It appeared on bootleg albums before finally being released in 2003 on BBC Sessions. [10] The material Johnson chose shows more variety than that for his first date and he reached back into his long-standing repertoire for songs to record. King and James' slide guitar was placed further back in the mix. [55] Studio musicians again provided the backup and the horn section included baritone saxophone by Paul Williams. [5][6][7] The songs include "Terraplane Blues" (his first single and most popular record)[2] along with "Sweet Home Chicago" and "I Believe I'll Dust My Broom", which became blues standards after others recorded them. LaVern Baker, ?Jim Dandy? [42] Additionally, the harmonic progression is often implied rather than stated (full IV and V chords are not used). [16][a] It is part of the local iconography and various businesses use the name, such as gas stations, banks, and retail shops. He [Johnson] was playing it full-chorded with the slide as well. The album version also appears on 1971's Bob Dylan's Greatest Hits Vol. [58], 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. Out of all of the songs it was the easiest for me to see as a rock and roll vehicle. The perfect blend of art and craft, each bottle showcases Dylan’s distinctive welded iron gates that he created … [45] Bruce's bass lines blend rhythm and harmony and Baker adds fills and more complex techniques typical of drummers in jazz trios. [60] Their attention turned to Robert Johnson songs and Boyd proposed "Crossroads"[e] and Clapton chose "Traveling Riverside Blues". [21] 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". Blues Record of the Year 2002 - French Academy of Music WC Handy nominee for Best Acoustic Blues Album and Best New Artist One of the Best Albums of 2002 – Mojo Magazine 2002 Best Debut and Best Recording in Traditional and Acoustic Blues - Living Blues Magazine . "The Sky Is Crying" is a blues standard written and initially recorded by Elmore James in 1959. [91], 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 over a million copies. Beach … [67] By combining elements of hard rock and blues, he adds it inspired "a new generation of blues-influenced artists". Stapleton and the band enjoyed playing the song, and he decided to sing the song every show. The Fall of Troy 2005 Post-Hardcore Variety Song Pack VI Hey Jealousy Gin Blossoms 1992 Alternative Rock Variety Song Pack VI Suffragette City David Bowie 1972 Glam Rock Variety Song Pack VI Jumper Third Eye Blind 1997 Alternative Rock Third Eye Blind Song Pack Semi-Charmed Life Third Eye Blind 1997 Alternative … [34] This facilitates Johnson's use of a slide, which features as prominently in the song as the vocal. [15] Johnson prepares to go into the fifth section for the slower second take, but the engineer apparently cut him off because of the time limits of ten-inch 78 rpm records. The song's structure differs from a well-defined twelve-bar blues. The B-52's, ?Rock Lobster? [59] Author Marc Roberty lists "Crossroads" in a typical set for the Bluesbreakers in the spring of 1966.[59]. [29] Johnson may be expressing a real fear of trumped up vagrancy charges or even lynchings that still took place. [50] In 1998, it received a Grammy Hall of Fame Award to acknowledge its quality and place in recording history. [37] 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. [2], After completion, the song was first offered to George Strait but he turned it down. [12] The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. [37] Her version charted on the country chart after her performance with 32,00 copies sold that week. English guitarist Eric Clapton with Cream popularized the song as "Crossroads" in the late 1960s. 7: No Direction Home: The … [83] Clapton has also used the name for the Crossroads Centre, a drug rehabilitation facility he founded, and for the Crossroads Guitar Festivals to benefit it. [4] They mostly represented his original pieces and reflected current, piano-influenced musical trends. Tennessee Homesick Blues - Dolly Parton Tennessee Waltz- Patti Page Tequila - Champs Tequila - Ventures Version Tequila Sunrise - Eagles Thank God I'm A Country Boy - John Denver Thank The Lord For The Night Time - Neil Diamond Thank You Girl - Beatles That'll Be The Day - Buddy Holly and the Crickets That's All … [6], "Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday, November 27, 1936. [70] Clapton does not adapt Johnson's slide guitar technique or open tuning; instead he follows the electric guitar soloing approach of B.B. [19] It has sold 1.98 million copies in the US as of March 2020. [14], On November 4, 2015, Stapleton performed it at the Country Music Association (CMA) Awards as a duet with Justin Timberlake. B. [4], The song was later covered by fellow American country music artist George Jones, whose version was released in August 1983 as the third single from his album Shine On. It led to a performance on The Ellen DeGeneres Show. [40] In 2017, Stan Walker and Parson James released a version as a single. [22] The first take of the song, which was used for the single, includes a fifth verse that is not included in the second take. The B-52's. 2021 Stefan Grossman's Guitar Workshop. The song remained a mainstay in Jones' live set, with the singer often substituting the name of whatever city or town he was in for "Tennessee" in the second chorus. [67][42] Clapton previously recorded "Ramblin' on My Mind" with Mayall and "From Four Until Late" with Cream using arrangements that followed Johnson's original songs more closely. [58] Unlike Elmore, however, he uses most of the lyrics from Johnson's second take, which had been first issued in 1961. Years in the making, the inaugural trilogy of expressions includes a Tennessee Straight Bourbon Whiskey, Double Barrel Whiskey and Straight Rye Whiskey finished in oak barrels from Vosges, France, air-dried for 3 years. [29] Signs in the rural South advised "Nigger, don't let the sun set on you here". ARC producer Don Law supervised the recording and used a portable disc cutting machine. [45], The two takes of the song are performed at moderate, but somewhat different tempos. [68] 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. [23], The song has been used to perpetuate the myth of Johnson selling his soul to the Devil for his musical ability. 9 of 13. A Country Christmas Story. “Broke and Ain’t Got a Dime” A2. [40] 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. “Blues … [31] It is the first recording to show his mastery of his mentor Son House's style, particularly in his slide guitar work. [20] It was certified 6× Platinum on July 31, 2019 for 6 million units in combined streams and sales. In it he laments not having a "sweet woman" in his distress. [52] Maxwell Davis supervised the session and a group of professional studio musicians provided the backup. [66] After the Powerhouse session, Clapton continued playing with Mayall. [57], Homesick James, who recorded and toured with his cousin Elmore,[58] also recorded a rendition titled "Crossroads". Sales+streaming figures based on certification alone. 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". [89] In 1995, the Rock and Roll Hall of Fame listed Cream's "Crossroads" as one of the "500 Songs That Shaped Rock and Roll". Commercially, it peaked at number 77 on the US Billboard Hot Country Singles chart.

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