Cover Songs

Robert Johnson's Original Version, "Crossroads"

Eric Clapton and Cream's Cover Version, "Crossroads"

       For my exploration of cover songs, I chose an old blues song song titled “Crossroads.” It was originally composed by Robert Johnson, a famous blues artist of the 1930s. About three decades later, in the late '60s, Eric Clapton and his band, Cream, covered the song. There are many similarities and differences between the two versions. One of the first major differences that I noticed after listening to both was the difference in intensity. Whereas Johnson's version of the the song is soft in intensity, Clapton increases the decibel of the sound in his, making it rather high in intensity. Subsequently, Clapton's more rock-centered version sounds “harder” than Johnson's folk-centered original. Another obvious distinction between the two versions that I noticed after listening to each is their timbre. Johnson's version of “Crossroads” is very pure and tonal, using only an electric-acoustic guitar and his vocals. Conversely, Clapton's version is much more noisy, using two electric guitars, a bass guitar, full drum set, keyboard, various horned instruments, harmonica, and vocals. Subsequently, the overlapping and intermingling frequencies create a more complex sound and a rich personality lacking in Johnson's original version. Additionally, the tempo, or speed, in Clapton's version is much faster than Johnson's. This again adds to the rock orientation of Clapton's cover version.

      Differences aside, the two versions do share some similarities. For example, the lyrics and melody are the same. The rhythm in both versions is organized, and the shapes are both characterized by an attack (onset, growth), body (steady-state, duration), and decay (fall-off, termination). Most songs contain a message embedded within its lyrics. “Crossroads” is no exception, as it both didactically and actively conveys a message. While Johnson explicitly informs the listener that he “went to the crossroads” and “fell down on [his] knees,” he also implies that by going to the crossroads, he made a deal with the devil. Therefore, Johnson didactically conveys the message to the listener that he went to the crossroads and fell down to his knees, however he actively conveys the message that by doing so, he sold his soul to the devil. Although this isn't explicitly stated in the song's lyrics, the “crossroads” in folklore and mythology represent a juncture where one can sell his/her soul to the devil in return for something. In Johnson's case, he was most likely referring to the exchange of his soul for his uncanny ability to play guitar. Although I highly respect both musicians and their respective versions of the song, I personally like Clapton's version more. I take this stance for a variety of reasons. Firstly, despite his unprecedented musical talents, Johnson's version is lacking a driving force that moves the song forward and keeps the audience engaged. Clapton's version, on the other hand, effectively incorporates quick sixteenth notes on the hi-hat and catchy drum fills that act as a driving force and fill the void for audience engagement missing from Johnson's version. Whereas Johnson's version is limited in instrumentation, using only an electric-acoustic guitar, Clapton's version is unbounded and embellished by instruments of all shapes and sizes. For example, Clapton's cover version makes use of two electric guitars (both lead and rhythm), bass guitar, full drum set, keyboard, harmonica, and various horned instruments – all played in perfect unison. In addition, Clapton adds catchy guitar solos to his version, adding a touch of rock n' roll to Johnson's more folky version. The end result is a rich, diverse, and complex cover that adds dynamic and personality to Johnson's original “Crossroads.”