Crossroads
Eric Clapton feat. The Powerhouse Lyrics
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Down to the crossroads, I fell down on my knees
Asked the Lord for mercy, "Save me if you please"
Went down to the crossroads, fell down on my knees
I went down to the crossroads, fell down on my knees
Asked the Lord for mercy, "Save me if you please"
You can run, you can run, tell my friend boy Willie Brown
And I'm standing at the crossroads, I believe I'm sinking down
You can run, you can run, tell my friend boy Willie Brown
You can run, you can run, tell my friend boy Willie Brown
And I'm standing at the crossroads, I believe I'm sinking down
The lyrics of Eric Clapton's "Crossroads" may sound simple, but it embodies complex and profound themes. The song is about a person who is at a crucial point in his life, seeking guidance and mercy from the Lord. The crossroads represent a metaphorical intersection or a turning point, where the person's past and future paths intersect, and they need to make an important decision.
The song's verses repeatedly mention falling down on one's knees at the crossroads, symbolizing the humbling experience of seeking help from a higher power. The lyrics, "Save me if you please," represents the person's desperate plea for salvation or guidance, demonstrating their humility and vulnerability. The chorus, "You can run, you can run," displays a sense of urgency or restlessness, and the line "I believe I'm sinking down" can be interpreted as the person's fear of making the wrong choice.
One interesting aspect of the song is that it was originally written and performed by blues legend Robert Johnson in 1936, making Clapton's rendition a cover. Another fact is that the song's title has become a popular phrase used to describe an important decision or crossroad in one's life. Additionally, the song was featured in the movie "Crossroads" (1986), which was partly inspired by the legend of Robert Johnson and starred Ralph Macchio.
Line by Line Meaning
I went down to the crossroads, fell down on my knees
I traveled to a place of major significance for my spiritual journey, and prostrated myself in an act of humility.
Asked the Lord for mercy, "Save me if you please"
I pleaded for kindness and compassion from a higher power, begging to be spared from suffering.
You can run, you can run, tell my friend boy Willie Brown
I don't care about my friend Willie Brown, who may try to flee from responsibility or accountability.
And I'm standing at the crossroads, I believe I'm sinking down
I feel like I am at a crucial turning point in my life, where I may suffer dire consequences that could drag me down further.
Writer(s): JOHNSON ROBERT LEROY
Contributed by Joseph D. Suggest a correction in the comments below.
MrDino1953
I’m no musician, but it seems to be in a different key to every other version of Crossroads I’ve ever heard, which gives it a bit of a brighter mood. I really like this version, the upbeat tempo, the tinkling piano backing, Steve Winwood’s vocals and the harmonica doing the lead solo - it’s about as “Black” a sound as a bunch of white guys can get. A precious gem, and they were all so young at the time.
pedroV2003
Cream did the song in A and IIRC this is in C so its a minor 3rd higher.
『 Phagalizer 』
This has a funky feelin to it man. At least to me is what it sounds like. I dig it mate!
Matthew Parker
Really cool to see, wish we could have access to all of his work. Good & bad & just let the music speak to everyone.
Martin Long
I saw/heard Cream at the Fillmore West in 1967. When I found the Electra sampler vinyl in the back of a record store in Duluth MN I was immediately impressed by EC and The Powerhouse. Winwood's vocal was perfect, the best version of the song in my book. The version of Steppin' Out was excellent, more understated than other performances but it had real swing, something less mechanical. Clapton's guitar at that time had a kind of twang, almost like an electric rubber band sound that was really unusual and distinctive. When I heard Cream in San Francisco they were so loud with the Marshall stacks that my ears hurt. They were on the same bill as Mike Bloomfield's Electric Flag and Gary Burton/Larry Coryell. It was an unforgettable night. Having followed Bloomfield and seen Paul Butterfield's band four times I consider myself fortunate and lucky.
Walter Strauhal
Do you remember anything about the Gary Burton/Larry Coryell group? Larry Coryell was creating a distinctive jazz fusion sound in the 60's.
John Knottenbelt
Now seeing this is GREAT ! Had the album in '69 & everybody I speak to about it, looks at me like I was dreaming !
Paul Fraser
I got the news yesterday that Ben Palmer , plays piano on this recording , has passed away . . . . Ben lived up the road from us near Rhayader , mid Wales , since the 1970's and was always a cool , friendly guy . . . . he talked about being road manager for Clapton and Muddy Waters on an American tour , but never mentioned he'd played piano in the Powerhouse . . another musician from that great era of British blues has moved on . . RIP Ben Palmer .
tony blak
Thank you for posting about Ben, I saw somewhere that he was gone but not when. If you want to see Ben when he was a young lad check out the Rolling Hotel film it is on You Tube. Ben was one of Eric's oldest and dearest friends. There is also You tube interview with Ben and his days with cream
Andy Wicks
Thank you both. Ben was my Uncle and I wasn't aware of the Rolling Hotel film. I'll pass it on to my mum & the rest of the family.