Robert Johnson wrote and recorded “Crossroads” in the mid-1930s.
Many, myself included, consider it the icon blues song, a cultural achievement of a high order, like the blues itself.
Those acoustic songs were the platform on which Chicago’s electric blues were built in the 1950s and, a decade later, a fusion of blues and rock.
What today’s best blues-rockers have done with it is amazing, original . . . and it has kept the genre alive, not as a relic but as a living, evolving musical form.
Just listen to Sheryl and those great backup singers, carried forward on a wave of guitars and some mighty inventive percussion.1