Eric Clapton: Sessions for Robert J (Video 2004) Poster

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8/10
Heartfelt Work of Art
rallee217 July 2006
Greetings

I rarely write comments and have never written a fan letter in my life but I am moved to comment on this show - "Sessions for Robert J.". While I have mostly enjoyed Eric Clapton's work I am certainly not a fan. However I must admit that I am most fond of Mr Clapton's less commercial work and definitely his more "devilish" (sorry about that bad acid trip at the Fillmore years ago that set him on his commercial stint) work is what moves me most. This project however is at once devilish and angelic and I think that is just perfect. The juxtaposition of the sacred and the profane is after all what the Blues and maybe even the whole of Music is all about.

In the interest of brevity (you really should get about the business of seeing this as soon as possible, or at least as soon as you might be in the mood for this type of show) see this show. By that I mean this is certainly no action/adventure movie but rather more like a documentary. That said it is by no means dry or overly intellectual even though Clapton does spend some time describing and demonstrating the difficult Johnson techniques, both vocally and instrumentally. This is done in a manner that will serve to delight musicians and non-musicians alike. Some moments can raise gooseflesh. The most important comment I can make is that Clapton is reverent without gushing and that he delivers the music in a perfect blend of homage and personal integrity. He does not try to "screw his voice up" to "sound black" yet he pays detailed attention to phrasing and conventions, such as hoots, hollers and asides but he sings in his own voice in a way he probably could not have back in Cream days.

Simply put, if you love Clapton, or if you love Robert Johnson or probably even if you just love the honesty and integrity of The Blues done up right, you will thoroughly enjoy this heartfelt work of art.
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7/10
"...mistakes were strictly forbidden..."
classicsoncall12 January 2019
Warning: Spoilers
Robert Johnson was an American blues singer-songwriter and musician. His recordings, collected on a two disc set from Sony/Columbia Legacy, represent almost all of his work, containing all 29 recordings and 12 alternate takes. Johnson died at the age of twenty seven under suspect circumstances, and the legendary myth surrounding his guitar prowess has given rise to the story of selling one's soul to the devil at a fabled Mississippi Crossroads.

Eric Clapton has called Johnson "the most important blues singer that ever lived. The "Sessions for Robert J" is Clapton's tribute to the guitar legend, recorded over a period of six months in four separate sessions in Checkendon, England, Irving and Dallas, Texas, and Santa Monica, California. Along with a group of talented musicians that includes organist Billy Preston, Clapton works his way through an eclectic assortment of Johnson's tunes, all of which appear on the Legacy set. In a somewhat humorous take on the filming of the sessions, with each song being done no more than once or twice, was Clapton's admonishment to his sound and film crew indicated in my summary line above. Approximately three dozen people were involved in putting this effort together, which isn't a documentary so much as the film record of musicians preparing for a future concert tour.

Personally, I recognize the influence of Robert Johnson in the development of the Mississippi Delta Blues style, and his impact on noted guitarists like Clapton, Keith Richards and Jimi Hendrix, but I have a hard time listening to his own recordings. His songs are sparse, with just his guitar and voice with no accompaniment. Johnson's high, lilting intonations giving rise to frequent ululations are matched by Clapton effectively, and with the backing of the other fine musicians, a lot of the song offerings will get you up on your feet. Perhaps the biggest surprise is Clapton's take on a song titled 'Love in Vain', recorded by the Rolling Stones in 1969 for their Let it Bleed album. At the time I thought it was an original Stones tune, but the popularity of their adaptation led to a lawsuit over the copyright, which was eventually resolved in favor of Johnson's estate.
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