Eric Johnson Albums (9)
'Live from Austin TX'
Release Date 11/1/2005
Tracks 13
Label New West
See Album Tracklist and Review
What The Critics Say
Eric Johnson was two years away from releasing Ah Via Musicom, the album that would finally expand his following beyond a rabid cult of guitar fanatics, when he appeared on the acclaimed PBS music series Austin City Limits and casually played an hour of music that had viewers across the country asking, "How does he do that?" (It wasn't the first time -- a 1984 spot on the show helped Johnson land his first major-label deal.) Live from Austin, TX gives Johnson's December 14, 1988, gig on the show an authorized release on CD, and what's most striking about the disc is how the layers of amazing guitar tone and remarkably fluid licks that you figured had to have been created through endless hours of studio trickery on his albums are actually being summoned forth by Johnson in real time, with a camera crew and studio audience watching. Zipping back and forth between jazz, blues, rock, progressive, and even country styles, nothing seems to be outside Johnson's grasp on this performance, and his rhythm section (Kyle Brock on bass and Tommy Taylor on drums) offers subtle but essential support throughout. While on a few numbers Johnson descends into Steve Morse-style guitar theatrics that are of limited interest to those who can't actually play, for the most part this is a fine performance from a picker who knows how to use his chops in the service of the music, and anyone who enjoys his work will want to check this out. ~ Mark Deming, All Music Guide
What The Critics Say
It's no secret that the time gap between albums by guitarist Eric Johnson is on par with such notorious 'hibernators' as Boston. And the arrival of his fourth all-new studio release, Bloom, was no different, as it appeared nearly nine years after the release of 1996's Venus Isle. Whereas most guitar heroes of the late '80s and early '90s were all about reeling off a zillion notes per second, Johnson was the exception, as he penned songs that saw his guitar supplying the melody where a voice could have been. This 16-track release (his second for Steve Vai's Favored Nations label) is split into three separate sections -- 'Prelude,' 'Courante,' and 'Allemande' -- which are supposedly "grouped together in terms of vibe and style." Highlights include "Summer Jam" (which does a splendid job of showcasing his guitar tone), the chicken'-pickin' ditty "Tribute to Jerry Reed," and the almost Steely Dan-esque "Magnetized." If you like your sounds raw and gritty and music off-the-cuff, Bloom isn't the place for you. But for die-hard fans, Johnson delivers once more, as all his trademarks are well represented -- chops, tone, and extremely fluid playing. ~ Greg Prato, All Music Guide
What The Critics Say
Austin, TX-based guitar hero Eric Johnson is recognized as a perfectionist. He takes great care honing his sound. Along with that, the artist doesn't rush his album releases, as this outing signifies previously undocumented material spanning 25 years. Johnson's intent here is to provide his fans with an album available solely through his website. The artist states in the liners: "The thought came up of having occasional Internet releases. They would be issued as an interim series between regular studio releases." To that end, these tracks are surprisingly good, especially when considering that the bulk of this archival material consists of demos, incomplete ideas, and so forth. The majority of this affair highlights the guitarist's understated vocals atop his soaring lead lines and much more. On the piece titled "Space of Clouds," Johnson minces softly stated vocals with a Hendrix-like wailing guitar motif and his nimbly articulated fretwork. Johnson provides a narrative on a per track basis, and in this instance, added a synth overlay specifically for this album. Other highlights include the band's rocking version of the Beatles' "Paperback Writer," complete with Johnson's phased electric guitar choruses. The guitarist's longtime bandmates, bassist Chris Maresh and drummer Tommy Taylor, appear on most of these works, consisting of warm ballads, boogie rockers, and a memorably melodic pop/rock work titled "Virginia." Overall, this production transcends any preconceived expectations. Recommended. ~ Glenn Astarita, All Music Guide
'Live and Beyond'
Release Date 10/24/2000
Tracks 10
Label Favored Nations
See Album Tracklist and Review
What The Critics Say
The name may be a little misleading for fans expecting live versions of Eric Johnson's guitar hits, when in fact Live and Beyond is a collection of new songs recorded live on a three-date set in Austin with his band Alien Love Child. The album shifts from the spacy psychedelia of "Shape I'm In," through the jazz chords of "Rain," and into elaborate blues rock in songs like "The Boogie King," "World of Trouble," and "Last House on the Block." Accompanying the guitarist on these tracks is drummer Bill Marsh and longtime friend Chris Maresh on bass, while Storyville vocalist Malford Milligan adds his voice to "Once a Part of Me" and "Don't Cha Know." Live and Beyond showcases Johnson's ability to explode from one style to another, often within the same song, and still hold together a tight blues trio without resorting to the overplaying that many of his contemporaries can't seem to get out of their systems. ~ Zac Johnson, All Music Guide
'Alien Love Child: Live and Beyond'
Release Date 10/24/2000
Tracks 10
Label Favored Nations Records
See Album Tracklist and Review
What The Critics Say
A rare find for fans of this acclaimed guitarist/songwriter, Seven Worlds is the long-lost solo debut from Eric Johnson. Cut in the late '70s, this album is far more than a promising collection of demos; it's a full length, fully-produced album that showcases all of Johnson's awesome talent -- not only as a guitar virtuoso, but as a talented pop/rock songwriter. Tunes such as "Showdown" clearly indicate the talent that Johnson had, even at this early stage. A classy false start to a great career, and a must for fans of Eric Johnson. ~ Matthew Greenwald, All Music Guide
What The Critics Say
The brilliant musician, composer, and guitar virtuoso Eric Johnson comes shining through with a record breathing with aura of romance, sweeping melodicisms, and breathtaking mystical quality. Venus Isle, released by Capitol records gave a genuine and much deserved positive boost to the popularity and image of Johnson. This is certainly is most enduring and captivating work since his grammy nominated gem, Cliffs of Dover. The songs are stringed together perfectly and spontaneously glide in and out of other, and the album as a whole sizzles with musical quality throughout. Venus Isle is a bold, haunting opening track that gracefully flows into the following song, Battle We Have Won. All About You, perhaps the song that most fits the mold as a radio-friendly single, is a romantic song filled with shimmering scale passages and Johnson's signature guitar tone. This song closely reflects through style and grace a reminiscence of Cliffs of Dover. Track four is a captivating arrangement with a tapestry of engaging rhythms and a guitar tone in dedication to the great blues legend Stevie Ray Vaughn, in which S.R.V. is appropriately named after. A brilliant composition, it spills out all of Johnson's appreciation and respect for a true musical friend he hopes to keep alive always through song. Stevie's brother, Jimmy Vaughn steps in cordially with a guitar improvisation in love for his brother. The secret of her love is locked away and her smile-Mona Lisa style is the message eloquently put to music in Lonely in the Night, credited to songwriter Vince Mariani. Manhattan really is the most ethereal and dreamy piece of the record. It's atmosphere is so visionary that the listener can genuinely feel the vista of the great island city of New York and it's abundant nightlife. Camel's Night Out sincerely reflects a Mediterranean appearance in percussive rhythm and through it's tonal melodic shifts. Song for Lynette is the most striking and romantic song of it's form, filled with heartwarming piano and a message of hope, a place and a time for everything and everyone, and the excitement of anticipation or accomplishment. It also seems to bring about moods of "even if all is going wrong, and the sky is a rainy gray everyday, just being alive and full of spirit is fulfilling enough." When the Sun Meets the Sky breathes life into the soul with it's chilling, haunting string opening, and then suddenly rolling into a optimistic chorus-filled guitar statement. "It's dark here, if I don't have you around, so I hoped today would lead me kind of your way, and the sun would be shining on my face," charms the listener with the thrilling hopes of a fresh new love. Rounding off this eleven song experience is Pavilion and the Venus Reprise, which puts Johnson's work his future musical ambitions in perspective, perhaps to help his next release build and flow from the gifted work, Venus Isle. Full of dashing guitar virtuosity, orchestral prowess and poems of the romantic, this record is a gratifying listen from beginning to end, even for the not so devoted Eric Johnson fans. ~ Shawn Haney, All Music Guide
What The Critics Say
After being overlooked on his debut, Tones, guitarist Eric Johnson burst onto the airwaves with the surprising hit "Cliffs of Dover." Armed with excellent chops and a clear tone, Johnson took a tired formula and made it sound fresh again. Despite his talents on the fret board, he plays with great restraint and chose to explore a variety of styles, including rock, pop, blues, country, and jazz. While his singing is not quite as interesting as his guitar playing, it is not obtrusive and is at times quite pleasing. This recording has reached near-classic proportions within the guitar community. ~ Robert Taylor, All Music Guide
What The Critics Say
Tones, Eric Johnson's first solo album, is an exceptionally strong debut, and a record that is just as good as the guitarist's breakthrough 1990 release Ah Via Musicom. Grouped with long-time compatriots Roscoe Beck and Tommy Taylor, Johnson's trademark composing voice and so-sweet electric guitar are already on full display. True to the album's title, Johnson showcases many different guitar tones, from the violin-like sustain of his trademark distortion to the bell-like timbre of his clean-toned rhythm work. Johnson also sings on five of the nine songs on Tones, and his voice is as competently expressive as ever. The second half of this record is really where it moves from being simply "good" to "great." Emerging from Stephen Barber's almost new-agey Fairlight CMI vamp, "Trail of Tears" kicks into a driving groove punctuated by Johnson's chordal stabs and arpeggios and carried by one of the guitarist's best vocal melodies. The multi-tiered arrangement is also one of the high marks of Johnson's catalog. This track segues in turn into the wonderful "Bristol Shore." This song features Johnson making his guitar sound like a koto as well as throwing in some impossibly in-tune upper-register licks that are played so sweetly they seem to threaten to fly off into the stratosphere (pun intended). The lack of a "Cliffs of Dover," a catchy, driving instrumental showcase for Johnson's chops, does not cheapen Tones in any way. It is a beautiful and important album by one of the greatest electric guitarists ever to pick up the instrument. ~ Daniel Gioffre, All Music Guide
