Pennal Johnson

During the last quarter of the 20th century, and thanks largely to Eric Clapton's remarkable devotion to his memory, Robert Leroy Johnson posthumously became the most celebrated Delta blues musician of the pre-WWII era. Among numerous editions of his complete works and various anthologies that combine his recordings with those of his contemporaries and followers, J.S.P.'s The Road to Robert Johnson and Beyond combines many of his essential performances with those by dozens of other blues artists from Blind Lemon Jefferson and Henry Thomas to Muddy Waters and Elmore James. 105 tracks fill four CDs with several decades' worth of strongly steeped blues that trace the African American migration from the deep south on up into Chicago. This is a fine way to savor the recorded evidence, as primary examples from Blind Blake, Charley Patton, Son House, Charlie McCoy, Walter Vincson, Skip James, Ma Rainey, Tampa Red, Kokomo Arnold, Scrapper Blackwell, Leroy Carr, Lonnie Johnson, and Peetie Wheatstraw lead directly to early modern masters like Big Joe Williams, Sonny Boy Williamson, Big Bill Broonzy, Johnny Temple, Leroy Foster, Johnny Shines, Homesick James Williamson, Robert Jr. Lockwood, Snooky Pryor, Little Walter, and David Honeyboy Edwards, among many others.

Luther "Guitar Junior" Johnson's third album for Telarc is the sonic equivalent of the sun coming out from behind the clouds, from the opening notes of the upbeat, cheerful title track to the energetic, swing-y "I'm Gone." Even songs like "Why Are People Like That" and "Suffer So Hard with the Blues" can't bring this album down; they'll elicit more empathy than depression. This is a soul-injected, high-quality collection of Chicago-style blues in the best West Side tradition, and it's every bit as good as you'd expect from someone who's played with such luminaries as Muddy Waters and Magic Sam. Whether he's covering Sam Cooke's "Somebody Have Mercy" or heading more for traditional blues with "Ramblin' Blues," there's no question that Johnson is one of the best there is at melding musical traditions to create something distinctive, keeping things exciting all the way.

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.

Now this is more like it. Johnson and his New England-based Magic Rockers sizzle the hide off the genre with tough West Side-styled grooves redolent of Johnson's Chicago upbringing but up-to-the-minute in their execution. With this set, Johnson fully came into his own as a recording artist.

Going back to 1987's Classics, Vol. 11, there has been a handful of decent single-disc Brothers Johnson anthologies. Through 2012, the group still lacked a double-disc compilation to do proper justice to its catalog. A couple minor issues aside, Stomp: The Best of the Brothers Johnson – released through Universal U.K.'s Spectrum division in 2013 – is an ideal overview. The discs are filled to near capacity, and all but one of the Brothers Johnson's charting R&B singles (the minor hit "Dancin' Free") are included. So, all the hit essentials – including the number ones "I'll Be Good to You," "Strawberry Letter 23," and "Stomp!" – are here, as are some excellent album cuts, such as the low-key sweet soul gem "Closer to the One That You Love." There's still some greatness that remains bound to the albums; "Caught Up" and "In the Way," from Winners, surpass some of the other album cuts here, but neither one is included.

Just five years ago when he took a leave of absence from the acclaimed indie-folk band, The Head and the Heart, the question was less where Johnson’s star would take him and more whether his struggles with addiction would end his music career. But then, he wasn’t supposed to be there, either. Prior to co-founding the band, Johnson studied math and computer science in graduate school. But the magic of song led him to an open mic that changed his life. At Seattle’s Conor Byrne Pub, Johnson sparked collaborations with fellow musi- cians who would eventually form The Head and the Heart. The group’s rise was rapid.