Eric Johnson (born August 17, 1954) is a Grammy Award winning guitarist and… Read Full Bio ↴Eric Johnson (born August 17, 1954) is a Grammy Award winning guitarist and recording artist from Austin, Texas USA. Best known for his success in the instrumental rock format, Johnson regularly incorporates jazz, fusion, New Age, and even country and western elements into his recordings. A widely recognized virtuoso, Johnson's stylistic diversity, technical proficiency, and unique playing style have drawn praise from Carlos Santana, Eric Clapton, Jeff Beck, Prince, B.B. King, and the late Stevie Ray Vaughan. His critically-acclaimed, platinum selling 1990 recording Ah Via Musicom produced the single "Cliffs of Dover", for which Johnson won a 1991 Grammy award for Best Rock Instrumental Performance.
(2) Very few musical artists achieve a true signature style -- one that makes comparisons to other musicians impossible. But Texas guitarist Eric Johnson arguably comes as close to this echelon as any musician from the past quarter-century. Like fellow Lone Star State guitarists Johnny Winter, Billy Gibbons, and Stevie Ray Vaughan, Johnson blends the rock style of Jimi Hendrix and the blues power of Albert King. Yet Johnson's wide array of additional influences (from the Beatles and Jeff Beck to jazz and Chet Atkins) makes for a guitar sound as unique as his fingerprints.
"When I first heard Eric," Winter recalled, "he was only 16, and I remember wishing that I could have played like that at that age." Former Doobie Brothers guitarist Jeff "Skunk" Baxter said, "If Jimi Hendrix had gone on to study with Howard Roberts for about eight years, you'd have what this kid strikes me as." The Austin prodigy appeared on the cover of Guitar Player magazine while working with Texas jazz/fusion band the Electromagnets and as a session player (Cat Stevens, Carole King, Christopher Cross), and a 1984 performance on the TV show Austin City Limits set his recording career in motion.
Johnson's 1986 debut album, Tones, certainly proved that the hype was warranted. Playing with the ace rhythm section of bassist Roscoe Beck and drummer Tommy Taylor, Johnson mixed blazing instrumentals ("Zap," "Victory") with Beatles-influenced vocal tunes like "Emerald Eyes" and "Bristol Shore." Johnson used the same half-and-half format on the 1990 follow-up, Ah Via Musicom, but a trio of the album's tunes surprisingly made him the first artist to have three instrumentals from the same album to chart in the Top Ten in any format (with "Cliffs of Dover" earning Johnson a Grammy for Best Rock Instrumental).
But, if Johnson had a perceived weakness, it was the perfectionism that caused four years to pass between recordings. Even in concert, he would painstakingly tune his guitar between songs, by ear, for minutes on end. With the success of Ah Via Musicom, the guitarist admitted to feeling pressure to raise the bar again. But Johnson's studio nitpicking delayed Venus Isle until 1996, and the disappointing CD contained fewer instrumentals and sounded forced.
A stint on the 1997 G3 tour with fellow headlining guitarists Joe Satriani and Steve Vai, and its resulting live release, breathed new life into Johnson and sparked the idea of a live album. Overhauling his band for the 2000 CD Live and Beyond, Johnson brought in bassist Chris Maresh and drummer Bill Maddox, and concentrated on more of a blues feel. The guitarist still blended instrumentals with his vocal tunes ("Shape I'm In," "Last House on the Block"), but perhaps realized that his thin voice was too one-dimensional for guttural blues or R&B. Guest vocalist Malford Milligan ignites "Don't Cha Know" and "Once a Part of Me," helping Johnson's blazing debut on Vai's Favored Nations label and reestablishing the versatile virtuoso's status for the 21st century. As Vai himself testified, "Eric has more colorful tone in his fingers than Van Gogh had on his palette."
Souvenir, an album available only through Johnson's website, appeared in 2002, followed by CD and DVD versions of New West's Live from Austin, TX and Bloom, the second album for Vai's Favored Nations imprint, in 2005. Johnson returned in 2010 with Up Close, a studio album that slightly emphasized the guitarist's Texas roots. A collaboration with jazz guitarist Mike Stern, Eclectic, appeared in 2014. ~ Bill Meredith
(2) Very few musical artists achieve a true signature style -- one that makes comparisons to other musicians impossible. But Texas guitarist Eric Johnson arguably comes as close to this echelon as any musician from the past quarter-century. Like fellow Lone Star State guitarists Johnny Winter, Billy Gibbons, and Stevie Ray Vaughan, Johnson blends the rock style of Jimi Hendrix and the blues power of Albert King. Yet Johnson's wide array of additional influences (from the Beatles and Jeff Beck to jazz and Chet Atkins) makes for a guitar sound as unique as his fingerprints.
"When I first heard Eric," Winter recalled, "he was only 16, and I remember wishing that I could have played like that at that age." Former Doobie Brothers guitarist Jeff "Skunk" Baxter said, "If Jimi Hendrix had gone on to study with Howard Roberts for about eight years, you'd have what this kid strikes me as." The Austin prodigy appeared on the cover of Guitar Player magazine while working with Texas jazz/fusion band the Electromagnets and as a session player (Cat Stevens, Carole King, Christopher Cross), and a 1984 performance on the TV show Austin City Limits set his recording career in motion.
Johnson's 1986 debut album, Tones, certainly proved that the hype was warranted. Playing with the ace rhythm section of bassist Roscoe Beck and drummer Tommy Taylor, Johnson mixed blazing instrumentals ("Zap," "Victory") with Beatles-influenced vocal tunes like "Emerald Eyes" and "Bristol Shore." Johnson used the same half-and-half format on the 1990 follow-up, Ah Via Musicom, but a trio of the album's tunes surprisingly made him the first artist to have three instrumentals from the same album to chart in the Top Ten in any format (with "Cliffs of Dover" earning Johnson a Grammy for Best Rock Instrumental).
But, if Johnson had a perceived weakness, it was the perfectionism that caused four years to pass between recordings. Even in concert, he would painstakingly tune his guitar between songs, by ear, for minutes on end. With the success of Ah Via Musicom, the guitarist admitted to feeling pressure to raise the bar again. But Johnson's studio nitpicking delayed Venus Isle until 1996, and the disappointing CD contained fewer instrumentals and sounded forced.
A stint on the 1997 G3 tour with fellow headlining guitarists Joe Satriani and Steve Vai, and its resulting live release, breathed new life into Johnson and sparked the idea of a live album. Overhauling his band for the 2000 CD Live and Beyond, Johnson brought in bassist Chris Maresh and drummer Bill Maddox, and concentrated on more of a blues feel. The guitarist still blended instrumentals with his vocal tunes ("Shape I'm In," "Last House on the Block"), but perhaps realized that his thin voice was too one-dimensional for guttural blues or R&B. Guest vocalist Malford Milligan ignites "Don't Cha Know" and "Once a Part of Me," helping Johnson's blazing debut on Vai's Favored Nations label and reestablishing the versatile virtuoso's status for the 21st century. As Vai himself testified, "Eric has more colorful tone in his fingers than Van Gogh had on his palette."
Souvenir, an album available only through Johnson's website, appeared in 2002, followed by CD and DVD versions of New West's Live from Austin, TX and Bloom, the second album for Vai's Favored Nations imprint, in 2005. Johnson returned in 2010 with Up Close, a studio album that slightly emphasized the guitarist's Texas roots. A collaboration with jazz guitarist Mike Stern, Eclectic, appeared in 2014. ~ Bill Meredith
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Ted Parkinson
I'm listening to this because of Rick Beato's interview with Eric. He asked him what was his favourite guitar sound he got and Eric said the guitar solo at the end of this track. And how he had to fight with the engineer to get the sound how he wanted! And listening now I can confirm the sound and playing are both freaking awesome.
KENNETH BIDI
I still close my eyes like I did when was 17 years old back in the 90s pretending to play the guitar in front of a huge crowd every time I hear this masterpiece.
Drewben 18
And frequently go to pee due to the excitement 😂
Kelli Couch
Masterpiece is right!! Eric played one song at my brother in law's funeral. They were friends. He didn't say one word. Just played one song and left. Classy guy.
Kirsten Bañuelos
Can't believe this guy is so underrated. It's so rare that you get this fine quality of sound from a guitar. It's so fine and crisp, like a gold thread.
MrMisterMan
underrated? What are you talking about? Anyone who plays a guitar knows eric johnson and agrees he's pretty much a modern day savant on the guitar.
chaz noize
@MrMisterMan that's true...anyone who plays guitar recognizes EJ is the man, but non-guitar players and average/casual music listeners probably have no idea of his existence.
I think that's what Kirsten was implying when she stated he's underrated...he's not nearly the mainstream household name as the other legendary Eric... 😕
MrMisterMan
@chaz noize there's lots of guitarists out there not being recognized. Rick Graham, Marshall Harrison etc. While clowns like John Mayer soak up the spotlight with their pentatonic wankery. Truly sad
chaz noize
@MrMisterMan oh yeah Rick and Marshall are absolute monsters. Mayer is also an incredible player as well. He holds back what he's really capable of though. I saw an IG clip of him playing Tosin Abasi's (another beast) 8 string and he was throw down some pretty jazzy stuff...walking bass-lines on the F#, etc.
Guys like Mayer, Clapton, and Prince become better known because they ya know... sing too. If you can sing and conjure up some sort of sex appeal then your guitar playing can become significantly more marketable as opposed to if your just an instrumental artist. It's sort of a hoary reflection of our social programming/conditioning towards aesthetic values. Some never seek to break outside the parameters of societal convention.
Edward Hernandez
It makes no sense whn pple say UNDERRATED guitarist. Hes only underrated if you’ve been hiding under a rock. All great guitarists know HE’S NOT.