Eric Johnson - Bloom
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Free Music Notes for Bloom
Free Music Review: One of the Very Best guitar instumental recordings ever!!!
Hit: 5 Stars
This guy is amazing and the various tones he creates are just riveting!!! He and Phil Keaggy are the best ever in their respective general categories. I've seen many of the best, we need to stop glorifying the drug addicts and credit the survivors!!!Free Music Review: A beautiful Gift
Hit: 5 Stars
Eric has now begun to stretch his boundrys as i hoped he would some day.Realy shows his stuff as a writer,producer,and master musician.A album like this only comes along once in a while and is destined to be an instant clasicFree Music Review: Awsome album, buy this dont listen to other ppl
Hit: 5 Stars
Okay why is everyone dissing this awsome album. This is way better then the past few Joe Satriani albums. So people listen to me this album was awsome, grab this NOW!Free Music Review: Ear candy
Hit: 5 Stars
These songs are quite melodic. This time, I liked his vocal songs better than instrumentals. Its kind of strange. Another great album from a great musician.Free Music Review: "Bloom"
Hit: 4 Stars
Bloom
Eric Johnson's first solo album, entitled "Tones, was released in 1986. It's single word title is a glimpse into the mind of its creator. While the word "Tones" captures the essence of Johnson's obsession as a musician, it gives no indication as to the degree to which he is dedicated to that word. More than any other virtuoso electric guitarist, Eric Johnson is devoted to the quality of his sound. Although his technical skill is without question, it is a tool to reach his goal, rather than the goal itself. In pursuit of this personal "Holy Grail", Johnson takes notoriously long between studio releases. "Bloom" is Johnson's first studio release of the twenty first century, coming nearly a decade after the release of his last studio album, named "Venus Isle", and it is a different kind of recording than he has ever created.
"Bloom" is less an LP than a collection of three EP's. The first part of the CD, entitled "Prelude", is a collection of 6 rock tunes. Amongst five instrumentals is nestled the Bob Dylan cover "My Back Pages". The instrumentals cover territory that has largely been explored on his earlier albums. Though good vibes abound, there is little of note here. There are no pieces that standout on the scale of "Cliffs Of Dover" or "Trademark", Johnson's two most popular songs, both from his breakthrough album "Ah Via Musicom".
While "Prelude is somewhat unremarkable, the same cannot be said of part II: "Courante". This section is dominated by vocal tracks, which Eric Johnson has come to master nearly as well as his guitar. Amongst guitar virtuosos, Johnson has always had an uncommon vocal ability. While most guitarists eschew vocal ability, Johnson cultivates it, and it has become a fitting partner to his six string talents. His ability to integrate his compositional skill, instrumental virtuosity, and expressive vocal ability come to full fruition in this section.
At the beginning of "Courante", Johnson transitions from rock instrumentals to vocals via the haunting soundscape "Sea Secret". The word "Secret" is most apt. While Johnson's talent for creating soundscapes has been seen briefly on some of his recordings and live performances, this is his first overt effort into this area. It's heartening to see that Johnson's influences continue to grow beyond the ones that originally spurred him onto a musical career.
"Sea Secret" leads into "Sad Legacy", Johnson's first original vocal on the album. "Sad Legacy", a socially conscious piece that focuses on the karma that America has reaped from its sometimes brutal foreign policy, suffers from awkward lyrics at its beginning but soon finds its footing. By the time the piece ends, and the R&B track "From My Heart" begins, Johnson is back in fine lyrical form. The doubled baritone/tenor vocals of "From My Heart" are instantly reminiscent of the best work of "Earth, Wind & Fire", and Johnson's guitar playing most clearly references contemporary jazz/pop great George Benson.
Taking a break from vocals for two pieces, Johnson ventures into world music territory with "Cruise The Nile" and "Tribute To Jerry Reed". While the former continues to demonstrate Johnson's musical evolution, the latter further reinforces the importance of Johnson's original influences. Guest guitarist Adrian Legg, adds stylistic spice to the the latter piece's country twang.
The two instrumentals are perhaps most notable in that they preceed this album's greatest track. "Your Sweet Eyes" starts out in instrumental territory, with Johnson playing nylon string leads over beautiful synth padding. It seems that Johnson is preparing the listener for what comes next, as the piece soon morphs into perhaps the most moving vocal track that Johnson has ever written. This is no easy feat, since Johnson had set the bar incredibly high with "When The Sun Meets The Sky" from "Venus Isle". There are, in fact, striking similarities between the two pieces, yet "Your Sweet Eyes" remains original. Both tracks feature a prolonged instrumental overture at the beginning, and bring in guest vocalists later in the track. While Christopher Cross' singing on "Venus Isle" was largely in the background, however, Johnson elevates his guest Shawn Colvin to the role of duet partner in this piece. In a piece so obviously romantic as "Your Sweet Eyes", it is refreshing to see Johnson embrace the idea of a female vocal partner. He has done this before, on "Tones" with Jennifer Warnes, but never to this degree of synchronicity. Johnson further embellishes the piece with inspired electric work that never wanders into self-indulgence.
Having brought "Courante" to its highest point, Johnson moves onto "Allemande" and its Jazz inflected sounds. "Hesitant" is a remarkable departure from Johnson's traditional jazz offerings where he has always referenced Wes Montgomery heavily. While his previous jazz tracks always had the air of tributes, this track seems to be Eric Johnson exercising his own jazz voice. "Sunnaround You", another R&B piece is not as effective as "From My Heart" but that's completely understandable considering the company that it is keeping.
The last two tracks are a return to the instrumental format. "Magnetized", a clear reference to Johnson's seventies band "The Electromagnets", walks the stylistic tightrope jazz and rock. The track features some of Johnson's most lightning fast playing.
The final tune on "Bloom" is "Ciel", nylon string piece. The term "nylon string" is applied here, because it is not a classical, neo-classical, or flamenco piece. "Ciel" is perhaps more a soundscape played on the classical guitar than anything else. The piece is a fine closing to the album, but I find Johnson's nylon string sound to be displeasing, however this is a matter of personal taste.
In the end, Eric Johnson reaches the highest artistic points of his career on "Bloom", but as a whole the album is inconsistent. The "Courante" section alone is worth the price of this CD, but the other two sections yield little reward for the careful listener. I cannot help but believe that the negative reviews of "Venus Isle", which I believe to be Johnson's greatest album, affected him from a production point of view. Instead of charging ahead with a single vision, Johnson pursued three separate visions and fused them together on this album. That doesn't need to be a negative thing. Eric Johnson has a fan base that spans many tastes, and that is a very difficult thing to live up to. The fact that he's trying to make so many people happy is a credit to him as a human being - bringing joy to another person is perhaps the highest calling that exists.
Maybe I'm just being a greedy fan...
I want more "Courante"!