In 2010, then-55-year-old Eric Johnson released Up Close, his most frenetic and frenzied electric guitar record to date, so much so that he only sang lead vocals on a couple of tracks and served as accompanying or background vocalist on a few others, with most of the tunes sung by guest performers.
In the ensuing decade, Johnson released more albums than he ever had before – a live recording of a European tour, a duet album with jazz guitarist Mike Stern, an acoustic piano/acoustic guitar pop vocal set (to which this is the apparent sequel), and a return-to-form electric guitar pop rock album (although much more restrained than Up Close).
Now, in 2020, the 65-year-old Johnson returns with EJ Vol. II, which, like its eponymous predecessor, focuses on acoustic piano and acoustic guitar songs, but this time with tasteful touches of his trademark electric guitar flourishes. It is not so much a continuation of any one particular style as it is an expansion and progression of Johnson’s musical development.
The remarkable aspect of the new album is how far Johnson has come as an artist since Up Close. Up until then, Johnson was primarily a highly technically skilled guitar hero and virtuoso.
In recent years, however, Johnson has been focusing more on mastering the crafts of songwriting and singing, and he has been getting very good at both of those pursuits. In fact, the vocal songs – especially “Waterwheel,” “Divane,” “Hotel Ole,” “Different Folks,” and “Golden Way” – are more enjoyable than the instrumentals. That is not to say that the instrumentals are not good – they are.
In terms of singing, Johnson’s voice is something to behold, especially at this stage of his career. He sounds much younger than people who are half his age. You would not realize he is a senior citizen just by listening to him.
As good a singer/songwriter as he is, Johnson still works his magic on those six electric strings. However, his playing is much more refreshingly and enjoyably relaxed and refined now.
This is definitely one of Johnson’s finest albums, right up there with 1996’s Venus Isle, with which it shares a luminescent sonic palette and a spirit of transcendental meaningfulness.
To me, the title signifies not so much a follow-up to a particular album as it does the next phase of Johnson’s maturation as a singer and musician.