Mojo’s Cold Shot: Happy 70th, Luther “Guitar Junior” Johnson

This column, sadly, sometimes looks like the blues obituary page. Well, forget that for now! This Shot, we’re celebrating the life Luther “Guitar Junior” Johnson, a ripping-good Chicago-style guitarist who cut his teeth with legends Muddy Waters and Magic Sam, touring with them in the ’60s and ’70s.

He still plays out–mostly in New England, where he makes his home nowadays. In fact, I and fellow Popdoser Ed Murray caught him at The Village Trestle in Goffstown earlier this month, where he rang in his 70th birthday after the gig.

Here’s a fantastic 10 minute shot of Luther in his solo rockin’ prime of the 1980s, done from a Cambridge, Mass. club. You can hear the Mississippi and N’Awlins in his voice in the interview part, but the music is pure urban blues along Memphis and Chicago lines, with Muddy and B.B. King sounds coming out of his guitar. (Bonus: The video also features awesome Pinetop Perkins footage, as he performs with Luther; that guy, by the way, is still pumping out blues in his 90s, and last I heard, was still pretty sharp):

So there you go. Still kicking and entertaining folks, Luther’s a living guitar legend, the kind of which we’re losing left and right as they all get to be that age. Go see him and support him out there on the road, the guy’s got blues running in his veins and still brings it, albeit with a few more slower, downhome selections mixed in that he used to. After the show, meet him, buy a couple CDs, shake his hand, get an autograph. He’s good like that.

Here’s a double-shot of music, “Doin’ The Sugar, Too,” the title track from his 1984 Bullseye Blues album, and “Got To Find A Way,” another title track–this one from his 1998 Telarc album.

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  • Luther's the real deal, man, no doubt about it.

    I still have a problem w/ the sound of certain labels, though. Telarc being one. Never liked the sound of a lot of Alligator Records' product either (though Bruce Iglauer's contributions to blues and music in recorded general are w/o question!).

    Maybe it's the combination of blues and too-crisp all-digital recording (or mixing or mastering)?
  • mojo
    we both have this issue: vintage sound = authentic
  • it's gotta be more than that. sure, vintage sound = authentic. but i also feel that it's an issue of "when good musicians/engineers/producers go bad"...that access to state-of-the-art recording studios yielded some pretty sub-standard material, or at least sterile-sounding crapola...even when you KNOW the musicians/producers involved are mega-talented.

    I also think a lot of it has to do with how the DRUMS sound on a recording...
  • mojo
    also, the classic recordings were made back in an era where fidelity was lower. Blues is racuous club music, and I find (like you) that vintage sound board tapes of live gigs (a couple '60s recrdings from Pepper's come to mind...or the American Folk Blues Festival sets) sounds better because that is real blues in my mind. Cleaning it up takes the magic out of it.

    Another piece is, let's not mince words, these artists in their prime were better than when they're not. Recording pristine sounds shows them "warts and all." Then there's the sub-prime next generation; there will never be another Muddy Waters or Bo Diddley, just disciples/sidemen.kids/musically gifted superfans.

    All that being said, I am quite content to enjoy the Luther we've got now. So much better than no Luther at all. And his records are pretty good, all things considered.
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