Resan till USA och bluesens Missisippi hösten 2006 var en omtumlande upplevelse för en redan hängiven bluesfantast.

I fredags spelade, sjöng och berättade Bottleneck John, eller Johan Eliasson som han egentligen heter om sitt stora historiska bluesintresse. På lördag kväll gjorde han samma sak på Metropol i Härnösand.

- För mig är det närapå lika viktigt att kunna historien och bakgrunden till musiken som musiken själv, säger Johan en stund före fredagskvällens spelning på Blueskällaren Brux.

USA-resan härom året gav Johan än mer vilja och lust att ytterligare forska i den tidiga bluesens och jazzens uppkomst och villkor.

- Man förstår de tidiga arbetssångernas helt nödvändiga roll i det hemska arbete slavarna fick utföra på de milsvida bomullsfälten. De försvann faktiskt i den fjärran horisonten, så jättelika var de och där under den stekande solen i zenit för flera hundra år sedan kom också bluesen och negro spirituals att skapa grunden för den tidiga jazzens utveckling i USA, säger Johan.

Han sjunger gärna på mysiga klubbar som Blueskällar´n och Metropol i Härnösand, men gärna också i kyrkor. Senast i Örnsköldsvikstrakten i samband med en musikfestival i Själevads kyrka häromåret.

- Det är något gripande och storslaget att få sjunga de här tidiga, ofta varmt religiösa bluesmelodierna och texterna i en kyrka. Melodier och texter som präglas av det arbete, slit och lidande människor tvingades utstå, men också av den varma empati och sanna Gudstro som fick dem att orka vidare, säger Johan.

De här olika musikaliska uttrycken från 1910-, 20- och 30-talens Missisippidelta, och låtar av legender som Robert Johnson, Bukka White och Muddy Waters med flera har få om någon uttolkare av samma genuina historiska äkthet och intresse som Johan Eliasson. Med sig på Blueskällar´n hade han Stefan Swén munspel, Mattias Nordqvist piano och Lars Åstrand, mandolin och fiol.

Greger Jacobsson,  Allehanda,  Sweden   2008-03-18

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An article from the French blues magazine Blues & Co!

Bottleneck John est un chanteur/guitariste acoustique Suedois,spécialiste de la slide  jouant du blues traditionnel ainsi que du Gospel,voyageur infatigable,tous les week ends il écume les grands festivals d'Europe & meme des USA, il était venu jouer pour la premiere fois en France au mois d'Aout dernier,au festival "blues au chateau" dans le joli village de La Cheze(22)  en plein centre Bretagne, comme découverte la surprise fut de taille, il avait séduit le public par sa gentillesse son immense talent, sa voix puissante, sa maitrise de l'instrument & un feeling incomparable.Sur les 13 morceaux que comportent le dvd plusieurs sont tirés de ce fameux concert, les autres sont enregistrés en plein air dans un cadre magnifique, à la maison ou en groupe (duo/trio)en club à Trondheim (Norvege) ou Helsingborg, au festival d'Ostersund sa ville natale en groupe cette fois çi accompagné par une formation originale & efficace(M Nordquist,piano, L Astrand mandolin&violon, S Swen harmonica & Bo Linberg guitare & accordeon). Filmé pratiquement tout en camera fixe se qui donne un résultat certes intimiste mais rend un tres bel hommage à un artiste hors norme. Du blues comme on l'aime www.johaneliasson.com 

Philippe Le Guennec,  Blues & Co. magazine,  France  2008-02-23

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A short review from the Café Grande gig in Austria,  the Nön newspaper!

Here's me and Christian with the Mayor/Bürgermeister of Mödling. THANKS!

Nön newspaper,  Mödling,  Austria  2007-10-02

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Presentation från Helsingborgs Jazz & Bluesförenings hemsida. Tack så mycket!

Lördag 29 september

Bottleneck John´s Delta Trio

När man tänker på blues från Missisippideltat kan vi nog vara överens om att ord som "genuin", "äkta" och "usprunglig" dyker upp snabbt och spontant. Hur kan då en man från Norrland, en jämte, långt, långt ifrån bomullsfälten söder om Clarksdale ha en hum om hur man både spelar och sjunger blues så att det känns på riktigt?
Ja, antagligen för att Bottleneck John, som artistnamnet på Johan Eliasson från Östersund lyder, är en sann och oförfalskad individ som inte döljer sina passioner. Det må handla om gamla mopeder, ålderstigna bilar eller uråldriga stränginstrument eller blues. 

Kanske något av en världsstjärna i det tysta reser John och hans musikantvänner världen runt, få jag har sett turnerar mer än vad John gör, och spelar blues, sjunger the blues med sin djupa stämma. Vi är stolta över att presentera Bottleneck John, gitarr/sång, Mattias Nordkvist, piano och Stefan Swén, munspel för en kväll med bluesen i högsätet! Ta gärna en titt på hemsidan - www.johaneliasson.com tror jag ni förstår vad jag menar!

Örjan Mjörnheden, Helsingborg Jazz & Blues, Sweden  2007-09-28

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Here's an article from a French morning paper with nearly one million readers every day..

Photo from the wonderful house of Cyril and Anne Angoujard where the interview was held too..

Yann Léon, Ouest France  2007-09-09

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Some info written on the Jazzland website!!

I thank the guys at Jazzland very much! This is a fine presentation indeed..

"..Ein junger Blues-Sänger und Gitarrist aus Wien präsentiert eine der interessantesten Persönlichkeit der "Schwarzen Volksmusik" - Johan Eliasson aus Schweden erinnert frappant an die Großen des Blues!

Für mich eine echte Sensation aus dem kühlen Norden. Dieser Bottleneck John (g&voc) - alias Johan Eliasson - hat so gut wie nichts von einem "nordischen" Schweden an sich. Er sprüht von Temperament und Leidenschaft und seine Interpretationen der alten Lieder von Robert Johnson, Son House und Blind Willie Johnson klingen so überzeugend, als wären es eigene Kompositionen (mit denen er klassemäßig auch zu überzeugen versteht). Ohne Zweifel ist er einer der ganz Großen des Blues in Europa und unser heimischer Crack Christian Prechtl (g&voc) hat es trotz seines großen Könnens natürlich ziemlich schwer, gegen solch ein musikalisches Schwergewicht anzutreten - in naher Zukunft allerdings wird er seinem Freund sicherlich ganz schön "einheizen"..

In English: "..A young blues singer and guitarist from of Vienna presents one of the most interesting personalities of the "afro-american folk music" - Johan Eliasson from Sweden reminds you very much of the big names of the Blues! 

For me a genuine sensation from the cool north. This Bottleneck John (g&voc) - alias Johan Eliasson - seems nothing like a “northern” Swede actually. He has enormous temperament and passion and his interpretations of the old songs of Robert Johnson, Son House and Blind Willie Johnson sounds so convincing, as if they would be his own compositions (which he can also write and play in this great tradition). Without a doubt he is one the great ones of the Blues in Europe and our local hero Christian Prechtl has to put up a strong effort to play against such a musical heavyweight. ."

Axel Melhardt, Jazzland, Austria  2007-08-09

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          A nice review from ÖstersundsPosten! (only in Swedish, sorry..)

Blues och soul med känsla direkt ur hjärtat

• Blues & Spirituals med Johan Eliasson, Mattias Nordqvist och Stefan Swén • Länsbiblioteket Länets soulkung fick bladen att skrynkla sig i böckerna på Länsbiblioteket i går kväll. Med röst hämtad ur djupet av rotfyllningarna och känsla direkt ur hjärtat fick han oss att hulka i stolarna. Ibland tjoa. Den akustiska konsert han bjöd på tillsammans med polarna Mattias Nordqvist piano och Stefan Swén på diverse munspel var bland de mest fängslande och medryckande jag upplevt. Eliasson har med åren förfinat gestaltningen av den musikskatt han skattar mest. Blues/soul från 20/30-talet. På akustisk steel/slide-guitar. Den första gitarren med inbyggd mekanisk förstärkare! Instrumenten är skulpturala skönheter som skulle platsa på vilken konstutställning som helst. Vi fick lyssna till tre originalgitarrer i går kväll. Numera är Eliassons konsertframträdanden i länet sällsynta. Han har hela Europa som arbetsfält. Musiken har blivit tuffare och rockigare än den var för några år sedan när bandet hette Hot Tamales. Då fanns inte Nordqvists piano med. Han körde igång med riktigt boogie-woogie stuk i Preachin blues. Rytmslag över klaviaturen. Swéns munspel svarade den klagande sången. Småjabbande banjovirvlar över klaviaturen fick Nordqvist till i You can´t get that stuff anymore. Spelglädjen fick publiken att tjoa med. Detsamma i Let me be a little dog. Nordqvist trummade över hela klaviaturen och lät fötterna klappra med. Hudlös sång från Eliasson i vittnesbördet Nobodys fault but mine. Själfullt munspel från Swén. Klassikern Swing low grep med andlig närhet i föredraget. Fullödigt komp från Nordqvist. Ryckte oss från sentimentaliteten gjorde rockiga Down home. En autentisk tidsresa till soulens födelsetrakter i Mississippi där steget inte var långt mellan bönelokal och bykrog. Bernt Carlsson,  ÖstersundsPosten,  Sweden  2007-05-03

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Article/Review from Switzerland!!

Mais qui est Bottleneck John ? Pour y répondre, imaginez un bébé nommé Johan Eliasson né dans le Delta… de Lit (un peu plus au nord que le Delta du Mississippi, quelque part en… Suède !).

Imaginez un jeune garçon qui a grandi dans avec les musiques et les chants folkloriques que lui apprenaient sa grand-maman et sa maman, et que son grand-père enregistrait sur un enregistreur à cassettes.

Imaginez un passionné de guitares resonator doublé d’un collectionneur : National Duolian 1933, Amistar Singlecone pour ne citer qu’elles, sa plus vieille guitare jouable datant des années 1840/50 !

Imaginez un jeune homme qui très tôt intègre l’héritage musical afro-américain dans ses passions musicales et qui, boulimique de musique, cumule les expériences musicales : The Mudcats, Good Stuff, Fat Time Blues, The Hot Tamales, The Piano Duo, JE’s Heart & Soul, avant de privilégier une carrière solo sous le nom de Bottleneck John !

Imaginez que non content de reprendre de manière passionnée et avec un extraordinaire talent d’interprétation et d’orchestration des grands standards du Blues et du Spiritual des années 20 et 30, du Gospel et de la Soul, il en compose également !

Imaginez un artiste qui exprime son extraordinaire talent avec la voix de Son House, le talent d’écriture cumulé de Robert Johnson et Blind Willie Johnson, le cœur et l’émotion d’Eric Bibb ! Extraordinaire !

Mais décrire toutes ces qualités de Johan Eliasson alias Bottleneck John cela serait vain sans parler de ses deux talents essentiels : l’émotion et la passion de la Scène.

S’agissant de  l’émotion, il suffit d’écouter l’un de ses 6 disques qu’il a enregistrés à ce jour ou les 5 extraits de l’album  « Blues Singer » publiés avec cette critique pour vous en rendre compte : vous serez rapidement submergés par un flot de doux et délicieux sentiments. Des titres comme « Stones in my passway », « I woke up this morning », « Gipsy woman » sont des merveilles de finesse et d’émotion. Quant à « Spirit in the Blues », cette chanson me fait littéralement fondre en larmes chaque fois que je l’écoute et est ma préférée de l’album.

Allez également sur son site, sur lequel se trouvent de nombreux extraits audio et vidéo de concerts, et allez écouter sa reprise de « When the green grass grows » d’Eric Bibb : cette interprétation ferait fondre le plus endurci des cœurs.

S’agissant enfin de sa passion pour la scène Bottleneck John, en véritable passionné, ne se sent vraiment chez lui que lorsqu’il est sur scène et qu’il peut partager sa passion avec son public. Véritable routard, Bottleneck John arpente les Clubs et les Festivals des Etats-Unis et de l’Europe entière. Seule ombre à son tableau de chasse ? La Suisse… ! Mais nul doute qu’après s’être un peu fait connaître dans notre pays, certains organisateurs helvétiques n’hésiteront pas à l’inviter très bientôt. Il serait en effet bien étonnant que le public suisse reste longtemps privé du plaisir d’applaudir sur scène un artiste si complet, si talentueux et si généreux !

David Fraternali

And in English here..

But who is Bottleneck John? To answer this question, imagine a baby named Johan Eliasson born in the Delta... of Lit (a little more to the north than the Delta of Mississippi, somewhere in.... Sweden!). Imagine a young boy who grew in with the music and folk songs which his grandma and her mom taught him, and which his grandfather recorded on a small tape recorder. Imagine a passionate of resonator guitars doubled of a collector : National Duolian 1933, Amistar Singlecone to only talk about those ones, his oldest playable guitar dating from years 1840/50! Imagine a young man who very early integrated the musical heritage afro-American in his musical passions and who, fan of  music, cumulates the musical experiments : The Mudcats, Good Stuff, Fat Time Blues, The Hot Tamales, The Piano Duo, JE' S Heart & Soul, before privileging a solo career under the name of Bottleneck John!

Imagine that not only glad to cover in a passionate way and with an extraordinary talent of interpretation and orchestration the biggest standards of the Blues and Spirituals of the years 1920/30, Gospel and Soul, he also composes some! Imagine an artist who expresses his extraordinary talent with the voice of Son House, the cumulated writing talent of Robert Johnson and Blind Willie Johnson, the heart and the emotion of Eric Bibb! Extraordinary!

But describing all these qualities of Johan Eliasson alias Bottleneck John that would be useless without speaking about his two essential talents: his emotion and his passion for the Scene.

Talking about emotion, you just have to listen to one the 6 CD he recorded to date to quickly realize it. Listen to the 5 extracts of  the album "Blues Singer" published with this review and you will quickly be submerged by a flood of sweet and delicious feelings: titles like "Stones in my passway", "I woke up this morning", "Gipsy woman" are wonders of smoothness and emotion. As for "Spirit in the Blues", this song literally makes me melt in tears each time I listen to it and is my preferred song of this album. Please also wisit his website, on which are many audio and video extracts of his concerts, and listen to its cover of "When the green grass grows" of Eric Bibb: this interpretation would dissolve the most hardened heart on Earth. Finally talking about his passion for the scene Bottleneck John, as a real impassioned, only feels himself at home when he’s on stage and shares his passion with his public. These last years, Bottleneck John constantly goes from Clubs to Festivals in the United States and across Europe. The whole Europe ? Strangely, not in Switzerland...! 

But no doubt that after having been known a little in our country, a Swiss event organizer won’t hesitate to invite him very soon. It would indeed be quite astonishing that the Swiss public remained a long time starved of the pleasure of applauding on stage such a complete, talented and generous artist!

David Fraternali,  www.bluescat.ch,  Switzerland  2007-03-01

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An article from the French blues magazine Blues & Co.

Le coup de coeur de Philou

Découvert par hazard et la magie d’internet le talentueux bluesman scandinave johan eliasson, donnant dans un registre country/delta blues des années 20/30 teinté de gospel, influence par Robert et Blind Willie Johnson. Né dans la village de Lit à quelques kilometres d’ostersund dans le centre de la suède. Depuis sa tendre enfance Johan écoute & joue notre musique preferée ainsi que de la soul et du gospel dans divers groupes (piano duo, the Hot Tamales, Fat Time blues et plus récemment Bottleneck John) ainsi qu’avec ses amis Eric Bibb, Brian Kramer et Bob Brozman. Extraordinaire chanteur à la voix puissante & expressive il est aussi doué à la guitare (resonator) comme en témoigne son CD “Blues Singer” sorti en 2005, distribué par le label Américain ”Black Cat Records”. Tournant un peu partout sur la planète (Afrique, Australie, Mexique, Argentine, USA & Aussi beaucoup en Europe) Hélas pas encore dans l’Hexagone (bizarre non?). Messieurs les organisateurs de concerts n’hésitez pas à le contacter sur: www.johaneliasson.com. Il doit enregistrer très prochainement son nouvel opus qui s’appellera “Northern Soul”. Voilà un artiste intréssant à découvrir…

Philippe

 And translated, big thanks to Jim Petit for helping out here!!

Philou's coup de Coeur

Discovered by accident and the magic of the Internet, here is the talented bluesman from Scandinavia Johan Eliasson, who is playing country/delta blues music of the 1920/30’s with a touch of gospel, influenced by Robert Johnson and Blind Willie Johnson.

Johan was born in the village of Lit, a few kilometers from Östersund in the center of Sweden. Since his early youth, Johan listened and played our favorite music, and also soul and gospel with different bands (piano duo, the Hot Tamales, Fat Time Blues and more recently Bottleneck John), and also with his friends Eric Bibb, Brian Kramer and Bob Brozman.

Extraordinary singer with a powerful and expressive voice, he is also gifted with the guitar (resonator). Listen to his CD "Blues Singer" which was released in 2005 and distributed on the american label "Black Cat Records", and you'll know what I mean. Touring here and there around the world (Africa, Australia, Mexico, Argentina, USA and much around Europe). Unfortunately, he had never toured in France (weird isn’t it?).

Misters gig organizers, don't hesitate to contact him through his website: www.johaneliasson.com . He's about to release a new album called "Northern soul". This artist is really interesting to discover...

Philippe Le Guennec,  Blues & Co. magazine,  France  2007-02-12

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Another new review from the Blues Matters magazine. This time on my Blues Singer CD.. Just awesome!! THANKS!!

(One thing though, Roy, I am NOT a "Dutchman" as stated in the review, LoL!!!)

Johan Eliasson aka Bottleneck John - Blues Singer

The European blues scene continues to be packed with pleasant surprises and this is one of them. Johan Eliasson is a Dutchman with a passion for Eric Bibb and a past fetish for collecting mopeds(at one time he had 60!) but his genuinely rewarding obsession is playing and singing acoustic and he does it with a skill and virtuosity which is never less than satisfying. One American reviewer likened his style to Son House and he wasn’t far off the mark. This modestly produced selection includes the inevitable Robert Johnson “Come on in my kitchen” and some stirring guitar work on tracks like “D-jam” and “G-jam” and if you get hold of this CD you’ll return again and again to the ghostly tones of “Blind Willie’s tune” which effortlessly gives Ry Cooders “Paris, Texas” a good run for it’s money.

If we can get Bottleneck John over to the UK for some dates he would open a few eyes and ears. Excellent stuff – the Van Gogh of European bluesmen – more power to your elbow!

Roy Bainton,  Blues Matters Magazine,  UK  2006-11-20

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Just got two fine CD reviews from the eminent UK blues magazine, Blues Matters..  Awesome!!

Johan Eliasson's Heart & Soul - Blues with a feelin'

The MudCats - First Takes

These two CDs showcase the work of Johan Eliasson - a superb slide guitarist and singer with a very distinctive vocal style. The "Blues with a feelin'" album is a live recording and is a brilliant showcase! The gospel " Jesus gonna be here" sets the pace and it's difficult to believe this is a live album. "Blues with a feelin'" and Bibb's "Don't let nobody drag your spirit down" just flows. Ray Charles' "Hard times" is given a great Blues feel (not that Ray didn't!) "I can't hold out" and "People get ready" complete the set. I will play this album late in the evening on a long drive home from gigs. The MudCats album is exactly what it says, being all first takes in the studio, very heavy on the slide guitar (which is not a problem with me! ) Robert Johnson's "If I had possession Over Judgement Day" has a Sonny Landreth feel to it. BB King's "The Thrill is Gone" and a couple of other tracks are also on the previous album, but two of his own tunes, "Too Bad You Had To Leave" and "My little QT" show that he can also write a good song.

Bob Bonsey,  Blues Matters Magazine,  UK  2006-10-23

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Here's a really, really nice soulful review on one of my Copenhagen gigs..!! I'm very thankful!!

Husets Café, Copenhagen Denmark,
Friday night 20:00, 22 September 2006.

It had been a long day, following an out late Thursday evening listening to some really good blues at Denmark's Copenhagen Blues Festival. Invested were several hours on the Internet looking over the thirteen different acts on Friday night's festival slate, and visiting lots of web sites to listen to sample tracks/cuts. It was so difficult to settle on just one to hear live. (Or two at the most, since it might be possible to hear one and then squeeze into a later set at some other club.)

Making a decision like that drives me crazy--I just know it might be the wrong one. But, with much thought the decision was made: we would give "Bottleneck John" a try.

The room was claustrophobic in size and plain beyond words--no stage, just a few tables and chairs, a couple of speakers (not hooked up), and the sounds of uninvolved and uninterested people eating just across the way. The crowd for the music wasn't a crowd at all. At the appointed hour for the music to begin it was obvious that a mistaken decision had been made... there were a dozen folks (at most) ready and attentive for the blues. Oh no! Surely the (maybe) tens of thousands of Danes who would hear live music that night couldn't all be wrong-- and just us few in the little ground level room at Husets Café right.

There wasn't even someone from the Festival there to introduce him. So the guy clutching the metal faced guitar walked over and stood before the chair centered between the speakers (still not connected) and began by saying "I'm Johan Eliasson from Sweden . . . ".

He didn't talk long and I don't remember anything else he said because the only thing in my head was that little voice saying: "Oh man! You dummy, you should be over at Mojo's listening to SomeOneElse...look at this pitiful turnout...and, there are so few people here you can't even sneak out unnoticed."

But, when Johan Eliasson stopped talking and he let "Bottleneck John" sit down...well... magic happened.

I don't how, but suddenly the reincarnation of some now long dead Mississippi delta bluesman was playing his Amistar Reso-Phonic guitar like it was an extension of his being... an appendage of his soul, a part of his being.

And when he sang it was like some alien's mother ship had tractor-beamed that 35 year old Swedish born Johan Eliasson into its evil airborne lab...scraped out Johan and stuffed him with the insides of an old black man with bad teeth...fresh from a full day of back breaking pickin' in the hot and dusty cotton fields.

[Now listen readers, I know what I'm talking about: Born a mile and a half from the corner of Beale and Main Streets in Memphis Tennessee, I grew up in a house less than 200 meters from a cotton field in West Memphis Arkansas. Hey, I know a little something about about cotton sack breaking and acking back, toothless black men and their blues--at least I have seen it.]

Real blues...the stuff that comes from the heartache and pain of real life in the fertile fields of the broad delta of the mighty Mississippi river back during those terrible times of inequality. John's were REAL blues, or a so close substitute that it was impossible (for me) to tell the difference. "Bottleneck John" is not some slick, button-downed studio hawker with a digitized, synthesized, commercialized and focus group selected "unique and marketable sound".

Nope, this is like what Robert Johnson actually played on the front porch of some Mississippi River delta grocery store, while sittin' in a rocker and singin' the roots of what has today become "The Blues".

But, Robert Johnson was not in Copenhagen that Friday night--this was "Bottleneck John", and when I closed my eyes it became so real that I could almost hear the pops and scratches on the records of the 1950s...where I had first heard that soulful music. Mine was most often heard on the RCA Victor wooden cabinet, console radio and record player which was the centerpiece of our modest living room. Long before anyone in town had one of those new television things, we had a radio that was a lot bigger than a TV set is today. It had a speaker a full foot across and, during the day our "maid" (we didn't call her our "mammy", but she was) would tune in WDIA, the AM radio station over in Memphis which we all knew as "the Negro station". A station, which in the 1950s had a "Beale Street Blues Boy" singing live on the air. That name was later shortened to "Blues Boy" and, later still to a simple "BB". That is right, B.B. King played right into my living room, live, when i was kid--listening.)

We would listen to "Negro music" until time for mom or dad to get home...and, then 'Louise' would re-tune to "yall's kind'a music". Yep, I grew up on real blues...and, through the magic of an alien mother ship (or something) you too can relive the experience.

Do yourself a favor--if all you know about "the blues" is hard driving dancin' music you need to make the chance sit at the feet of "Bottleneck John" for an hour or two--more if you are really lucky. And enjoy a little time travel back to the roots of good, down home, cotton pickin', God-fearing, closely kin to church music, blues...take the trip...and, don't worry about those tens of thousands of folks who are not smart enough to be exactly where you are.

DenverD
A Texan in Denmark
www.Texan.dk  

Copyleft 2006, DenverD. No rights reserved.

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Review from the Blues Art Magazine!!

JOHAN ELIASSON a.k.a. BOTTLENECK JOHN
Blues Singer
Own label
www.johaneliasson.com

This CD is really Bottleneck John’s calling card. All the tracks are acoustic-based, many with just John’s National Steel guitar, but others range from guitar and harmonica to full-blown blues band, and even one number with a (rough and ready) gospel choir; some particularly fine piano playing also crops up from time to time. The material is similarly varied, mostly in the Delta style of the twenties and thirties but including hokum material and several spiritual numbers – including the evocative and desolate instrumental ‘Blind Willie’s Tune’, based loosely on ‘Dark Was The Night, Cold Was The Ground’. Many tunes are originals, but with fairly discernible antecedents.

Surprisingly, Johan really stands out from the crowd due to his voice – deep and rich and totally in keeping with his material. I was certainly impressed with this set. Some enterprising label should certainly pick him up and put his music on general release.
Norman Darwen,  BluesArt Magazine,  Austria  2006-09-25

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Finally!! My first review from France..!! And it's a good one, I'm a happy man..!!

"..Jouer le blues acoustique du delta du Mississippi quand on est originaire de Suède est un exercice plutôt original mais qui peut s’avérer payant dès lors que la manière de le faire est sincère et que le résultat colle au plus juste au genre recherché. Affichant une voix qui n’est pas sans rappeler celle de Son House et un jeu de guitare digne d’un Robert Johnson ou d’un Muddy Waters, Johan Eliasson n’a en rien usurpé son surnom de Bottleneck John et s’il a déjà eu la chance de jouer dans des shows télévisés devant près d’un million de personnes, il est un des animateurs imperturbables des juke joints de la région d’Östersund … Régulièrement invité en Allemagne, en Autriche, au Royaume mais aussi du côté des Etats Unis, l’homme aux cordes qui pleurent le blues affiche un rêve secret : venir jouer en France ! On le découvre au travers d’un ouvrage hors commerce qui fait office de carte de visite …

Capable de vous plonger instantanément dans la moiteur des clubs du Sud des USA, Bottleneck John tapisse la pièce d’une atmosphère un peu étrange dès lors que cette rondelle prend place dans la platine. On se sent plongé dans un vieux film noir et blanc où les fantômes hantent les pianos et où des danseuses un brin dénudées aguichent le client pour le pousser à la consommation. Rien n’est laissé au hasard, jusqu’aux craquements vintage qui rappellent les 78-Tours d’époque usés jusqu’à la trame … Ajoutez à cela que non seulement le jeu du bonhomme qui excelle en slide mais aussi sa voix particulièrement riche sentent bon l’écurie et que l’ensemble tourne aussi bien sur du blues roots que sur des influences gospel et même barrelhouse et vous tombez immanquablement sur le cul grâce à des pièces sur lesquelles ont jurerait entendre Charley Patton ou encore Blind Lemon Jefferson. Bête de live, Johan Eliasson se produit en solo mais aussi en duo et même en formation complète et fait mouche à chaque fois, que ce soit dans des concerts privés chez les particuliers, dans les églises, dans les bars et même dans les écoles où il aime à partager sa connaissance du blues ou plutôt des blues avec les élèves … Il suffit de poser une oreille attentive sur « Come On In My Kitchen », « I Woke Up This Morning », « G-Jam » ou « You Can’t Get That Stuff No More » pour être convaincu que l’essayer … c’est l’adopter ! Chérie, devine qui vient dîner ce soir.."

And translated, thanks to Jim Petit and Babel-Fish..!!

"..To play the acoustic blues of the Mississippi delta when one is originating from Sweden is rather original but it can prove to be worth while since the manner of making it is sincere and that the result fits so well in the genre.

With a voice sounding like Son House’s and a guitar playing worthy of a Robert Johnson or Muddy Waters, Johan Eliasson truly lives up to his nickname of Bottleneck John and he’s already played in front of nearly a million of people on TV shows, he’s one of the famous players of the Juke Joints in the area of Östersund... Regularly invited to Germany, Austria, and the United Kingdom but also to the United States, this man with the strings which cry the blues have a secret dream: to come to play in France! We discovered him through work of exceptional trade which acts as his calling card... Able to bring you instantaneously to the moistness and heat of the clubs of the south of the USA, Bottleneck John creates a strange atmosphere once his CD is placed on the turntable.. One feels plunged into an old black and white movie where ghosts hauntingly play the piano and where almost naked women seduce the customers to make them drink more. Nothing is left to random, there’s even the cracking sound of the 78 RPM vintage record player..

Add to this the man’s excellent slide playing and his incredible voice and as the CD unit turns out the blues roots with gospel influences and even barrelhouse you fall inevitably on the bottom thanks to the music where we would swear to hear Charley Patton or Blind Lemon Jefferson. A beast of the live music stage, Johan Eliasson performs solo but also in duo’s and even in full bands, in private concerts, in the churches, the bars and even in the schools where he share his knowledge of the blues with the students.

It is enough to listen attentively on "Come One In My Kitchen", "I Woke Up This Morning", "G-Jam" or "You Can' T Get That Stuff No More" to be convinced that when you’ve heard him... You’d want to adopt him!

Darling, guess who comes for dinner this evening..."

Fred Delforge, ZicaZic (on-line) Music Magazine,  France  2006-08-31

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Here's a new review from the Austrian Blues Portal - www.blues.at

CD-Review

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How is it possible that I heard about you just today? Is music industry in such a bad condition? Man... you are amazing!
My name is Roi, I'm from israel, 18 years old, I'm an avid blues fan for 4 year or so, and you Absolutely amazed me with your guitar and especially with your voice. I think your level is just as high as Corey Harris or Bob Brozman. I love your music, in the last hours I listened to it over and over and over again. You are the epitome of just about everything a great bluesman should have, and we need musicians like you in these days.

Roi Geyari,  Israel  2006-05-25

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Just got this very nice review from Croatia, I send my humble thanks..!!

When I met the traditional blues for the first time (a long time ago) in 1976, it was love at first sight. I remember so well when I heard the old legendary blues masters like Robert Johnson, Charlie Patton, Bukka White, Blind Willie McTell, Leadbelly, Big Bill Broonzy, Blind Lemon Jefferson, Son House, Robert Nighthawk, Otis Spann, Blind Willie Johnson, Skip James, Muddy Waters, Memphis Slim, Pine Top Perkins etc. who’s named it all, but it was really a discovery for me. Why? Because until then I had listened only to white blues music, which came from the Blues Workshop of legendary Alexis Corner (John Mayall, Van Morrison, Eric Clapton, Long John Baldry and others). It must have passed more than 30 years ‘til now, in the 21^st century, when I have been lucky to meet a musician who’s working under his nickname “Bottleneck John”. He sent me his album “BLUES SINGER”, which is released by Hot Records…. And after 30 years I was shocked again. So damn good and fantastic album at the same time… But here You are, this is what it’s all about…

Bottleneck John, I intentionally covert up his real name, presents his blues in extraordinary roots blues music style. His blues is so real, coloured by traditional forms that You just can’t believe it. Today in the 21^st century we can still enjoy it… By fantastic blues singer – musician Bottleneck John. With his album “BLUES SINGER” he took us to the Delta MS. deep down in the Mississippi mud.  I must thank my friends, Estonian blues musician Andres Roots and Scotch bluesman Dave Arcari, they told me about the fantastic bluesman Bottleneck John. Andres sent me one video clip and I was shocked, I just couldn’t believe that. In his music, in his blues we can find out some influences like: Keb Mo’, Eric Bibb, Corey Harris, Alvin Youngblood Hart, Mojo Stu and Paul Oscher. Beside all of those fantastic blues musicians Bottleneck John is so much better when we talk about traditional blues music.. No hard feelings….please! 

On album “BLUES SINGER” we find the following songs:

1.      Come On In My Kitchen

2.      I Woke Up This Morning ( duo)

3.      How Long, How Long Blues

4.      Stones In My Passway

5.      I Woke Up This Morning

6.      Gypsy Woman

7.      D-Jam

8.      Too Bad You Had To Leave

9.      Didn’t My Lord Deliver Daniel

10.  We Can Never Tell

11.  G-Jam

12.  Come Back Baby

13.  Don’t Let Nobody Drag Your Spirit Down

14.  Spirit In The Blues

15.  Blind Willie’s Tune

16.  You Can’t Get That Stuff  No More

17.  Intro … ( + 3 bonus tracks )

Please believe me, all 20 songs is so damn good and on the same level, so You must listen through all songs again and again. At the end I must tell You that Johan Eliasson a.k.a. Bottleneck John comes from far away and cold Sweden. He was born and raised up in Lit (small village) 25 km outside of  Östersund. His grandparents and mother teach him in music. From his early youth he played blues, gospel and soul. Bottleneck John is really great collector of mopeds, cars and guitars. All of that isn’t his number one, his really first love is the blues …. Delta blues. His career goes straight from 2003 and… this year he’ll meet US on tour. There the blues was born …

Johan Eliasson  a.k.a. Bottleneck John is extraordinary vocalist, has expressive and strong vocals, naturally he is fantastic guitar player too. It’s hard to describe how strong and great his blues feeling is, just like something which I’ve ALWAYS LOVED. This is music that came from the Mississippi mud, music which roots was deeply involved in the unique Delta Blues style. Commercial success for this album it isn’t a miracle, it’s real and normal. Sales go on so good in different countries in Europe, South & North America, Canada and as far away as Australia.

Personally, I hope that we can have this album here in Croatia in the near future and we can better know … Fantastic BLUES SINGER  … Johan Eliasson a.k.a. Bottleneck John, be sure Johan Eliasson a.k.a. Bottleneck John is worth it.

RECOMMENDATION: If You want to enjoy some traditional blues You MUST have Johan Eliasson a.k.a. Bottleneck John’s extraordinary album “BLUES SINGER”.

Recommendation: YES, YES and once again YES!!! Until there’s some other album just enjoy in EXCELLENT Johan Eliasson a.k.a. Bottleneck John’s  album “BLUES SINGER” .

You can order this album and find out more on : www.johaneliasson.com

Yours bluesy, Mladen Lončar – Mike

Mladen Lončar, Rock Oko Radio, Croatia  2006-05-17

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A review from the eminent Austrian music magazine, Concerto!! Covering three(!) albums..

If you hear these CDs without knowing the performer, you would say that this guitarist and singer is without question from the famous delta. But in reality Johan Eliasson, aka Bottleneck John comes from Sweden and shows once again, that good blues never knows any borders. Wheter solo with acoustic slideguitar, with a piano or with a whole band, Eliasson is great with emotional, authentic and expressive vocals, excellent guitar playing and enormous feeling for the essence of the blues and spirituals. 

On “Good Stuff” Eliasson reminisces the days of Leroy Carr & Scrapper Blackwell with the combination of guitar, voice and the piano playing of Mattias Nordqvist. The album "Blues Singer" also brings the gospel-heart of this swedish guy to the listeners ears, and also the harp and the Ry Cooder’ish Paris/Texas-Slide. The full band live album with ”Johan Eliasson´s Heart and Soul" also shows a solid job, only has less sound quality with a "bootleg-like" sound from the recording. In every case this is a name that you’ll have to remember.  Dietmar Hoscher, Concerto Magazine,  Austria  2006-05-04   Translation by Christian Prechtl - Thank you, bro!!!!!

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  From Black Cat CD, USA, here's a very nice recent review on my CD - Blues Singer..!!

"It's hard for a non-North American to pull this stuff off convincingly and imbue it with heart; that's the case whenever a player is producing blues in which he or she has no personal stake, and it's pretty hard to find a modern blues performer who went through the kind of second-class-citizenship misery experienced in the delta. That said, it can be done...." Jeremy Loome

The preceding quote was taken from a review I recently read. The artist in question is from outside the U.S. and I am familiar with his work. I didn't agree with Mr. Loome's viewpoint on that disc and on his viewpoint in general, except for the last sentence, "..it can be done...."

With regard to the point of a blues artist having no personal stake in their music: If any musician, blues or not, has no personal stake in the music they make, then they have no business exposing themselves on disc. Second, it's true that the pioneers of the blues are dying out on a daily basis. But because they are does not mean that modern delta blues has no future. You don't need to live through the brutality and hardships of slavery to get the blues. A child who loses his mother in Wal- Mart has the blues! It's an emotion. Being a second class citizen is not a requirement. Although not to trivialize the obvious horrors the forefathers experienced, it is important to realize that the seeds planted back then from the inhumanity of man on man gave our music a voice. Of course, it's hard to find a modern day blues performer who suffered second class citizenship. Does that mean we should only drag out our old Robert Johnson CDs when need to hear deep blues? We might as well pack it in and go watch American Idol.

You're damn right it can be done.

It's right here on the debut record from Johan Eliasion a.k.a Bottleneck John who hails from Ostersund, Sweden. As far as I am concerned, Ostersund is now 25 miles south of Leland, Mississippi. And as far as I know, Mr. Eliason has never been to America, never mind the delta. But make no mistake, his understanding of his craft is equal to anyone I have ever heard and his performance is better than most. I was hooked on this record from the moment I heard that voice. A deep, clear, resonating growl that has the ability to make your woofers shake. If there was ever a poster child for how this form of music should be done then look no further than Bottleneck John.

Blues Singer consists of mostly delta and spiritual covers with four originals mixed in. A live recording of a delta anthem, "Come On In My Kitchen" is first and Eliason rips through the song as if it were his own, recreating the famous lyrics with spine chilling intensity and often mimicking the vocals with guitar. Another live track, "I Woke Up This Morning," a duo and the first spiritual shows Bottleneck John understanding the form, but the overall mix on this track is muggy and therefore upon replaying, I bypassed. Mattias Nordqvist is featured on piano. There is another version of "Woke Up" a few tracks further on that has better sound quality but lacks the depth of the piano, however, a spirited acoustic solo somewhat makes up for this. Technology plays a part in the recreation of Leroy Carr's "How Long, How Long Blues." The scratchy sound effect throughout gives the impression of an early recording. I was told he used it to fool friends, many believing the song to be an old 78. But it's not just the effects that are impressive, Eliason changes the vocal style and the guitar to suit the record using a gentler tone closer to that of Carr's. I can see how people could be fooled. It had me reaching for the jewel case to see what was going on also. Another Johnson classic gets a workout in "Stones In My Passway," the morose vocals set to a more accompanying style of guitar. "Gypsy Woman" is a standard laid back blues shuffle and features a fine middle section of harp and acoustic guitar.