05-15-2022, 02:51 PM
After working on Lonnie Knight's article conversion, I started doing a bunch of Michael's.
New articles at:
Singer Yearns for Recording Studio
Passage to Success Difficult for Johnson
Michael Johnson presents his 40th anniversary concert
Concert reviews:
Crowd is Small, But Mitchell Trio Gives Entertaining Show
Civic Auditorium, Emporia, KS - March 20, 1968
T.C.L., The Emporia Gazette - March 21, 1968
The Mitchell Trio performed before an embarrassingly small crowd at the Civic Auditorium Wednesday evening. The concert atmosphere resembled a casual gathering with only 150 Emporians attending.
In spite of this, both the audience and the trio appeared to really enjoy the performance. "This is a good audience. We're really having a time," John Denver, leader of the group, said during an intermission.
"So this is Emporia — gateway to Olpe and home of the feed lots," they quipped at the beginning of the show. Their boyish satire was directed at everyone from Lyndon Johnson to Lestor Maddox. "The '68 Nixon is different this year," they sang, "he can jump from left to right and not lose his place."
The trio left the satirical theme occasionally in favor of ballads. Their best, "Leaving on a Jet Plane," was written by lead singer and composer John Denver, and tells of the pain of parter lovers. Peter, Paul and Mary and several other groups have recorded it recently. Mr. Denver's music is sung by the Pozo Seco Singers, Bob Dylan, and the Mamas and Papas.
The nine-year old group is a product of the folk coffee houses that were popular in the early 1960's. In contrast to other groups in the folk-comedy range, the trio's humor was clever and their ballads were well written — thanks to the talents of Mr. Denver.
In the area of serious protest songs the trio fell short. Their Pete Seeger-like numbers were feeble gestures against contemporary American conditions. "We Didn't Know" and "Business Goes on as Usual" failed to impress the listener with either the magnitude of German war crimes or the paradoxes of the Vietnam conflict.
When not singing of world problems — out of character in white shark-skin suits — the trio displayed expert showmanship and musical talent.
Two numbers by Mike Johnson, guitarist, were particular examples of accomplished skill. His second piece "Will I Ever Catch Another Butterfly" transmitted the fear of a man growing old. Paul Prestopino, accompanist, played a perfect folk banjo solo.
The concert was sponsored by Union Activities Council at Kansas State Teachers College. The council assures entertainers of a set fee regardless of attendance.
Title:
Venue:
Review:
Johnson Appears at Chanhassen
Chanhassen Dinner Theater - Chanhassen, MN - March 28, 1971
Scott Bartell, Minnesota Daily, March 29, 1971
Mike Johnson, a young singer-songwriter who lives and works in the Twin Cities area, appeared in concert at the Chanhassen Dinner Theater.
His show was interesting and enjoyable, and his style was definitely his own unique blend of various elements — but the evening just didn't seem to take me anywhere; the sense of "getting off" was mostly not there.
It is hard to say why; certainly his technique and mannerisms can't be faulted in the least. His voice sounds rather like a fuller James Taylor: mellow, clean, relaxed. His guitar work, using mostly a classical guitar, is strong sophisticated enough to keep me interested, based on classical guitar methods but employing Latin rhythms and jazz chords. He speaks directly to the audience in a friendly but low-key way, and throws in some funny lines from time to time.
The material itself was also consistently good. The best part of it was borrowed from other sources, ranging from such things as "I Sure Dig Sex" written by a close (but crazy) friend, to three classical guitar pieces, played with much skill and feeling.
All of these, especially the classical pieces (for which he seems very qualified) and the Jacques Brel compositions, were pleasing to the ear. But I wanted more from his songs, which I wsa hearing for the first time.
Johnson is a better performer, especially a better guitarist, than he is a songwriter. This is perhaps a rather big decision to make on the basis of one hearing, particularly as it was rumored that Johnson was not feeling at his best that evening. I certainly hope to hear him again, but I was a trifle disappointed with his own songs.
Title:
Venue:
Review:
Crowd's Reaction Carried a Message
Guthrie Theater - Mpls, MN - June 4, 1974
Roy M. Close, Minneapolis Star
Singer-guitarist Michael Johnson, who presented a pair of concerts last night at the Guthrie Theater, is an interesting performer who has never quite developed into an exciting one.
That point was emphasized about three-quarters of the way through the first of Johnson's Walker Art Center-sponsored concerts. After more than 90 minutes of solo performing, Johnson brought two sidemen — Mark Henley and Ted Sherman — to the stage for the final half-hour or so of his show.
The effect was astonishing. Johnson's intensely personal vocalism and sophisticated guitar playing gave way immediately to a much more elemental, foot-stamping sort of music — music characterized by looseness and energy rather than attention to detail — and the audience, which had been applauding politely up to that point, responded with long, loud ovations after each song.
What this segment of his set forcefully suggested is that Johnson must significantly change his approach to performing if he hopes ever to capture more than a small, faithful following.
His principal strength — his exceptionally fine guitar playing — is all too clearly offset by his weaknesses, including an evident preference for message-heavy songs and an undistinguished (although pleasant) voice.
Johnson is not an especially gifted stylist, and therefore needs to choose his material more carefully than he did last night. Songs such as "Nobody Knows You When You're Down and Out," which he delivered unconvincingly, not only demand greater interpretive skills than Johnson brings to them but invite comparisons with other singers' interpretations.
Better suited to his abilities are songs like "Here Comes the Sun," which provide ample opportunities for instrumental embellishment but make comparatively few vocal demands. Johnson gave it an excellent performance.
All of the trio numbers, of course, fell into that category. In each case, the almost uncomfortable intensity that typifies much of Johnson's solo vacalism was muted by the addition of two other voices, while his stylish guitar work remained an instrumental focus.
Notably, the songs presented by Johnson with Henley and Sherman tended to be spirited, uptempo and broadly comic — in sharp contrast to those he presented as a soloist, which tended to be more personal but less stirring.
The audience's reaction seemed almsot one of relief. And not without reason: After 90 minutes of admiring music that is artful but not exciting, it's nice to hear something that invites excitement.
There Is a Breeze review:
The Montgomery Advertiser - Montgomery, Alabama
Novmeber 18, 1973
By Jim Metro
Michael Johnson's voice sounds a lot like Don McLean's ("American Pie") but it's more trained, like his guitar playing.
But "There Is a Breeze" (Atco) is not a stiff album. Johnson mixes a mildly bluesy song he wrote called "Happier Days" with tunes by acknowledged smiths like Biff Rose, Jackson Browne, Jacques Brel and Rodgers and Hammerstein.
There's a catchy tune called "On the Road" that ran continuously through this reviewer's head for 3 straight days. Johnson stuffed the album with a little someting for everybody, including a piece called "Study in E Minor" for serious music buffs. He's not a carbon copy.
New photo:
![[Image: trio.jpg]](https://mjblue.com/graphics/aconcert/trio.jpg)
New articles at:
Singer Yearns for Recording Studio
Passage to Success Difficult for Johnson
Michael Johnson presents his 40th anniversary concert
Concert reviews:
Crowd is Small, But Mitchell Trio Gives Entertaining Show
Civic Auditorium, Emporia, KS - March 20, 1968
T.C.L., The Emporia Gazette - March 21, 1968
The Mitchell Trio performed before an embarrassingly small crowd at the Civic Auditorium Wednesday evening. The concert atmosphere resembled a casual gathering with only 150 Emporians attending.
In spite of this, both the audience and the trio appeared to really enjoy the performance. "This is a good audience. We're really having a time," John Denver, leader of the group, said during an intermission.
"So this is Emporia — gateway to Olpe and home of the feed lots," they quipped at the beginning of the show. Their boyish satire was directed at everyone from Lyndon Johnson to Lestor Maddox. "The '68 Nixon is different this year," they sang, "he can jump from left to right and not lose his place."
The trio left the satirical theme occasionally in favor of ballads. Their best, "Leaving on a Jet Plane," was written by lead singer and composer John Denver, and tells of the pain of parter lovers. Peter, Paul and Mary and several other groups have recorded it recently. Mr. Denver's music is sung by the Pozo Seco Singers, Bob Dylan, and the Mamas and Papas.
The nine-year old group is a product of the folk coffee houses that were popular in the early 1960's. In contrast to other groups in the folk-comedy range, the trio's humor was clever and their ballads were well written — thanks to the talents of Mr. Denver.
In the area of serious protest songs the trio fell short. Their Pete Seeger-like numbers were feeble gestures against contemporary American conditions. "We Didn't Know" and "Business Goes on as Usual" failed to impress the listener with either the magnitude of German war crimes or the paradoxes of the Vietnam conflict.
When not singing of world problems — out of character in white shark-skin suits — the trio displayed expert showmanship and musical talent.
Two numbers by Mike Johnson, guitarist, were particular examples of accomplished skill. His second piece "Will I Ever Catch Another Butterfly" transmitted the fear of a man growing old. Paul Prestopino, accompanist, played a perfect folk banjo solo.
The concert was sponsored by Union Activities Council at Kansas State Teachers College. The council assures entertainers of a set fee regardless of attendance.
Title:
Venue:
Review:
Johnson Appears at Chanhassen
Chanhassen Dinner Theater - Chanhassen, MN - March 28, 1971
Scott Bartell, Minnesota Daily, March 29, 1971
Mike Johnson, a young singer-songwriter who lives and works in the Twin Cities area, appeared in concert at the Chanhassen Dinner Theater.
His show was interesting and enjoyable, and his style was definitely his own unique blend of various elements — but the evening just didn't seem to take me anywhere; the sense of "getting off" was mostly not there.
It is hard to say why; certainly his technique and mannerisms can't be faulted in the least. His voice sounds rather like a fuller James Taylor: mellow, clean, relaxed. His guitar work, using mostly a classical guitar, is strong sophisticated enough to keep me interested, based on classical guitar methods but employing Latin rhythms and jazz chords. He speaks directly to the audience in a friendly but low-key way, and throws in some funny lines from time to time.
The material itself was also consistently good. The best part of it was borrowed from other sources, ranging from such things as "I Sure Dig Sex" written by a close (but crazy) friend, to three classical guitar pieces, played with much skill and feeling.
All of these, especially the classical pieces (for which he seems very qualified) and the Jacques Brel compositions, were pleasing to the ear. But I wanted more from his songs, which I wsa hearing for the first time.
Johnson is a better performer, especially a better guitarist, than he is a songwriter. This is perhaps a rather big decision to make on the basis of one hearing, particularly as it was rumored that Johnson was not feeling at his best that evening. I certainly hope to hear him again, but I was a trifle disappointed with his own songs.
Title:
Venue:
Review:
Crowd's Reaction Carried a Message
Guthrie Theater - Mpls, MN - June 4, 1974
Roy M. Close, Minneapolis Star
Singer-guitarist Michael Johnson, who presented a pair of concerts last night at the Guthrie Theater, is an interesting performer who has never quite developed into an exciting one.
That point was emphasized about three-quarters of the way through the first of Johnson's Walker Art Center-sponsored concerts. After more than 90 minutes of solo performing, Johnson brought two sidemen — Mark Henley and Ted Sherman — to the stage for the final half-hour or so of his show.
The effect was astonishing. Johnson's intensely personal vocalism and sophisticated guitar playing gave way immediately to a much more elemental, foot-stamping sort of music — music characterized by looseness and energy rather than attention to detail — and the audience, which had been applauding politely up to that point, responded with long, loud ovations after each song.
What this segment of his set forcefully suggested is that Johnson must significantly change his approach to performing if he hopes ever to capture more than a small, faithful following.
His principal strength — his exceptionally fine guitar playing — is all too clearly offset by his weaknesses, including an evident preference for message-heavy songs and an undistinguished (although pleasant) voice.
Johnson is not an especially gifted stylist, and therefore needs to choose his material more carefully than he did last night. Songs such as "Nobody Knows You When You're Down and Out," which he delivered unconvincingly, not only demand greater interpretive skills than Johnson brings to them but invite comparisons with other singers' interpretations.
Better suited to his abilities are songs like "Here Comes the Sun," which provide ample opportunities for instrumental embellishment but make comparatively few vocal demands. Johnson gave it an excellent performance.
All of the trio numbers, of course, fell into that category. In each case, the almost uncomfortable intensity that typifies much of Johnson's solo vacalism was muted by the addition of two other voices, while his stylish guitar work remained an instrumental focus.
Notably, the songs presented by Johnson with Henley and Sherman tended to be spirited, uptempo and broadly comic — in sharp contrast to those he presented as a soloist, which tended to be more personal but less stirring.
The audience's reaction seemed almsot one of relief. And not without reason: After 90 minutes of admiring music that is artful but not exciting, it's nice to hear something that invites excitement.
There Is a Breeze review:
The Montgomery Advertiser - Montgomery, Alabama
Novmeber 18, 1973
By Jim Metro
Michael Johnson's voice sounds a lot like Don McLean's ("American Pie") but it's more trained, like his guitar playing.
But "There Is a Breeze" (Atco) is not a stiff album. Johnson mixes a mildly bluesy song he wrote called "Happier Days" with tunes by acknowledged smiths like Biff Rose, Jackson Browne, Jacques Brel and Rodgers and Hammerstein.
There's a catchy tune called "On the Road" that ran continuously through this reviewer's head for 3 straight days. Johnson stuffed the album with a little someting for everybody, including a piece called "Study in E Minor" for serious music buffs. He's not a carbon copy.
New photo:
Cindy McArthur, Webmaster