In the midst of creating The Deep and the Dirty, Eric Johanson’s previous album cracked the Top 10 on the Billboard blues chart. It was his fourth time reaching the Top 10. And for a Louisiana native who’d grown up idolizing bluesmen like Freddie King and Robert Johnson, it felt pretty good. Even so, genre success didn’t discourage Johanson from reaching beyond the blues for The Deep and the Dirty’s eclectic, electrifying songs.
Produced by Jesse Dayton (Supersuckers, Rob Zombie) — another roots-rock innovator who, like Johanson, uses the blues as a springboard for a bigger, broader sound — The Deep and the Dirty (whose title refers to the American South) fires twin barrels of sharp songwriting and fiery fretwork. Johanson wrote these songs during an era that found him at home, live-streaming acoustic performances and releasing two volumes of his Covered Tracks series to a quarantined world. At the earliest opportunity, Eric returned to the road, gaining a fresh appreciation for the musical chemistry generated by a well-oiled touring band. The Deep and the Dirty captures these contradictions and subtleties with songs infused with messages about embracing the modern moment recorded in the studio as a band playing together live.
Johanson has been capturing moments for years. Born in Alexandria, Louisiana, he received his first guitar at five and became a self-taught prodigy. By his teens, he was a staple at regional blues gigs, often joining much older musicians on stage from New Orleans to Memphis’ Beale Street. Meanwhile, his tastes expanded to include rock acts like Tool, Soundgarden, and Nine Inch Nails. Next, Johanson began making his songs, experimenting with everything from rock & roll to beat-driven electronic music. Living in New Zealand for four years broadened his horizons even further. And by the time Johanson resettled in New Orleans during the 2010s, he’d developed a style of music that unapologetically encompassed all his influences.
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