Carlos Johnson and Hideaki Tanaka – Blues – It’s Powerful Stuff
P-Vine – 2026
https://anywherestore.p-vine.jp/en
7 tracks; 1 hour 13 minutes
Chicago Bluesman Carlos Johnson has long been revered in Japan, even if his name carries a quieter weight in the U.S. A left-handed guitarist who flips a right-handed instrument upside down in the tradition of Albert King and Jimi Hendrix, Johnson came up through Chicago’s blues clubs in the 1970s, building a reputation for his aggressive, emotionally charged playing.
That sound found an especially devoted audience overseas. Johnson first toured Japan in 1989 with Valerie Wellington, and the connection stuck. Over the decades, he returned repeatedly, including a run supporting Otis Rush in 2004, and later tours as a solo artist. In Japan, Johnson wasn’t just respected—he was embraced.
Among those listening closely was guitarist Hideaki Tanaka, who would go on to study Johnson’s style firsthand. Inspired by Rush and immersed in Chicago blues, Tanaka moved to Chicago in 1999, where he spent years absorbing the tradition at its source. Blues – It’s Powerful Stuff (2026) is the culmination of that relationship—part collaboration, part conversation between mentor and student—backed by a tight, fully Japanese rhythm section.
What emerges from that collaboration is a record that feels both rooted and slightly untethered—in the best way. The album sits firmly in the Chicago electric blues tradition, but it pulls in strands of soul, funk, and even loose, jam-heavy improvisation that stretches songs well past their typical form. There are clear echoes of players like Albert King and Otis Rush in the phrasing and tone, but also moments that feel closer to the expressive sprawl of Stevie Ray Vaughan. At times, the record borders on indulgent, with extended solos and drawn-out structures, but that looseness is also where its personality lives—two guitarists pushing each other, less concerned with precision than with feel.
Rumbling, powerful electric guitar kicks off “I Wonder Why,” complemented by tasteful, saucy piano notes from Hiromi Takai on keyboards. Tanaka and Johnson’s guitar nearly weeps with emotion before erupting into a stunning, wailing solo that borders on cathartic release. The influence of B.B. King and Stevie Ray Vaughan is unmistakable, while Yohei Kisanuki on bass and Shigeo “Sanpei” Hirayama on drums provide a steady backbone.
One of the best tracks on the LP is a 16-minute cover of Willie Dixon’s “I’m Your Hoochie Coochie Man.” A slow, menacing guitar creeps in, followed by an instantly recognizable riff as anticipation builds. Johnson, the vocalist on all songs but “Don’t You Lie to Me,” belts out “Gypsy woman told my mama, before I was born…” with a deep, growling authority that fits the song’s mythic tone. Johnson delivers a deep, growling blues voice, while Tanaka offers a simple, moaning guitar solo, and Takai adds sharp, expressive flourishes on the keys. The song swings between slow and fast passages, with bouts of improvisation. Compared to Muddy Waters’ version, Johnson and Tanaka present a looser interpretation, but with no less soul power.
Electric guitar riffs open “My #1 Son,” Johnson’s tribute to the blues culture in Japan and the sole original composition on the album. It’s a jolly track, radiating with positivity and good-natured blues—music that uplifts. Johnson and Tanaka unleash a swirling, almost chaotic guitar interplay that somehow remains controlled, a kind of musical push-and-pull. “I’m here in Japan, with my son, playing guitar, having lots of fun,” Johnson sings, and while not lyrically complex, the sentiment lands because of its sincerity.
A catchy guitar hook and funky rhythm drive “I Just Want to Make Love to You,” another Willie Dixon cover. Johnson’s voice comes across smooth, deep, and rich, with touches of funk and soul woven into the delivery. The rhythm and vocal phrasing invite comparisons to G. Love & Special Sauce, and this take is low-key and stripped down compared to versions by the Rolling Stones or Muddy Waters, favoring groove over power.
Tanaka and Johnson conclude the album on a high note with a Jimmy Reed Medley, containing “You Don’t Have to Go,” “Bright Lights Big City,” and “Going to New York.” It starts with rapid-fire electric guitar that recalls Chuck Berry’s work on Berry Is on Top (1959). The energetic, forceful track leans heavily on Takai’s driving keyboards, while Johnson croons, “Going to New York if I have to walk… I’ve been out East, been out West, been all around, Japan’s still the best.” Tanaka and Johnson pour everything into the performance, delivering blistering, full-throttle solos. The medley does Jimmy Reed justice and showcases some of the best guitar work on the LP.
Blues – It’s Powerful Stuff ultimately underscores something deeper than just a collaboration—it highlights the enduring authenticity of Chicago blues and its unexpected, yet profound, resonance abroad. While the genre was born out of the lived experiences of Black musicians in cities like Chicago, its emotional core has traveled remarkably well, finding devoted audiences in places like Japan. In some ways, the reverence heard on this record feels even more intentional—an act of preservation as much as performance. Johnson plays with the authority of someone who lived the tradition, while Tanaka approaches it with studied respect and clear devotion. The result is a record that doesn’t just replicate Chicago blues—it reaffirms its global life, showing how a deeply local sound can be both protected and reinterpreted thousands of miles from where it began.
