The Reviews!


"..Quite simply, this is a killer blues album!.." 

- Kari Nevalainen, Inner Audio Magazine.


"..En av de bästa svenska bluesskivor jag hört.." 

- Lennart Götesson, Dalademokraten.


"..Vällustrysningar i massor utlovas!.." 

- Hifi & Musik magazine, Sweden.




I'm very thankful for this review in HiFi+ magazine, UK!

Side by side with one of the blues greats of our time, E.C..




Fabulöst trevlig recension i Dalademokraten! Tack för den!

Lennart Götesson, Dalademokraten, Sweden.




Got a fine review on the CD in Blues Blast Magazine!

If you heard this recording without the benefit of background information, there wouldn’t be anything to tip you off that Bottleneck John hails from Lit, Sweden. His big booming voice and warm voice contains no hint of his origins.
His primary choice of instrument being resonator guitar lends a real blues authenticity to this recording. He adds mandolin, banjo, electric guitar and kazoo to his arsenal at times. His support musicians contribute keyboards, acoustic bass, fiddle, tuba and spare percussion. His cover tunes and three originals are delivered with a heavy dollop of soul.

Robert Johnson’s “Come On In My Kitchen” is quite faithful to the original, bolstered by “meaty” resonator guitar and atmospheric harmonica. Mattias Nordqvist’s hearty piano work drives “No Matter How She Done It” along at a spritely pace. John’s husky, throaty voice is given complimentary backing by some moody Hammond organ on Tony Joe White’s “Out Of The Rain”. Who would have known that rocker David Coverdale of Whitesnake and Deep Purple fame could have written such a moving blues anthem as “Walking In The Shadow Of The Blues”? It’s given a nice casual reading here, cushioned in the lap of country-blues style guitar.
John highlights his skills on resonator mandolin and slide mandolin on the original instrumental “Mandolinferno”, a toe-tapping workout. John and Mattias on guitar and piano respectively, do Leroy Carr and Scrapper Blackwell proud on their signature song “How Long, How Long Blues”.

Slide guitar and fiddle intertwine on the original “Autumn Rime”, that sounds like it could be a blues chestnut from the thirties. “Only A Woman”, another original, carries a similar old time vibe. Tuba plays the bass lines under guitar, piano, harmonica, mandolin and kazoo on their lively version of “You Can’t Get That Stuff No More”.
This guy can even coax emotion out of the one string on a diddley-bow on the closing traditional spiritual “Wade In The Water”.

This highly enjoyable and authentic sounding blues recording truly shows that the blues are international.

It doesn’t matter what corner of the planet the artist comes from, you either have a blues soul or you don’t. This man has one in spades!

Greg “Bluesdog” Szalony, Blues Blast Magazine, USA.




From France and the Blues & Co. magazine. (5/5)

Bottleneck John *****
All around man

Bottleneck John, de son vrai Johan Eliasson, revient sur le devant de la scène avec un nouvel album "All around man". Spécialisé dans le gospel et le country blues, spécialiste de la slide guitar, le géant Suédois doté d'une voix exceptionnelle, comme à son habitude, a bien fait les choses en s'entourant d'une ribanbelle de musiciens pour enregistrer les 14 titres de son nouvel opus.

Très belle intro avec « Lonesome valley », beaucoup de profondeur au niveau de la guitare et une voix est impressionnante sur ce superbe traditionnel, que dire de « Come on in my kitchen » tant sa version est superbe, avec un zeste d’harmonica joué tout en finesse, « No matter how she done it » dans la même veine se trouve renforcé par du piano, « Autumn Rime » très belle compo joué sur un tempo rapide avec l'aide d'un violon, « Do you call that a buddy?.. » pour l'occasion Bottleneck John laisse son dobro pour jouer du banjo sur ce titre gospel, magistral!!! « Out of the rain » superbe titre de Tony Joe White dans une version lancinante et toute en retenue… « All around man » un boogie efficace, surprise avec « Walking in the shadow of the blues » de David Coverdale et titre phare de Whitesnake, que l’on découvre ici en version acoustique une guitare et un piano, un autre titre original « Mandolinferno » un instrumental magnifique, tout est à l’avenant un régal et un grand moment…. Conclue par un « Wade in the water » magnifiquement interprété sur une version magistrale, au feeling incroyable...

Une autoproduction léchée, un superbe album de blues acoustique, la perle du trimestre !

And translated to English..

Bottleneck John, aka Johan Eliasson, is back with a new album "All Around Man."
A specialist in gospel and country blues, the giant Swede, slide guitarist, with an exceptional voice has, as usual, teamed up with a string of musicians to record the 14 tracks of his new album.

Very nice intro with "Lonesome Valley"- great depth of guitar work and impressive vocals on this wonderful, traditional song.
"Come on in my kitchen" is a superb version, with excellent harmonica playing. "No matter how she done it " in the same vein but with strong backing from the piano, "Autumn Rime" –a beautiful composition played up-tempo with the addition of a violin.
"Do you call That A Buddy?" On this track Bottleneck John replaces his Dobro with the banjo and plays a masterful rendition of this gospel song!

"Out of the Rain" as superb as Tony Joe White - a haunting version.
"All Around Man " – an effective boogie surprise; with " Walking in the shadow of the blues "(by David Coverdale of Whitesnake) Bottleneck John plays acoustic guitar with a piano accompaniment.
The next track “Mandolinferno" is a beautiful instrumental and really enjoyable.

The album finishes with " Wade in the Water" - a masterful version, played beautifully with incredible feeling.
A polished production, a superb album of acoustic blues, the pearl of the quarter!

Phillippe Le Guennec, Blues & Co magazine, France.




From the Folk & Acoustic Music Exchange.

All Around Man

Bottleneck John

Opus 3 Records - CD 23001

Available from

This Blues artist from Sweden had a revelation after listening to Eric Bibb's Spirit & The Blues disc in 1999, and put down his electric instruments, and has been playing predominately acoustically ever since. One of the first things you are going to notice is the container that holds the CD, all I will say is that it puts the ones we get in the USA to shame. The liner notes are detailed so there is no problem figuring out who is playing what on each track and even a centerfold that is not a pin up but a picture of all the instruments (18) he plays or had with him. It is this attention to detail and quality that is carried throughout the disc, in the recording and the sound quality, etc.; and it is such a noticeably different product. Even in the booklet there is a lot of information on the history and background of the songs and the instruments used on the 14 songs, 55+ minutes of music.

All this very noticeable quality before even the first notes are played, or chords sung. And Bottleneck John is not a one style wonder; this disc shows his familiarity with a variety of styles of the Blues, from deep Delta blues to Barrelhouse, to some Piedmont and it could go on. Then there are the instruments; all manner of guitars, resonators to electric, to cigar-box guitar, to acoustic, 6 and 12 string in all of the preceding, to Mandolins to resonator Mandolins, to banjo. To accompany the instruments he has his voice, which sounds as if it was dragged a long way down a gravel road voice, and an assemblage of his blues brothers who all are equally skilled on their chosen instruments. He is arguably expert on all of the above instruments is equally good no matter on which one he has selected to play the song. There is a lot to be had on this disc on a great many different levels and it is worth searching out.

Bob Gottlieb, Folk & Acoustic Music Exchange, USA.




 From Germany and the Connaisseur Mailorder:

Rezension: LP

Der Mann heißt eigentlich Johann Eliasson und stammt aus einem Tausend-Seelen-Dorf in der Mitte von Schweden. Mit Musik wurde er in seinem Elternhaus von Anfang an umgeben – und früh entwickelte er eine besondere Liebe zum alten Delta-Blues der 20er und 30er Jahre. Den spielt er längst selbst ähnlich intensiv wie die alten Meister, und am liebsten spielt er ihn auf uralten Resonator-Gitarren – wie einer 1933er National Duolian und einer 1935 Dobro. Aber auch auf allen anderen Arten von Gitarren (vorzugsweise vintage), Banjos und Mandolinen, mit einer Meisterschaft und einem Blues-Feeling, daß er etwa einem Ry Cooder jederzeit auf Augenhöhe begegnen kann. Die wieder einmal beeindruckend natürliche Wiedergabequalität der Opus 3-Produktion macht aus diesem Album endgültig ein wahres Hör-Fest in Sachen akustischer Blues! (2015)



 From Italy and the magazine:

Il Blues di John Bottleneck

Il nostro è uno di quei musicisti che suona "con" e "per" altri, ma non aveva mai pubblicato un disco suo. Ora l'ha fatto, e subito con la Opus3... mitica casa Audiofila Svedese che consociamo per la sua serie di SACD....

Bottleneck, leggo dal libretto, gira volentieri nei negozi di robe usate, acquista strumenti vecchi, anche semidistrutte, e le aggiusta personalmente. Più che altro compra chitarre, ha un debole per il "Dobro" (Resonator guitar), ma non solo... anche chitarre acustiche, banjo, mandolini e quant'altro.

Certi di questi strumenti arrivano al secolo di vita, o quasi!... Per esempio... in "Do you call that a buddy" (di Raye/Wilson) usa un Guitar/Banjo del 1931 e un altro del 1914.... (il brano è stupendamente interpretato su questo CD...) Bellissimo anche "Out of the Rain" di Tony Joe White, nella quale suona una chitarra Dobro di fabbricazione ignota del 1930, che, dice, ha scovato da qualche parte e che era un rudere, più che uno strumento musicale....Lui stesso l'ha riparato alla perfezione....

Nell'ultimo brano (il traditional "wade in the water") suona il DIDDLEY-BOW... una specie di scatola di sigarette fatto in qualche maniera,con un grosso bullone che fa da archetto (distanziatore della corda dalla cassa acustica). Si. avete letto bene. ho scritto "della corda" perchè... di corde, su questo strano strrumento, ce n'è una sola. Abbastanza grossa... Nelle spiegazioni ci dice che è il Grandfather off all Blues Guitars (precursore di tutte le chitarre blues...)

Tutti gli strumenti musicali usati (anche dai suoi bravi musicisti) sono assolutamente "d'epoca", si va dalle già menzionate chitarre di tutti i tipi fino all'organo Wurlitzer, contrabasso, violino, percussioni, harmonica a bocca e... basso tuba. Torniamo alla musica? benissimo... qui si tratta di blues, della miglior specie. Di quel blues acustico che ti entra dentro....

A me piace molto. Lui dice di ammirare molto Eric Bibb (e... ti credo!) ma non lo imita. Di Eric ho parecchi dischi, tutti belli, ma Bibb è un attimino (mio modesto parere) più commerciale, più "pop", anche se è e resta molto "bluesy"... La musica di John, come canta e suona su questo bel CD "All Around Man" si avvicina di più, credo, a quella di Maria Muldaur, tanto per fare un nome...

Non ha una bella voce, nel senso classico del termine. Ma è una voce che si addatta maledettamente bene al blues. Molto indovinato il "nome d'artista" scelto da John... Per quanto riguarda la qualità audiofila... che dire... è un ottimo SACD. ci sta tutto: molto dettaglio, molta dinamica, scena.... credo manchi nulla...

Gran bel disco. Se vi piace il blues... me la sento di consigliarvelo....





Ur tidningen Hifi & Musik!

MF, Hifi & Musik magazine, Sweden.




Review from Inner Audio Magazine!

Quite simply, this is a killer blues album! Go and get it. It’s not as rough as it could but otherwise it's hard to find a single weak point in it. Tracks remain their quality from one to another, also thanks to the excellent recording (audiophiles will love this recording). The head recording engineer Jan-Erik Persson states in the intro that “we had very similar ideas how to go about the album”, and I think it can be heard from the end result.

The combination of accompanying instruments (grand piano, Hammond organ, Wurlitzer, resonator & upright bass, percussion, fiddle, mandolin etc.) vary nicely to avoid monotony in compositions and sonics. And the way in which Bottleneck John himself plays and slides his many guitars, including various resonator guitars, is not just great to hear but possesses an original quality. Bottleneck’s blues takes the listener back to the first half of the 20th century. This unusually authentic blues album should inspire blues lovers all over.

Kari Nevalainen, Inner Audio Magazine, Finland.



Svensk recension från tidningen 7an!

Nils Ågren, tidningen 7an, Sweden.





From the Ikon1931 magazine, a great review, thanks!

Till strängmusikens rötter.

Först en man och hans 12-strängade resonatorgitarr. Jag förflyttas till ett sent 1920-tal, någonstans i amerikanska södern. Den stora skillnaden, förutom att detta är nu 2013, är att mannen är vit & svensk instrumentsamlare som inspirerats starkt av Eric Bibbs Opus3-släpp ‘Spirit & The Blues’. Mannen kallar sej Bottleneck John ock albumet bär titeln till en av de tidiga blueslegenderna Bo Carters sång ‘All Around Man’. Här samsas traditionella bluesstycken med Tom Waits fantastiska ‘Jesus Gonna Be Here’, Robert Johnsons ‘Come on in my kitchen’ där Stefan Swéns munspel visar var prärien slutar och köket börjar, och Tony Joe Whites ‘Out of the rain’ där Mattias Nordqvist visar hur en Hammond ska hanteras. Men här finns även egna kompositioner som ‘Autumn Rime’ ock den kuliga idén ‘Mandolinferno’ med ett antal mandoliner och Kent Ögren på Bassolian. Det är lagom skitig ljudbild som framträder för att det ska bli magisk blues, men samtidigt Opus3-standard så att njutningen blir till Whiskey Heaven. I konvolutet berättas om instrumenten som använts, vilka som spelat på diton, hur Bottleneck John kommit över dom. Men även hur Opus3s Jan-Eric Persson och Bottleneck John tagit sig hit till All Around Man. Och givetvis att vi även hör Lars Åstrand, Mattias Olofsson, Karl Eneland & Patrik Idell. All Around Man är som att gå i Bluesens skugga. Känna vindarna från bomull- & majsfälten i ett 1920-talets USA.

Lennart Olausson, IKON1931 magazine, Sweden. 

And translated to English..

To the roots of string music. 

First, a man and his 12-string resonator guitar. I'm moved to a late 1920's, somewhere in the American South. The big difference, except that this is now 2013, is that the man is white & a Swedish instrument collector inspired strongly by Eric Bibb's Opus3-release ' Spirit & The Blues '. The man calling himself Bottleneck John and the album carries the title from one of the early blueslegends Bo Carter's songs "All Around Man". Here is traditional blues pieces side by side with Tom Waits' amazing "Jesus Gonna Be Here", Robert Johnson's "Come on in my kitchen", where Stefan Swéns harmonica shows where the Prairies ends and the kitchen begins, and Tony Joe White's "Out of the rain" in which Mattias Nordqvist shows how a Hammond should be handled. But there is also his own compositions such as 'Autumn Rime' and the funny song "Mandolinferno" with a number of mandolins and Kent Ögren on the Bassolian. It has a moderately dirty sound that stands out for this to be magical blues, but at the same time it has the Opus3 standard so that pleasure turns into Whiskey Heaven. In the booklet there's stories about the instruments used, which musicians played such instruments and how they came into Bottleneck John's care. But also how Opus3's Jan-Eric P and Bottleneck John found the path that led to recording "All Around Man". We also, of course, hear Lars Åstrand, Mattias Olofsson, Karl Eneland & Patrik Idell. "All Around Man" is like walking in the shadow of the blues. Feeling the winds from cotton & corn fields in the 1920's United States.

Lennart Olausson, IKON1931 magazine, Sweden. 




"..This unusually authentic blues album should inspire blues lovers all over.."

- Kari Nevalainen, Inner Audio Magazine, Finland.


"..5*****, for sure, for "All Around Man". An album I really wished I had a higher rating system for.."

- John Vermilyea, Blues Underground Network, Canada.


"..All Around Man is a bluesy triumph.."

- Robbie Gerson, Audiophile Audition magazine, USA.


"..Wade in the Water - a masterful version, played beautifully with incredible feeling.."

- Phillippe Le Guennec, Blues & Co magazine, France. 




 Nice words about the album in LIRA, Sweden.

Nils Ahnland, LIRA music magazine, Sweden.




                 My first ever review in Chinese!! Hope to get it translated someday.. 




     Review from Germany and Wasser-Prawda! Danke!

Akustikblues im Geist der 20er und 30er Jahre.

Die britische Bluespresse nannte ihn den Van Goghdes europäischen Blues. Auf jeden Fall ist Bottleneck John (Johan Elisasson) aus dem schwedischen Lit im Bereich des traditionellen Blues ohne Weiteres Musikern wie Eric Bibb an die Seite zu stellen. Das wird auf seinem neuen Album „All around man“ mehr als deutlich.

Sofort ins Ohr springen: Wenn Bottleneck John Blues spielt, dann ist er immer daran interessiert, den Sound und die Spielweisen der 20er und 30er Jahre wieder zum Leben zu erwecken. So erklingt bei seiner Version von Robert Johnsonst „Come On In My Kitchen“ eine 1935 produzierte Dobro von Regal. Aber - und das macht das ganze Album deutlich: John versucht nur den Klang, nicht die verschiedenen Originale der Songs neu zu fassen. Wenn er singt und spielt, dann ist überall sein zurückhaltender, fast elegant zu nennender Gesang prägend. Hier ist - ebenso wie bei den Gitarren - eine zurückhaltende aber immer prägnante Interprätation zu hören. Wo Robert Johnson beinahe lüstern fleht, dass die Angebetete doch bitte rein kommen möge, dann ist das hier ein melancholischer, sich mit der Situation abfindender Mann zu hören. Auch bei „Do You Call That A Buddy“, was bei Dr. John rotzig und aufbrausend daherkommt, ist hier traurig, ja desillusioniert. Und das wird durch die begleitende Harp. Fiddle, Chor und Drums noch unterstützt - bis zu dem Punkt, wo die Band dann den Sänger doch noch zur Übermütigkeit des Originals aus New Orleans beschleunigt.

Überhaupt sind die verschiedenen Arrangements - ob da nur die Harp von Stefan Swén erklingt oder der (ebenfalls historische) Konzertflügel von Mattias Nordquist, ob mit Fiddle und Bass der Sound tradiotioneller String Bands aufgenommen wird oder gar mit Tuba, Percussion und anderen Instrumenten der frühe Jazz aus New Orleans erklingt: Immer passt das zu den Songs ebenso wie zu Johns Intermpretation derselben.

Nur manchmal kommen bei der für SACD produzierten und klanglich absolut hinreißenden Aufnahme auch elektrische Instrumente zum Einsatz. „Out Of The Rain“ etwa lebt gerade durch die Klangflächen der Hammond-Orgel und ruft einem einen Bußgospel beim Spätgottesdienst am Samstagabend in Erinnerung. Und bei dem von Tom Waits geschriebenen „Jesus Gonna Be Here“ spielt Bottleneck John auf einer in den 60er Jahren von Kawai in Japan gebauten E-Gitarre, die sich zwischen all den historischen Gitarren zunächst seltsam anhören mag. Doch der dreckige Klang dieser Billiggitarre unterstreicht das Lied in seiner Rotzigkeit optimal.
„All Around Man“ ist für mich auf jeden Fall ein Highlight des akustischen Blues im Jahre 2013. Unbedingt reinhören! (opus 3 records)

Nathan Nörgel, Wasser-Prawda, Germany. ¨




"..No doubt, one of the finest Acoustic Blues artists around.."

- John Vermilyea, Blues Underground Network, Canada.


"..All Around Man är rootsig blues av världsklass.."

- Christer B. Jarlås, Östersundsposten, Sweden.


"..It doesn’t matter what corner of the planet the artist comes from, you either have a blues soul or you don’t. 

This man has one in spades!.."

- Greg Szalony, Blues Blast Magazine, USA.



   First review, said in the Finnish magazine AudioVideo:Translation soon..

Mitä syntyy, kun yhdistetään Blind Willie Johnsonin ääni hiukan sivistettynä, mahtava slide-kitarointi, taitava huuliharpun, kazoon, viulun ja tuuban soitto terästettynä 1887 valmistetulla Bechstein-flyygelillä? Syntyy pieni bluessensaatio. Ruotsalainen Johan Eliasson alias Bottleneck John panee luun kurkkuun kovillekin nimille. Alkuaan John soitteli sähkökitaraa, mutta sai 1999 herätyksen akustiseen kuultuaan Eric Bibbin levyn Spirit & Blues. Ja hyvä niin, onhan sähkökitaralla bluesia soittavia ihan liiaksi. Kymmeniä akustisia kitaroita kerännyt mies on kuin 1920- ja 1930-lukujen country-blues-mestareiden reinkarnaatio. Ronski ja pakoton, mutta vivahteikas laulutyyli tuo mieleen jo mainitun Johnsonin lisäksi Son Housen. Kopioijaksi miestä ei voi väittää, siksi persoonalliselta laulu kuulostaa. Kitaristina hän on mieltynyt vanhoihin viime vuosisadan alkupuoliskon akustisiin kitaroihin, joita on itse kunnostanut. Ja osaa hän niitä myös soittaa - usein säestäen itseään jalkaa polkemalla.

Levyn kappaleet on hyvin valittu, on kolme tradia ja kolme omaa. Lisäksi vanhojen, ei liian tuttujen klassikoiden oheen on mahtunut yksi kappale Tony Joe Whitelta ja Tom Waitsilta. Viimeksi mainitun Jesus gonna be here -kappaleen Bottleneck John soittaa Kawai-sähkökitaralla ja osoittaa hallitsevansa myös gospelin. Ymmärtääkseni kirkkoesiintymiset ovatkin olleet hänelle puoli elämää.

Useimpia huippuhyviäkin blues-levyjä haittaa niiden tasapaksuus. Kokonaisen levyn kuunteleminen on monasti yhtä pakkopullaa. Ei tämän. Kokoonpanot vaihtuvat, ja sellaisten nykyään vähemmään kuultujen bluessoittimien kuten viulun, pianon, kontrabasson, banjon, mandoliinin, resonaattorin ja Hammond-urkujen käyttö tuo mukavaa vaihtelua. Wade in the water -kappaleessa sikarilaatikosta ja puukepistä tehty yksikielinen basso sekä bassohuuliharppu luovat todella omalaatuisen tunnelman. Kappaleiden taustat ja kokoonpanot selviävät informatiivisesta 16-sivuisesta lehdykästä, jossa on myös hyvä kuvitus. Jan-Eric Perssonin omassa studiossa tehty äänitys on huippuluokkaa. Mainittakoon että juuri hankitun Bechstein-flyygelin hieno sointi on vangittu 50-luvun lopun putkitoimisella AKG C-24 -stereokondensaattorimikrofonilla. Hybridilevyn SACD-kerros lisää ääneen skarppiutta ja tuo solistin paremmin esille.

Bottleneck John on aikaisemmin tehnyt yhden levyn jollekin pikkumerkille. Pikkumerkki on myös Opus3, mutta sillä on maailmanlaajuinen levitys. Tämän uuden käyntikortin myötä Johnilla on mahdollisuus blues-maailman valloittamiseen. Levy on todella positiivinen yllätys ja yksi parhaista Opus 3 -levyistä. Kuunnelkaa ja nauttikaa.



Bottleneck John


From Holland and, thanks!!

Bottleneck John – All Around Man
Label Opus 3 Records:
Release medio 2013, BluesCD’s online bestellen

Tekst: Paul Scholman

De eerste “tokkels” de Zweed Johan Eliasson alias Bottleneck John van de cd All Around Man en vervolgens het doorleefde hese stemmetje van de man deden mijn wenkbrauwen fronsen. Akoestisch, kwetsbaar, kortom een heerlijke akoestisch bluesnummer dat qua spanning en opbouw alle kanten op kon gaan. Lonesome Valley bleef echter ingetogen op gitaar, maar de zang van John deed anders vermoeden.

Ik vond de plaat bij Triple J Records in Tiel en was hem nog niet eerder tegengekomen op websites of in de bladen. Ik vond dat er toch iets over geschreven moest worden voor deze burelen. De plaat is vorig jaar al uitgekomen en heb ik hem (eind) vorig jaar ook al aangeschaft, maar de factor tijd.

Mijn eerste indruk dat dit iets speciaals was, bleek alleen al uit het speciaal gefabriceerde doosje. Een kunstwerkje op zich voor een optimale bescherming van de cd. Mooie afgeronde hoeken van het wat zwaarder lijkende doosje.

Bottleneck John, zo schrijft hij aan de binnenkant van het bijgeleverde boekje, blijkt o.a. geïnspireerd te zijn door Eric Bibb. Bibb bracht in 1999 Spirit Of The Blues uit en dat gaf hem een hele andere kijk op het spelen van muziek. Het boekje van 16 pagina’s geeft een goed verzorgde indruk en staat vol met prachtige foto’s met de gitaren van John en de nodige informatie.

All Around Man markeert de release van het debuut van Bottleneck John voor Opus 3 Records, een platenlabel dat zeer toegewijd is aan het maken van de opnames zodat geluid uiteindelijk zo absoluut authentiek mogelijk moet klinken. Dit wordt ten dele gedaan door met behulp van de natuurlijke akoestiek van authentieke omgevingen zoals kerken, concertzalen, jazz clubs en dergelijke accommodaties. ‘We vinden dat met de authentieke opnamelocaties de muziek beter klinkt dan het achteraf in de studio toevoegen van galm. De plaatsing van de microfoon in de kamer en de positionering van de muzikanten daarbij zijn ook uitermate belangrijk.’( Als een soort toegevoegde functie op All Around Man werd deze uitgebracht op een hybride Super Audio CD, wat een medium is dat veel meer opslagruimte heeft, dus in theorie mogelijk zorgt voor een hogere afspeelkwaliteit.

Voor deze 14 track cd All Around Man door Bottleneck John, heeft dat geleid tot een heerlijke mix van 3 originele nummers en 11 covers, waaronder 3 tijdloze traditionals, Lonesome Valley, How Long, How Long Blues en Wade In The Water, die Bottleneck John briljant gebruikt als het slotstuk van deze cd. De laatste klanken vreten zich vast en niet in de laatste plaats door die zware harp.

Robert Johnsons Come On In My Kitchen, platgecovered, maar dat ik een heerlijke uitvoering vind, doorspekt met een heerlijke swampie harp van Stefan Sven. Voor dit meesterwerk, dat Bottleneck John sinds de vroege dagen van zijn akoestische avontuur uitvoert, speelt hij een 1935-Dobro die door Regal in Chicago gemaakt werd. Hudson Whittaker/Thomas Dorseys No Matter How She Done It en U Can’t Get That Stuff No More staan als een huis. Maar ook enkele groten van de huidige generatie in een gewaagde uitvoering, maar uitstekend geslaagd in mijn optiek, van Tom Waits’ Jezus Gonna Be Here tot rockband Whitesnakeleden Dave Coverdale & Bernie Marsden Walking In The Shadow Of The Blues komen aan bod. Out Of The Rain van Tony Joe White is ook een heerlijke uitvoering. TJ White zal nog jaloers zijn.

Zoals de naam al impliceert is Mandolinferno inderdaad een inferno aan fantastisch Mandolinspel. Deze prachtige, vrolijke, en meest instrumentale track, heeft niet 1 maar 2 mandolines die op het op hetzelfde moment los gaan. ‘Een eerste voor mij, en de andere mandoline bespeeld door Lars Astrand.’Het geheel is doorspektmet Kent Ogren die recht uit het hart speelt op een Bassolian, beter bekend als een Travel Size Resonator Bass en eruit ziet als een Resonator gitaar.

Liefhebbers van (akoestische) slide kunnen hun hart ophalen met deze plaat van Bottleneck John. Misschien is deze cd niet voor iedereen even toegankelijk, maar zeer de moeite van het luisteren waard. Hij heeft een stem die precies past bij dit soort muziek. Gruizig, doorleefd. Ik vind het een cultureel hoogstandje. Misschien wel buitencategorie.

Paul Scholman,, The Netherlands. 




4 out of 5 in Uppsala Nya Tidning, thanks!

Björn G Stenberg, Uppsala Nya Tidning, Sweden.




From the Blues Underground Network! 5/5, many thanks!

Bottleneck John "All Around Man" ( Sweden )

When I first listened to the Swedish blues Artist Bottleneck John's newest release, "All Around Man", I made a decision, right then, that I was going to review it, even though I had retired from doing reviews other than from Canadian Blues Artists, and those that I had reviewed in the past, due to not being able to keep up to the multitudes of CD's I was receiving each year. I broke away from my policy on reviews for this album, because I just felt it was simply to good of an album to ignore not doing a review on, and therefore telling as many people as I could, that when it comes to amazing sounding and performed Acoustic Blues, "All Around Man", was certainly the best I have heard, so far, for 2013, if not the best I have heard in recent memory.

My first impression that I may have something special, in my presence, came when I first pulled the CD out of it's delivery package, and was happy to see that the case was not in a few pieces, as more often than not, was the case for albums which have travelled far, this one coming from Sweden. The CD case, was the most unique and well built one I have ever received, a work of art in itself, and a bit of foreshadowing to the care and attention that was put into all aspects of creating the CD that the case so wonderfully protected.

Next, I removed the CD Booklet from it's case, which was made extremely by, yet again, the unique style of the case, and was thrilled to see that it was not just a fancy cover for the CD case, but instead an exceptionally well done 16 page booklet, which offered an abundance of info, not only concerning the 14 awe inspiring Tracks, but also the history behind how Bottleneck John and the ground breaking label, Opus 3 Records, got together. In addition, the booklet is peppered throughout with fantastic guitars photos, including the center fold, which is a 2 page photo spread of all of Bottleneck John's instruments, which included, 13 Guitars, 3 Mandolin's, 1 Banjo, and a Diddley Bow, which he calls The Kicking Mule Special.

"All Around Man", marks the debut release of Bottleneck John for Opus 3 Records, a record label that is extremely committed to having their recordings sound as absolutely authentic as possible. This is done in part by, "using the natural acoustics of authentic environments such as churches, concert halls, jazz clubs and so on. We match the venue to the music, so to speak, as opposed to the common studio practice of adding an artificial reverberation afterwards and so on. The positioning of the microphone in the recording room and the positioning of the musicians in relation to the microphone are also extremely important". As an added feature, "All Around Man", was released on a Super Audio CD Hybrid, which is a medium that allows for a lot more storage room, therefore, in theory allowing for a higher quality playback. It was Bottleneck John's first hearing of Eric Bibb’s album “Spirit & The Blues”,   released in 1999 on Opus 3 Records, which sealed his commitment to Acoustic Music and more recently sealed the deal between him and Opus 3 Records. 

For the 14 Track set of music on "All Around Man", Bottleneck John offered up a wonderful mix of 3 originals and 11 Covers, which included 3 timeless Traditionals, "Lonesome Valley", "How Long, How Long Blues", and "Wade In The Water", which Bottleneck John, brilliantly used as the closing Track. A few other Covers included, Robert Johnson's "Come On In My Kitchen", which is one of my all time favorite Blues songs, and one I actually hear covered quite a bit, each year, Tampa Red/Thomas Dorsey's "No Matter How She Done It" & "You Can't Get That Stuff No More", and also a few great ones from more modern artists, such as Tom Waits "Jesus Going To Be Here", and Rock N Roll band Whitesnake members Dave Coverdale & Bernie Marsden "Walking In The Shadow Of The Blues".

For a few of my favorites on "All Around Man", I chose "Come On In My Kitchen", "Do You Call That A Buddy", and "Mandolinferno". "Come On In My Kitchen", for a favorite, was a no brainer, because if that song is on an album, and it is done right, like it is done on "All Around Man", it is always in contention as one of my favorites. For this masterpiece, for which Bottleneck John has been playing since the early days of his acoustic adventure, he plays a 1935 Dobro which was made in Chicago by Regal. "Come On In My Kitchen", also features some great Harmonica work from fellow musician Stefan Swen.

"Do You Call That A Buddy", first caught my attention with the opening Banjo playing, then the Vocals, which at first reminded me a lot of Leonard Cohen. Great Harmonica, once again, from Swen and majestic Fiddle work from Lars Astrand. A wonderful tune peppered throughout with awesome call and response harmony.

As the name implies, "Mandolinferno", is indeed an inferno of fantastic Mandolin playing, an instrument that first caught my attention and love via Rod Stewart's song "Mandolin Wind". This wonderful and fun, mostly instrumental Track, has not 1 but 2 Mandolins going at it at the same time, a first for me, with the other mandolin played by Lars Astrand. Punctuated throughout is Kent Ogren, whom simply plays his heart out on a Bassolian, commonly known as a Travel Size Resonator Bass, which looks just like a Resonator Guitar.

Despite picking those 3 favorites, let me assure you, that the other Tracks, were essentially just as good, in fact the whole album was one of the strongest album's, especially in it's Acoustic Style, I am likely to hear for quite a while.

I am so very grateful for Bottleneck John sending me "All Around Man" therefore allowing me to get acquainted with, no doubt, one of the finest Acoustic Blues artists around.

5*****, for sure, for "All Around Man". An album I really wished I had a higher rating system for. This is an album that will instantly please lovers of Acoustic Blues.

Brilliantly done from beginning to end...

For those of you whom would like to read more concerning Opus 3 Records recording philosophy, click the following link...

John Vermilyea, Blues Underground Network, Canada.




Recording of the Month!!!!

Opus3 CD 23001
Format: Hybrid Stereo SACD

Musical Performance: ****1/2
Sound Quality: *****
Overall Enjoyment: ****1/2

Unsuspecting listeners such as I might put on this disc and think that Bottleneck John must be one of America’s newest, greatest blues singers, up from the Deep South. I stand by “newest” and “greatest,” but Bottleneck John was born Johan Eliasson, in Sweden. Fifteen years ago he heard an Eric Bibb album, went acoustic, and developed an authentic blues style of his own.

All Around Man is John’s first album for the Swedish audiophile label Opus3. I dare say it won’t be his last. He sings with controlled enthusiasm, has good tone and diction, and plays with absolute authority, whether on guitar, resonator guitar, banjo, Dobro, or kazoo. His program notes reveal that he restores vintage instruments, and plays a different one on almost every track. The CD booklet includes sharp color photos of the instruments, including a breathtaking centerfold that displays all 18.

The backing instruments are also carefully chosen. The piano, an 1887 Bechstein grand, sounds old in an excellent way. The most amazing instrument, to my ear, is the single-string diddley bow, made from a cigar box, that shows up on “Wade in the Water.” Bottleneck John makes more good music on it than I thought possible from looking at the instrument’s photo.

The songs range from traditional tunes such as “Lonesome Valley” and “How Long, How Long Blues” to “Jesus Gonna Be Here,” a gospel song by Tom Waits. A couple of hokum songs, “All Around Man” and “No Matter How She Done It,” revel in sexual innuendo. All in all, it’s a satisfying collection that has good balance and listens well from beginning to end.

The sound is the state of the art. Everything sounds so natural that it was if these eight musicians had been ushered into my listening room. All of John’s twangings, slidings, and tappings are absolutely clean. I loved it through my electrostatic speakers, which rewarded me with some choice moments. I can’t fault this recording in any way.

Check out Bottleneck John’s YouTube site; the sound isn’t great, but the fun is plentiful. He likes to set the sounds of machines to music. I really enjoyed “The Water Pump Blues,” which is bested only by the “Delta Tractor Blues Jam” and “The Old Steamboat Blues.”

Rad Bennett,, USA. 




                    Review from Croatia! Translated someday I hope..

Bottleneck John - "All Around Man"
Autor/ica: Mladen Lončar - Mike, dana 17-03-2013 15:17

Iako ovaj tekst pišem 21. veljače, i planiram ga objaviti upravo danas, 16. ožujka, bit će to punih mjesec dana prije službene objave. Za taj svoj potez tražio sam odobrenje direktno od Johana Eliassona aka. Bottleneck Johna. Nakon što sam dobio zeleno svjetlo, prionuo sam, onako, svojski da vam opišem kako me se dojmio album All Around Man ovog izvrsnog švedskog blues glazbenika. Album je snimljen za izdavačku kuću Opus 3 Records, a u slobodnoj prodaji naći će se za mjesec dana, točno 16. travnja 2013. godine. Naime, Bottleneck John nije zapravo ničim opterećen jer u mnogim dijelovima zemaljske kugle album će izlaziti u drugom terminu. S informacijama kojima raspolažem, 16. travnja je termin za europsko tržište.

Ako je album All Around Man zapravo ostvarenje snova samog glazbenika, jer snimiti ovako raznovrstan materijal sa odličnom ekipom prijatelja, vrsnih glazbenika, koji sviraju po nekoliko instrumenata. I evo pred svima nama je sjajan mix odličnog akustičnog, tradicionalnog bluesa. Kao i na neke druge glazbenike puno traga i promjena, kao i neizostavnog pokušavanja povezivanja cijele te priče na Johan Eliassona aka Bottleneck Johna ostavio je album Spirit & The Blues ingenioznog Eric Bibba. Kada je sam Bottleneck John 1999. godine čuo taj album u njemu i njegovom poimanju glazbe dogodile su se drastične promjene…poslije toga više ništa nije bilo isto.

No, budući da on sam a ni njegova glazba za mene osobno nisu nikakva nepoznanica, jednako tako poznat je u Europi i Americi . No, kada govorimo o njegovoj glazbi i samoj prezentaciji nameće se pitanje tko ga promovira, tko u eteru, u medijima emitira njegovu glazbu. Osim specijaliziranih emisija teško se može čuti , e barem što se mene osobno tiče tu situaciju ćemo drastično promijeniti.Zašto? Pa, iz jednostavnog razloga, radi se o izuzetno kvalitetnoj, nadahnutoj i totalno iskrenoj i osjećajnoj glazbi, o bluesu čija se prezentacijska forma nije mijenjala u svojoj osnovi gotovo nikada. Bottleneck John svojom impresivnom vokalnom interpretacijom, svojim virtuoznim gitarističkim rukopisom oslikava brojne izuzetne kompozicije. Da, njegova glazba, njegov blues izlazi iz najbolje tradicionalne glazbene baštine Delte Mississippija i budući da imam njegove albume, pomalo me je sram jer sam ih jednostavno zapostavio. Vjerujem da će se ovim albumom stvari izokrenuti za 360 stupnjeva i da će se cijela stvar odvijati kao nekada. Često, iskreno, nadahnuto i duboko osjećajno!

Budući da su i John i vlasnik izdavačke kuće Opus 3 Jan-Eric Persson od početka svoje suradnje razgovarali i pripremali ovakav album, sada je konačno upravo takav album prd Vama ! Obojica zaljubljenici u blues u njegovom tradicionalnom i povijesnom značenju, itekako su svjesni da su se upustili u pomalo riskantan potez obzirom na bogatu opremu i booking albuma. Nadam se da će na kraju sve ispasti dobro i da neće biti razočaranja sa obje strane. Što se tiče ukusa publike, jasno je da album All Around Man nije baš za one koji tek upoznaju i savladavaju blues. Album je namijenjen prokušanim i probranim blues znalcima i čistuncima, koji su već jako dugo u ovim vodama. Sam Bottleneck John o cijelom ovom projektu kaže, citiram:' Now being a recording artist on the Opus 3 Records label is something I’m extremely happy, thankful and proud about.'

Da, iako je ovo njegov nastupni album za Opus 3 Records Bottleneck John iza sebe ima već nekoliko albuma.

Album All Around Man sadrži 14 vrlo inspirativnih pjesama, nekoliko poznatih blues standarda poput Come On In My Kitchen od Robert Johnsona i Hudson Whittakerovu No Matter How She Done. Tu je i poznata pjesma Tom Waitsa Jesus Gonna Be Here te još veće iznenađenje je Bottleneck Johnova obrada Walking In The Shadow Of The Blues inače pjesme poznate grupe Whitesnake. Da, ne smijem zaboraviti spomenuti i pjesmu Out Of The Rain Tony Joe Whitea, naslovnu All Around Man Armenter Chatmon aka Armenter 'Bo Carter' Chatmon (30.06.1892. –21.09. 1964.), jednog od članova legendarnih Mississippi Sheiks. Tu su i tri njegove skladbe: Autumn Rime, Mandolinferno i Only A Woman, te dvije impresivne obrade poznatih tradicionalnih pjesama: Lonesome Valley i Wade In the Water.

Kada se ovaj nosač zvuka stavi u uređaje, teško da će samo tako izaći. Raskošna, kvalitetna i nadasve perfekcionistička produkcija mnoge 'hi-fi' znalce ostaviti će 'bez teksta'. Osobno, to mi nije prioritet; ono što mi je važno je prezentacijska forma. Ovdje na ovom albumu All Around Man, nevjerojatni Bottleneck John iz pjesme u pjesmu dokazuje koliko je velika i duboka njegova određenost ka' Delti, ka' najboljim temeljima tradicionalnog, akustičnog bluesa.

Bottleneck John prezentira blues u svom izvornom obliku, on je toliko izvoran, izražajan obojen tradicionalnim formama, da to jednostavno nije za vjerovati. Malo je za vjerovati da danas u 21 stoljeću imamo jedinstvenu prigodu, da preko ovog jedinstvenog glazbenika i njegovog albuma All Around Man ponovo doživimo i osjetimo, kako je sve to bilo i zvučalo na svojim počecima.

I zato odlazimo na ishodište svih događanja, nalazimo se na Delti Mississippija, duboko u njenom mulju. Evo i sada, kada pišem ovaj osvrt prolaze me trnci znajući, koliko izvornih i potenciranih osjećaja i feelinga ovaj izvrsni glazbenik daje i odašilje u svojim prezentacijama.

To što kod nas Bottleneck John nije toliko poznat blues poklonicima i znalcima, no kada ga poslušate i pogledate vrlo brzo će vam se postati jasno i sve će samo sjesti na svoje mjesto. Komparirati Bottleneck Johna sa bilo kime nije uputno, jer je zaista jedinstven i originalan. Jednostavno ga možemo staviti uz Keb’Mo’-a, Eric Bibba, Corey Harrisa, Alvin Youngblood Harta, Mojo Stua i Paul Oschera. Možda će zvučati pretjerano, ali osobno, držim da ih je Bottleneck John u nekim mjerilima i važećim standardima, kada je u pitanju tradicionalni blues i nadmašio.

Na kraju moram Vam otkriti da nam Johan Eliasson a.k.a. Bottleneck John dolazi iz daleke i hladne Švedske. Rođen je i odrastao je u malom selu Lit udaljenom 25 km od Ostersunda. Glazbi ga je usmjerio djed a od bake i majke naučio je pjevati. Od rane mladosti Johan Eliasson a.k.a. Bottleneck John izvodi blues, gospel i soul. No, jednako tako on je veliki ljubitelj motora i automobila i to old – timera. Kolekcionarstvu tu nije kraj, Johan je veliki ljubitelj starih gitara, njegova najstarija gitara na kojoj svira potječe iz 1840. godine.

I na kraju, da zaključim; Bottleneck John je izuzetan vokalista izražajnog i autentičnog glasa, izvrstan gitarista, koji u instrumentalističko – prezentacijskom smislu naprosto briljira. Teško je opisati koliko je izražen taj njegov 'blues feeling', no najkraće rečeno; to je ono što sam oduvijek volio. To je ta glazba, koja dolazi iz mulja Mississippija, čiji su korijeni duboko urasli u onaj jedinstveni i prepoznatljivi Delta blues.

Karijera mu nezaustavljivo ide naprijed od 2003. godine, a ove godine potvrdu svoje kvalitete dobiti će prihvaćanjem i permanentnom reprodukcijom ovog zadnjeg studijskog albuma All Around Man.

Ukoliko želite uživati u tradicionalnom bluesu, album All Around Man - Johana Eliasson aka. Bottleneck Johna je jedinstvena prigoda za to.

Moja preporuka glasi: DA, DA i opet samo DA!!!

Mladen Loncar, Croatia.



 Nice review here from Poland!




5 out of 5 in Audiophile Audition Magazine, USA!!

Bottleneck John – All Around Man – Opus 3 

CD23001 stereo-only SACD, 54:26 [4/16/13] (Distr. by Naxos) *****

(Bottleneck John – 6 & 12-string Resonator & acoustic guitars, banjo, mandolin, electric guitar, kazoo, vocals; Mattias Nordqvist – grand piano, Hammond organ, Wurlitzer; Kent Ogren – Resonator, doublebass; Lars Astrand – mandolin, fiddle; Mattias Olofsson – percussion; Stefan Swen – harmonica; Karl Eneland – tuba; Patrik Idell – guitar)

With Delta blues, certain names come to mind. Robert Johnson, Mississippi Fred McDowell, John Lee Hooker, Howlin’ Wolf, Elmore James, Charley Patton, Junior Kimbrough, Lead Belly and B.B. King are just a minute segment of this legendary tradition. Inspired by religion, prison and life’s struggles, this style of blues music is noted for its primarily acoustic guitar instrumentation, often augmented by a bottleneck slide. The influence of Delta is worldwide, and is not far removed from current musical formats.

So it should not be too surprising that a Swedish man named Johan Eliasson adopted the moniker Bottleneck John and is a practitioner of Delta blues. Raised in a musical family, he was drawn to the gospel blues of the ‘20s and ‘30s. Additionally, Eliasson has an extensive collection of vintage stringed instruments that capture the spirit of traditional blues. Opus 3 Records, who produced Eric Bibb, seemed a perfect fit for this artist. Engineered by Jan-Eric Persson, All Around Man is a glowing introduction to a dedicated, gifted musician.

Consisting of 11 covers and three original compositions, this album is a rare combination of epochal blues music rendered with state-of-the-art technology. Opus 3 frames the recording in natural, aural environments that enhance the authenticity of the acoustics. The first song is a soulful rendition of “Lonesome Valley”.  Bottleneck’s deep, rumbling vocals complement his 12-string resonator. The liner noted to All Around Man are very informative. There is detailed information about the instruments and some insight into the song selections. A certain highlight is Robert Johnson’s “Come On Into My Kitchen”. There have been many versions of Johnson’s classic tune, and this interpretation on a vintage Dobro pays respectful homage to the composer. The evocative, brooding eloquence has a genuine sound and feeling.

There are excellent session players on the album. “No Matter How She Done It” is Hokum swing and Mattias Nordqvist contributes some down and dirty licks on an 1887 Bechstein grand piano. A second Hokum piece (“All Around Man”) also rocks. Eliasson’s agile bottleneck riffs make this jam special. The duo (with an assist on harmonica by Stefan Swen) takes on Tom Waits’ urban gospel hymn, “Jesus Gonna Be Here”. Nordqvist’s piano solo reverberates along the lower register. Another religious song (“Out Of The Rain”) is blissful, slowed-down gospel. Each track has a specific instrumental aesthetic. On “Wade In The Water” Eliasson plays the “Kicking Mule Special”, a guitar built with a neck stick, cigar box, one bolt and a Diddley bow. The primitive tonality is intriguing.

On a different note, “Mandolinferno” is up tempo and jazzy, with Eliasson playing slide mandolin and Lars Astrand adds a second lead. But the languid spirit of Delta returns on “How Long, How Long Blues”. In this case, a 1936 fiddle-edge Regal Dobro brings wistfulness to the cut. Bottleneck John is equally capable as a solo performer. His self-penned “Only A Woman” explores the sadness of troubled love with a foot-stomping undercurrent.

All Around Man is a bluesy triumph. Every nuance of the instruments is captured with organic clarity and full texture. Persson has paid significant attention to microphone placement and overall mixing. With Eric Bibb and Bottleneck John, Opus 3 Records is a blues label to be taken seriously.

TrackList: Lonesome Valley; Come On Into My Kitchen; No Matter How She Done It; Autumn Rime; Do You Call That A Buddy?; Jesus Gonna Be Here; Out Of The Rain; All Around Man; Walking In The Shadow Of The Blues; Mandolinferno; How Long, How Long Blues; Only A Woman; You Can’t Get That Stuff No More; Wade In The Water

Robbie Gerson, Audiophile Audition Magazine, USA.




5/5 in this Polish magazine, thanks!!!!



From Germany and the FOLKER magazine. Danke, Annie!
All Around Man
(Opus 3 Records 23001, go!

SA-CD, 14 Tracks, 54:26 mit engl. Texten und Infos

Jan-Eric Perssons schwedisches Label für akustische Musik veröffentlicht neben Eric Bibb einen weiteren Virtuosen an der akustischen Gitarre. John Eliasson alias Bottleneck John variiert mit seiner beachtlichen Sammlung an Resonator- und Holzinstrumenten eindrucksvoll sein von Akustikblues bis Jazz reichendes Können. Seine enorme Bandbreite umfasst Titel von Robert Johnson („Come On In My Kitchen“) und Tom Waits („Jesus Gonna Be Here“) ebenso wie traditionelles Liedgut („Lonesome Valley“). Aber besonders eigene Stücke wie „Autumn Rime“, „Only A Woman“ und „Mandolinferno“ entpuppen sich als Perlen dieser gelungenen Produktion, auf der auch Bottleneck Johns Stimme durch ihr warmes Timbre absolut überzeugt. Der Sänger und Saitenzauberer wird mit seinem Debütalbum auch außerhalb Schwedens für einen Tornado in der akustischen Musikszene sorgen und dazu beitragen, die entstandene Lücke nach dem frühen Tod des fantastischen Gitarristen Bob Brozman zu schließen. Der Klang der Super-Audio-CD ist vorbildlich. Als Gastmusiker sind dabei: Mattias Nordqvist (p, org), Kent Ögren (b), Mattias Olofsson (perc), Patrik Idell (g), Stefan Swen (harm), Lars Astrand (mand, v), und Karl Eneland (Tuba).

Annie Sziegoleit, Folker magazine, Germany. 



"..Brilliantly done from beginning to end.."

- John Vermilyea, Blues Underground Network, Canada.


"..En trevlig bluesskiva av någon som vet vad han gör.."

- Nils Ahnland, LIRA magazine, Sweden.


"..Highly recommended.."

- HiFi+ magazine, England.