Embedded Files
NEW TERRITORY
NEW TERRITORY
1987: Immediately following the release of OVER AND OUT, Aaron Johnson was drawn in to new territory by engaging in a unique recording effort focusing on his instrumental capability. Aaron set out to conduct an experiment, to see if he could produce a "live" recording in the studio in which all takes of instruments would each be recorded only once. He rehearsed the parts and committed them to memory prior to the session, but allowed for imperfections and mistakes as the recording was made, to determine if such instances would validate the "live performance factor" of the studio. Thus the concept of THE EXPERIMENT was born.
Recorded at Reel Art Studios, the album was completed in one ten hour session with willing assistance from a studio engineer who thought the proposed experiment was a worthy undertaking. It was a test of Aaron's musical capability and would prove his prowess and command of his instruments and the studio environment. Adding to the challenge was the music, while divided into seven sections, was a continuous composition lasting thirty minutes, the length of one reel of two inch master tape. Each section segued seamlessly into the next, so Aaron had to have a sequence of recorded parts planned in advance to make it all fit together into the final form.
By all counts, THE EXPERIMENT was a success and would later gain notoriety as well as be used as soundtrack music. The project was not without challenges though, and Aaron would begin a long hiatus following its conclusion, capping off a frantic and productive period spanning the 80s decade.
THE EXPERIMENT debuts on streaming in 2026.
Recorded at Reel Art Studios, the album was completed in one ten hour session with willing assistance from a studio engineer who thought the proposed experiment was a worthy undertaking. It was a test of Aaron's musical capability and would prove his prowess and command of his instruments and the studio environment. Adding to the challenge was the music, while divided into seven sections, was a continuous composition lasting thirty minutes, the length of one reel of two inch master tape. Each section segued seamlessly into the next, so Aaron had to have a sequence of recorded parts planned in advance to make it all fit together into the final form.
By all counts, THE EXPERIMENT was a success and would later gain notoriety as well as be used as soundtrack music. The project was not without challenges though, and Aaron would begin a long hiatus following its conclusion, capping off a frantic and productive period spanning the 80s decade.
THE EXPERIMENT debuts on streaming in 2026.
MUSIC FOR A CAUSE
MUSIC FOR A CAUSE
1989: Aaron was drawn back into music after a three-year break, learning about plans by two cities to extract water from a cherished wilderness area in Colorado's mountains. One of his favorite hiking and climbing areas, the Holy Cross Wilderness, faced irreparable damage from the project and further complicated the already contentious "water wars" environment of Colorado's western slope. The cause gave the music purpose as a means to raise awareness, and this was motivation for Aaron who felt at the time he had done everything he had set out to do. Teaming up with the Holy Cross Defense Fund, a vigorous promotion campaign was undertaken featuring Aaron at the forefront of the legal battle (more information below) as a local musician lending his music to raise awareness with Colorado residents for the noble cause.
ELECTRIC WILDERNESS would go on to become Aaron's most commercially successful album. With its completion Aaron would embark on an aggressive publicity tour with his instrumental music that would last a year. In addition to his personal appearances were a spate of TV and radio interviews around Colorado. The album and the campaign were a complete success. Negative public exposure for the cities ensued. The water diversion plans were scrapped and the wilderness remains preserved to this day. The success of the civil lawsuit Aaron was attached to with the Holy Cross Defense Fund validated Aaron's most commercially successful music venture. Even so, it would be ten years before Aaron would produce his next album. More on this engrossing chapter of Aaron's life is provided below.
ELECTRIC WILDERNESS debuts to streaming under the AJP banner April 12, 2026.
ELECTRIC WILDERNESS would go on to become Aaron's most commercially successful album. With its completion Aaron would embark on an aggressive publicity tour with his instrumental music that would last a year. In addition to his personal appearances were a spate of TV and radio interviews around Colorado. The album and the campaign were a complete success. Negative public exposure for the cities ensued. The water diversion plans were scrapped and the wilderness remains preserved to this day. The success of the civil lawsuit Aaron was attached to with the Holy Cross Defense Fund validated Aaron's most commercially successful music venture. Even so, it would be ten years before Aaron would produce his next album. More on this engrossing chapter of Aaron's life is provided below.
ELECTRIC WILDERNESS debuts to streaming under the AJP banner April 12, 2026.
A MOVIE SOUNDTRACK
A MOVIE SOUNDTRACK
1999: With the success of ELECTRIC WILDERNESS, Aaron was not inspired to produce music until the fateful day when an associate approached him about doing a soundtrack album. Aaron had always been interested in the genre, and being recruited by a friend who produced diving videos that were filmed all over the world was compelling new territory. After initial meetings to determine the scope and sound of the music, Aaron viewed the producer's earlier films for a sense of direction and began work on what would become his seventh album, DEEP BLUE.
Aaron recruited the talents of harpist Dilynn Guern, who had played Celtic harp on three tracks of ELECTRIC WILDERNESS. Otherwise all instrumentation was done by Aaron. A deliberate effort was to minimize the rock and roll influence and favor a more organic, natural sound. Aaron's progressive rock influences lent a sense of other-world wonder well to the final film as well.
DEEP BLUE was released on video in 2000. Aaron would earn modest royalties for his work on the soundtrack. DEEP BLUE became a valuable addition to his varied repertoire that solidified his qualifications as a music composer, arranger and producer. The music would also be featured in subsequent AJP video productions as well.
DEEP BLUE is being released to streaming in 2026.
Aaron recruited the talents of harpist Dilynn Guern, who had played Celtic harp on three tracks of ELECTRIC WILDERNESS. Otherwise all instrumentation was done by Aaron. A deliberate effort was to minimize the rock and roll influence and favor a more organic, natural sound. Aaron's progressive rock influences lent a sense of other-world wonder well to the final film as well.
DEEP BLUE was released on video in 2000. Aaron would earn modest royalties for his work on the soundtrack. DEEP BLUE became a valuable addition to his varied repertoire that solidified his qualifications as a music composer, arranger and producer. The music would also be featured in subsequent AJP video productions as well.
DEEP BLUE is being released to streaming in 2026.
CHANGING GEARS
CHANGING GEARS
The intentional shift to instrumental music ended a chapter in Aaron's musical journey and began a new one. THE EXPERIMENT was a shifting of gears, allowing Aaron the expand his abilities and evolve as a musician raised on rock and roll.
A National electric guitar, along with a Fender Stratocaster (which would become Aaron's standard electric guitar of choice going forward) were used, along with a variety of synthesizers. A Korg DDm-110 drum machine was also used after its successful utilization on Aaron's previous album OVER AND OUT in 1986. Long-time associate Mike Kloepfer stopped by on the pivotal recording day to play glockenspiel on the closing track.
Fledgling Reel Art Studio participated in THE EXPERIMENT, as well as serve as the creative environment for OVER AND OUT, which had been plagued with sound issues. Not long after the success of THE EXPERIMENT, Reel Art would close its doors permanently. This event only increased the difficulty of acquiring studio time for local musicians, as there was a huge demand and schedules of all studios were full. This turn of events would prompt Aaron to "call it good" until 1989.
A National electric guitar, along with a Fender Stratocaster (which would become Aaron's standard electric guitar of choice going forward) were used, along with a variety of synthesizers. A Korg DDm-110 drum machine was also used after its successful utilization on Aaron's previous album OVER AND OUT in 1986. Long-time associate Mike Kloepfer stopped by on the pivotal recording day to play glockenspiel on the closing track.
Fledgling Reel Art Studio participated in THE EXPERIMENT, as well as serve as the creative environment for OVER AND OUT, which had been plagued with sound issues. Not long after the success of THE EXPERIMENT, Reel Art would close its doors permanently. This event only increased the difficulty of acquiring studio time for local musicians, as there was a huge demand and schedules of all studios were full. This turn of events would prompt Aaron to "call it good" until 1989.
A RELUCTANT ACTIVIST
A RELUCTANT ACTIVIST
Preferring to steer clear of contentious politics, Aaron was nevertheless compelled to join in the fight to save Colorado's cherished Holy Cross Wilderness from water diversion plans three years after THE EXPERIMENT. Digital recording was brought to the fore and Aaron's equipment and instruments were completely updated for the endeavor. His trademark Stratocaster guitar "Baby Blue" was gifted to him in commemoration of ELECTRIC WILDERNESS going into production. The noted guitar serves to this day, having appeared in many live performances and recordings.
Co-producer and promoter Amanda Burns also played bass on the second half of the album, with DiLynn Guern providing the lovely sound of the Celtic Harp, and Stiffwater drummer Ron Ardia providing the varied and thundering percussion. The album was recorded at Startsong Studios, the same studio where FINALLY and Aaron's opus SAN JUAN STORIES were recorded. The latest in digital recording technology was employed resulting in a state-of-the-art sound that holds up in a timelessly today.
ELECTRIC WILDERNESS was the first of Aaron's recordings to undergo a remastering effort in 2010 for the production of a movie for AJP, AN EXTRAORDINARY LIFE. For the 2026 remastering, the original CD master from 1989 was utilized.
Co-producer and promoter Amanda Burns also played bass on the second half of the album, with DiLynn Guern providing the lovely sound of the Celtic Harp, and Stiffwater drummer Ron Ardia providing the varied and thundering percussion. The album was recorded at Startsong Studios, the same studio where FINALLY and Aaron's opus SAN JUAN STORIES were recorded. The latest in digital recording technology was employed resulting in a state-of-the-art sound that holds up in a timelessly today.
ELECTRIC WILDERNESS was the first of Aaron's recordings to undergo a remastering effort in 2010 for the production of a movie for AJP, AN EXTRAORDINARY LIFE. For the 2026 remastering, the original CD master from 1989 was utilized.
IN THE SPOTLIGHT
IN THE SPOTLIGHT
Aaron was in demand for interviews and appearances regarding the legal fight he had joined to defend the Holy Cross Wilderness from harmful water diversion plans. This event would be a harbinger for a much larger "water war scenario" the state of Colorado finds itself embroiled in today.
POPULAR MEDIUM
POPULAR MEDIUM
Cassette tapes were still the music medium of choice in 1989, as CD production would not be readily available to self-publishers of music until the mid 1990s. The album would become available on CD in 1999, along with the rest of Aaron's catalogue of music.
ELECTRIIC WILDERNESS was recorded utilizing the earliest examples of digital recording technology. The use of digital sequencers made the complex arrangements manageable and Aaron's memory was no longer needed to recall an instrument's part and play it flawlessly. This technical ability helped control studio costs and make the production of the album as efficient as possible.
ELECTRIIC WILDERNESS was recorded utilizing the earliest examples of digital recording technology. The use of digital sequencers made the complex arrangements manageable and Aaron's memory was no longer needed to recall an instrument's part and play it flawlessly. This technical ability helped control studio costs and make the production of the album as efficient as possible.
DEEP BLUE PROMO & PRODUCTION
DEEP BLUE PROMO & PRODUCTION
Aaron and DiLynn Guern play and pose for a promotion photo session during production of DEEP BLUE in 1999. A deliberate focus on natural sounds, including the use of a classical guitar made for a different listening experience in Aaron's repertoire.
DEEP BLUE was recorded in three different studios and mastered in a fourth, expanding Aaron's already extensive experience in the business as well as establishing his reputation in the local music community. Aaron was a pioneer with DEEP BLUE, as it was his first recording to utilize the recently developed surround sound capability that would later evolve into the discrete 5.1 digital surround sound enjoyed in movies today.
DEEP BLUE was recorded in three different studios and mastered in a fourth, expanding Aaron's already extensive experience in the business as well as establishing his reputation in the local music community. Aaron was a pioneer with DEEP BLUE, as it was his first recording to utilize the recently developed surround sound capability that would later evolve into the discrete 5.1 digital surround sound enjoyed in movies today.
DEEP BLUE ARTWORK
DEEP BLUE ARTWORK
DEEP BLUE was the first AJP recording to be released on CD, as the medium had become widely available to self publishers. The artwork above was included in the CD package. With the Deep Blue video release, Aaron's music had reached a whole new audience.
PRODUCTION CREDITS
PRODUCTION CREDITS
THE EXPERIMENTComposed and produced by Aaron Johnson for AJPAll instrumentation by Aaron Johnson except for glockenspiel played by Mike KloepferRecorded at Reel Art Studios, Denver, ColoradoEngineered by Mike Rybowiak
ELECTRIC WILDERNESSComposed by Aaron JohnsonProduced by Aaron Johnson and Amanda Burns for AJPRon Ardia played drums and percussionAmanda Burns played the bass on tracks 5-10DiLynn Guern played celtic harp on tracks 9-11Aaron Johnson did the restRecorded at Startsong Studios, Colorado SpringsEngineered by Tom Gregor
DEEP BLUEProduced by Aaron Johnsn and Ed Sauer for AJP ad ED-IT ProductionsComposed and arranged by Aaron Johnson with exception ofChamelion Lullaby by DiLynn GuernDiLynn Guern played Celtic harp on tracks 1, 4, 5 and 12Kirby Orrick played castanets on track 2Aaron Johnson did the restRecorded at FTM Studios, Lakewood, ColoradoAdditional recording at Kerr-Macy StudiosSurround sound mixing done at Salt Production Studios, Denver, ColoradoMastered at Aunyx Productions, Westminster, ColoradoEngineers: Kirby Orrick, Jeremy Lawton, Rich Sanders and Blair Ashby
All three albums remastered by Blair Ashby in 2026 for the AJP Project
ELECTRIC WILDERNESSComposed by Aaron JohnsonProduced by Aaron Johnson and Amanda Burns for AJPRon Ardia played drums and percussionAmanda Burns played the bass on tracks 5-10DiLynn Guern played celtic harp on tracks 9-11Aaron Johnson did the restRecorded at Startsong Studios, Colorado SpringsEngineered by Tom Gregor
DEEP BLUEProduced by Aaron Johnsn and Ed Sauer for AJP ad ED-IT ProductionsComposed and arranged by Aaron Johnson with exception ofChamelion Lullaby by DiLynn GuernDiLynn Guern played Celtic harp on tracks 1, 4, 5 and 12Kirby Orrick played castanets on track 2Aaron Johnson did the restRecorded at FTM Studios, Lakewood, ColoradoAdditional recording at Kerr-Macy StudiosSurround sound mixing done at Salt Production Studios, Denver, ColoradoMastered at Aunyx Productions, Westminster, ColoradoEngineers: Kirby Orrick, Jeremy Lawton, Rich Sanders and Blair Ashby
All three albums remastered by Blair Ashby in 2026 for the AJP Project
THE AJP PROJECT
THE AJP PROJECT
The AJP Project is an ongoing effort to release all of Aaron Johnson's music in today's digital age while simultaneously educating supporters past and future on the issues of Artificial Intelligence (AI) and how it is fundamentally changing the music industry, and to foster support of local musicians and live music. The project's charter encourages folks to put down their phones, get away from their screens and listen to music again, and do so with friends and loved ones. This practice, dating back to the 1970s, is a great way to relax, it's good for you and strengthens social bonds through a shared experience of taking a musical journey together. Try it! Discover what you've been missing!
More releases coming in 2026!
PHOTO: Blair Ashby at Aunyx Productions in 2010
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