Sitting in his cramped rehearsal space somewhere off North Loop, Johnson is clearly intrigued by a discussion about the inherent difficulties of translating artistic vision into something concrete. He stares a moment at the tape recorder on the music stand between us. It is quiet. In the next room, stacks and stacks of black equipment cases, stenciled with the initials "E.J." sit silently by the loading bay door. Outside a steady drizzle continues. In this room, a rather dingy, oblong space where Johnson spends much of his time practicing by himself, is a clutter of shelves, empty amp cabinets, and a series of tall sound partitions so that one might escape the roar from the Marshals that sit behind Johnson. There's a giant effects board at his feet -- as well as the dirty brown rug that covers the floor -- and other than the chair he sits on and the stool on which I'm perched, there's little else -- except another framed picture of James Marshall Hendrix half hidden in the corner. Though faded, it provides a familiar spark to the dim surroundings.