20 yrs ago I saw several acts come thru Poor David’s Pub on Greenville Ave – John Lee Hooker, Albert Collins, Robert Cray [I think] and I saw Pine Top Perkins and John Mayall in FW. Tons I’m forgetting.

I’d echo this opinion from the article:

Full-speed Johnson always struck me as a disembodied sound – befitting his wraith-like persona, the reticent, drifting youth, barely more than a boy

About half-way thru the article I bounced down and played all the examples. Then I played the last 2 examples for my non-musical brother. He thought of the fast RJ that the guitar sounded correct but the voice sounded weird. The slowed-down RJ he thought the guitar sounded crude and unreal but the voice good.

What he’s hearing is the wide influence that RJ’s virtuouso bouncy blues guitar sound had on modern rock and blues – that his radio station-ear is so familiar with. When you slow down the guitar you can hear the callouses and blisters and lack of practice and exhaustion from hitching from town to town. It’s interesting to think about the profound influence this “false” RJ sound had on future musicians. How would modern rock and blues be different had RJ’s music had that slower rawer quality to it – like Son House? Cool stuff.

So, when the normal Josh sounds like he’s dwelling on Gilligan’s Island, slowed down it comes out instead as Algonquin roundtable – instead of Peter Parker, Dorothy Parker – instead of Wascally Wabbits, Wasputin. Yes. It all makes sense now.

the audio links don’t work however
That article was older than I thought.

The only link I can find that shows them all together is this one - and it sucks.
Do you know a better one?