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Someone takes notice...

2008 JUNO AWARD NOMINATION BLUES ALBUM OF THE YEAR - A Lesson I've Learned

3 Maple Blues Award Nominations for the Johnny Max Band!!!

2007 Recording of the Year - A Lesson I've Learned

2007 Songwriter of the Year - Martin Alex Aucoin & Johnny Max

2007 Electric Act of the Year - Johnny Max Band

"A Lesson I've Learned" The Blind Lemon Top Twenty Canadian Blues Albums of 2007 ...#4 ...CHMR Radio

Johnny Max Band "A Lesson I've Learned" top 100 CD (#18) August 2007...Real Blues Magazine

Johnny Max Band "Ride & Roll" top 100 CD (#27) issue #30...Real Blues Magazine
Kevin Higgins Top Canadian Guitarist..#2....Real Blues Magazine
The Johnny Max Band...Best Live Act/Central Canada...Real Blues Magazine
Top Ten Canadian Blues Releases of 2005.. #5...Livin Blues.com
Top Ten Canadian CD 2005 #4..Terry Parsons, DJ Blind Lemon Blues, CHMR 93.5FM,NFLD

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"A Lesson I've Learned" Reviews

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"Long Gone Train" Reviews

Niagara Blues and Jazz Fest, Welland, On, September, 2007

....never having seen Johnny before, it was a revelation!  Great funky blues originals & the odd cover including a great fresh take on Sam Cooke’s “Bring It On Home To Me”. Much to my surprise, former Fathead guitarist Teddy Leonard was in the band.  Teddy is my favourite Canadian all round blues & r ‘n b guitarist & he is a perfect addition to Max’s sound.  Johnny Max is one dancin’ fool & plays dance-a-matic music which again is based on the early 60’s r ‘n b evolving to soul sound especially the early Toronto soul sound.  The crowd loved it and hit the dance floor.  Funky blues & r ‘n b was the order of the day. 

Doug Carter, Hamilton

A LESSON I'VE LEARNED
Johnny Max Band
Pour Soul Records

Review by John Vermilyea (Blues Underground Network)

Usually when I get a CD, it finds it's way to my player at least a couple of times, then it goes away for awhile, sometimes a little while, sometimes a long while. With the new Johnny Max Band CD, "A Lesson I've Learned", I have played it over half a dozen times now and I just don't see myself putting it away anytime soon. It is my first introduction to the Johnny Max Band music and I simply love it.

All the tracks on "A Lesson I've Learned", are a lot of fun to listen to, especially out at the BBQ with a bunch of your Rockin' Blues Lovin' friends, and by the way, make sure you know where the pause button is, because you are not going to want to miss anything on this CD.

Besides the Johnny Max Band's amazing instrumental talents, what really hooked me is the voice of Johnny Max himself. It's got that addictive almost gravely texture to it, that reminds me a lot of one of my favorite blues artists, Watermelon Slim. 

"A Lesson I've Learned" was and still is a complete joy to listen to, especially with others whom are hearing it for the first time. Their are a lot of great tracks on this CD, but the ones that I like the most are, A Lesson I've Learned, Down In History, We're Going To Do It (All Night Long), Going Down Standing Up, and When I Sing The Blues...

For those of you whom are not familiar with the Johnny Max Band, what are you waiting for? For those of you whom are, "A Lesson I've Learned" will not disappoint.

The Johnny Max Band has paid it's dues and is sending the lessons they have learned to all their loyal fans.

A LESSON I'VE LEARNED
Johnny Max Band
Pour Soul Records

Reviewed by James Doran

What do you get when you cross a slightly mad Scots / Irishman with a guy who grew up in Etobicoke in the late 60s/70s listening to blues, pop, soul, rock ‘n roll and R&B?  You get Johnny Max (aka McAneney), that’s what.  Anyone who has seen this man play LIVE – or listened to his weekly Sunday Night Soul show on Toronto’s AM 1430 – knows how much he loves his music.  When you see the Johnny Max Band perform it’s the full Monty – great sound from a tight, veteran backline supporting Johnny’s powerful vocals sung with passion and feeling – combined with a non-stop blast of jokes and impersonations (Sean Connery especially).  It makes for a very entertaining night.  If there’s another blues band out there that has as much fun as these guys – and gets the crowd feeling exactly the same way – please tell me!

“A Lesson I’ve Learned” is the 4^th album for the Johnny Max Band over the 12 years of their career.  Not to take anything away from the others, but this one is unquestionably the best for my money.  I think it’s a serious contender for Best Blues CD of the Year.  Whether it comes from the band being together longer, the improved songwriting, Johnny’s growing maturity on vocals, the addition of one of Toronto’s finest guitarists Teddy Leonard and the symbiosis he has with Martin Aucoin’s superb keyboards, the solid bottom end from Garth Vogan on bass and Duncan “Army Boots” McBain on drums – whatever, this band just keeps getting better!  I liked this album from start to finish beginning with the fun cover – a replica of the Hilroy Exercise Book older Ontario public school students will instantly recognize (Bored of Education, Borough of Etobicoke).  Johnny’s the kind of student the teachers must have hated but the rest of the class loved.

Eleven of the thirteen songs on “A Lesson I’ve Learned” are originals – mainly Aucoin/McAneney collaborations – which makes this album even more impressive.  Each one has its unique charm but my favourites are definitely:

‘Down in History’ – the opening track.  Talk about hot out of the gate, a powerful rockin’ blues tune featuring sweet guitar from teddy, lovely runs on the piano by Martin and powerful singing by Johnny with whimsical lyrics about getting cleared out by his ex.

‘Banks of the Credit (The Mississauga Delta)’ – a bouncy strutter with a New Orleans feel that opens with a Keith Richards-like guitar riff by Teddy and just rolls on from there.

‘Greezin’ – Johnny’s vocals are perfect on this instrumental!  The B3 by Martin is complimented so nicely by Teddy’s jazz tone guitar – a ‘sail on’ tune perfect for a sunny day out on the boat.

‘Jack & Jill’ – a delightful swing, bebop finer-poppin’ tune in the style of Louis Jordan that made me think of the late, great Dutch Mason.

‘Big Ol’ Girls Need Some Lovin’ Too!’ – a funky, bouncy tribute to the larger members of the opposite sex featuring naughty lyrics by Johnny and nice riffs by all members of the band, especially Garth on bass.

‘Why I Sing the Blues’ – a well-done version of the B.B. King classic – one of my favourites – that honours the original, yet has a distinct Johnny Max feel to it.  Once again the musicianship from all members of the band is superb.

In all, a first-class production from one of Canada’s best and hardest working blues bands.  These guys play all over Ontario on a regular basis so watch the blues news for when they’re in a town near you and go see ‘em.  And pick up the CD – it’s the best way to ‘learn your lesson’!

James Doran,

Ottawa Blues Society Magazine

www.choosetheblues.ca

A LESSON I'VE LEARNED
Johnny Max Band
Pour Soul Records

Johnny Max has delivered something special on his "A Lesson I've Learned"  release.  The theme he has chosen resonates throughout the album and he lays it all on the table for us to experience his stories that he tells you about him and his life and draws you in with his soulful rich vocals.  He has some of the best blues musicians in Canada in his band. You mix this talent with Johnny's energy, stir in his voice and a dash of the sparkling lyrics and you have a blend of blues and soul music that tastes just right. And that's a fact.  This album definitely deserves a Maple Blues nomination or two! Aucoin and McAneney (Johnny Max) have crafted some great tunes and Johnny vocals are dynamic, rich and well performed.

My favourite is track #5 in which Johnny Max delivers one of the finest soul-gospel renditions you could ask for in "Write Your Name". This is a brilliantly written song and fits the vocal style of Maxie boy "fo' sho" and I can almost hear Ray Charles wishing he was around to be able to do this number himself. Beautiful piece of work boys. Well done! Teddy Leonard's guitar playing on this tune is sweet indeed and he is absolutely superb throughout the entire album.  Aucoin's piano playing is magical and at times absolutely stunning. His grasp of the many facets of keyboard performance throughout the album displays a wealth of experience and insight that few players have mastered as well as he has.

The Rhythm Section of Guitarist Teddy Leonard, Bassist Garth Vogan and percussionist Duncan McBain coupled with Johnny's wonderful singing and Aucoins mastery at the Keyboard is surely going to have this cd spinning for some time to come.

 **** out of 5
Brilliant

Bryon Tosoff
Voodoohead Productions

JOHNNY MAX BAND
A Lesson I've Learned
Pour Soul

This very entertaining musical interlude is brought to you by Johnny and the boys all the way from South Ontario, Canada, a sometimes unfairly under-rated and untapped musical goldmine, though the recent slew of blues from the Dominion proves that there is a rich vein of (blue) musical talent there. Ranging from rip-roaring swashbuckling, soulful R'n'B guitar to moochingly sleazy New Orleans piano led blues, what more could you want? What more do you need? Whether slow, fast or meandering, Johnny's rough-edged, sleepy soul-filled voice rallies his troops on to and into the groove. We are not, thankfully, going to some inane boogie
wonderland but we are certainly experiencing some very exciting no-nonsense original music. Here we have thirteen tuneful
attention-grabbers, no brash, here one minute/ gone the next fireworks, but simply subtle, deftly played foot-tapping, indoor carpet sliding fun in southern US style, a little warm Texas thunder, a little solid Memphis groove, and some blue, blue songs. The band credit is deserved as keyboards, guitar and rhythm section all play their part in providing us with this aural pleasure. Well worth a listen or two!

Brian Harman

Blues Matters

from rootstime.be

This Canadian band from south Ontario has just finished its fourth CD. They bring blues and roots music loaded with first class influences that on top of that are brought with much energy (spirit). One of their ingredients is in their sound of the New Orleans Memphis style, but a slug of rock and a still larger part of the blues makes the mix complete. Johnny Max is an extremely strong singer who has earned the nickname of Motion Machine on the podium of many festivals. Another important member is guitar player Ted Leonard, but more about him later. Drummer Duncan McBain, base player Bruce Longman and key man Martin Alex Aucoin, (who for the largest part made the compositions), make this excellent band complete.

The CD starts right away rather strongly with "Down in History", a number that opens with Keith Richards guitar sounds of Ted Leonard, while Johnny Max, with his Delbert McClinton-like song style and voice make you perk up your ears. In the next number, "Banks of the Credit", that is possibly even stronger, we get the Stones meet Little Feat and The Band, in which Ted Leonard sounds like Keith Richards and in the next moment he seemingly easily produces unique slight guitar sounds of Lowell George, while Johnny’s voice calls up memories of the top days of The Band. And so one strong number after another.

The total disc has a high McClinton content, to say it shortly, while a number of songs carry the stamp of the sound of The Band (among others, "A Lesson I’ve Learned"). "Write Your Name" is again in the best of Ray Charles tradition. Pianist songwriter Aucoin shows himself a worthy follower of Professor Longhair and Doctor John in "It’s Not My Fault". In "Greezin" is the combination Stax/Muscle Shoals perfectly determined coming to a splendid instrumental. The cover "Have Mercy" by Don Covey and "Why I sing The Blues" by B.B. King get beautiful arrangements so that they are not less than the original versions. Even a countown rhyme like "Jack and Jill" reconstructed to a steaming New Orleans shuffle is no problem for the Johnny Max Band. In short, this is an excellent disc of a good band that regrettably I have only just discovered, and that I have to admit with shame on my face. But better late than never. Nobody is perfect, although ..... Johnny Max?

"There's no question that A Lesson I've Learned represents swampy blues and R & B at its finest and many of our blues listeners certainly agree."

Eric Cohen
WAER Radio
Syracuse, NY

Johnny Max Band "A Lesson I've Learned" (*** 1/2). Max delivers blue-eyed Soul singing with a slight Southern drawl (but he's from way up North!) atop an eclectic mélange of Soul, Blues, Jazz, Rock flavors. Max on vocals, Martin Alex Aucoin on keys, Teddy Leonard on guitars, Garth Vogan on bass and Duncan McBain on drums morph from Booker T & The MGs ("Greezin'") to Delbert McClinton ("Down In History") with ease. The title cut is a superb midtempo Soul coaster with a familiar melody (but I can't place it) that sorta reminds me of another great song that deserved more attention (Larry Garner's "When The Blues Turn Black"). The bar band boogies "We're Gonna Do It (All Night Long)" and "Jack & Jill" are fun lighthearted fluff and Don Covay's "Have Mercy" is convincing laidback Soul

www.Bluescritic.com

A LESSON I'VE LEARNED
Johnny Max Band

By John Taylor

Given they amount to little more than a few grams of aluminum and plastic, it’s astonishing just how much personality certain CD’s contain.   Case in point, “A Lesson I’ve Learned,” the fourth effort from a newly-revamped Johnny Max Band.

Max, a veteran who’s kicked around Toronto’s club scene for years, delivers a passionate mix of blues and soul that virtually defines what a great bar band should sound like.  From the open salvo of “Down In History,” a rollicking romp that borrows from the Delbert McClinton school of roadhouse R&B, to the funked-up final notes of “Why I Sing The Blues,” one of only two covers here, Max and company stomp through a set that fairly bursts with energy, enthusiasm, and personality aplenty.

Keyboard master Martin Aucoin accounts for the bulk of the songwriting (with help on most from co-writer John McAneney, aka Mr. Max himself).  Influences are obvious on occasion, but that’s all part of the fun – the song structures may be familiar, but Max and company put their individual stamp on every note here.  Tunes range from the jaunty party groove of “We’re Gonna Do It (All Night Long)” to the wry and resigned wisdom of “(You’re) A Lesson I’ve Learned.”  “Banks Of The Credit” proves the mud in the Mississauga Delta oozes just as much funk as that of the Mississippi, while “Greezin’” is a breezy instrumental that provides a bit of mid-set-mellow before the energy level gets cranked up again with the pure rock ‘n’ roll of “Jack And Jill”.  The boys do a bang-up job on Don Covay’s “Have Mercy”, and tackle the irresistibly catchy “Big Ol’ Girls Need Some Lovin’ Too” with tongue firmly in cheek.

Production is stellar, the sound clean and crisp yet retaining an organic feel that hints at largely live-in-the-studio performances.  Max delivers his lines with gruff, blue-eyed soul and Aucoin, whether on B3, Wurlitzer, or piano, is nothing short of brilliant throughout.  Guitarist Teddy Leonard is equally adept at stinging rhythmic stabs and clean, uncluttered leads, and the rhythm section of drummer Duncan McBain and bassist Garth Vogan provide a rock-solid foundation built on obviously intuitive interplay.

If slick and commercial is your bag you’d do better elsewhere.  But if you like your music with high spirits, sweaty honesty, and lots of personality – the kind where you can actually hear real people having fun making music together – this disc is an absolute gem.

Highly recommended!

A LESSON I'VE LEARNED
Johnny Max Band
Pour Soul Records
8-out-of-10

“Johnny Max is a very talented singer and shares a radio show on Sunday nights. Johnny could make a dog laugh. He's one of the funniest people I know. He has a huge voice and strong stage presence. He also coaches hockey and helps under privileged youth. He was born in Scotland, and lives in Etobicoke, ON.. I played with him recently.” -- Terry Blankley

The Johnny Max Band comes to us out of southern Ontario, bringing with them a blues sound that has one foot solidly set in the rock genre, and the other in the traditions of the blues. From the opening Down In History you get the feeling these guys would be a great blues bar band on those nights you really want to party. You get that party feel just from the piano work of Martin Alex Aucoin on the song.

Johnny Max is the vocalist here, and offers up a smokey voice that has some miles on it, making it almost ideal for this boogie blues effort.

A Lesson I've Learned is Johnny Max's fourth recording, and you get the feeling he has learned his lessons well, at least in terms of his music. The CD cover has the look of a school notebook, with a few doodles of musicians and instruments, like a kid dreaming of the stage. Well Johnny Max has made it to the stage and learned his trade well. This CD has a workmanlike feel, blues from a band used to going bar to bar performing for the love of the music.

If you need a blues fix to lift your spirits, well get to the doctor and request 100 c.c.s of A Lesson I've Learned, cause this is the cure.

Songs such as the title cut, We're Gonna To Do It (All Night Long), Big Ol' Girls Need Some Lovin' Too, and Why I Sing the Blues ... for Joe, are what this CD is all about. Blues with soul, for the fun and love of playing.

You just know Johnny Max would be playing for free if he had too, and may well be buried with a microphone in his hand and a sound track in the coffin, so that he's ready to play for all the old friends he may meet along the way.

-- CALVIN DANIELS

Johnny Max Band's New Groove
Every Moment Like Recess on A Lesson I've Learned
Press Release by: Gary Tate Jazzreview.com

An essential Soul/Blues singer, Johnny Max is an integral part of a Golden Horseshoe music scene stretching from St. Catharines to Toronto. He should be making international waves soon in light of his latest superb release “A Lesson I’ve Learned”.

It’s been 7 years since this reviewer first encountered Johnny with then partner-in-crime Kevin Higgins.  Johnny has recently summoned forth a new aggregation lead by keyboardist extraordinaire Martin Aucoin and bravura guitarist Teddy Leonard. To their credit, they wasted no time heading toward the studio to lay down 13 tracks sanctified by boss songwriting, cool arrangements, and contagious grooves.

 JM’s ebullient and boisterous voice is in fine fettle throughout as he whips up soulful helpings of Memphis stew of the Stax/Volt mode, with some noticeable New Orleans tidbits tastefully thrown in.

There’s good reason why Johnny’s original tunes have that polished feel to them. He’s been deeply immersed in Soul, R&B, Blues, Jazz, Rock & Roll R&B since he was a young ‘un, and takes rightful pride in his comprehensive collection of vinyl. Folks in these parts respect Johnny’s tastes and his long-running Sunday Night Soul show is an automatic turn on.

“Down In History” announces the Max/Aucoin composing team is gonna be a source of ear-pleasing nutrients for years to come.  It’s actually about the eternal battle of the sexes with an incredibly catchy “down-down-down” chorus refrain. His flock will also be singing along with “We’re Gonna Do It (All Night Long)”, as much for its   funky groove as those suggestive lyrics. 

The title track is a knockout with its Sam and Dave-type vibe. Back in 1968, this type of song would have garnered tons of radio airplay. “Write Your Name” will tear at your heartstrings with Johnny’s wining ways with a deep soul ballad in full display. “Greezin” is a soulfully jazzy instrumental where Martin stretches out, and evokes fond memories of Booker T. & the MGs.

“Jack & Jill” is an adult nursery rhyme that bounces and swings like mad. I rank it with anything Louis Prima did in his prime.  Everyone aged 3 to 80 will be prancing around the stage like Dancin’ With The Stars wannabes as soon as Johnny starts belting it out.

Toss in a couple of rock-solid covers like Don Covay’s “Have Mercy” and B.B. King’s “Why I Sing The Blues” and it’s apparent that Johnny has learned more than a lesson. He’s become the coolest teacher who makes every moment feel like recess.

THE JOHNNY MAX BAND: A LESSON I’VE LEARNED (POUR SOUL)

A. Grigg - Real Blues Magazine 

If I had my own Record Label/Artist Management Company The Johnny Max Band would be one of the very first acts I’d try to sign.  Here’s a band that plays the bars in Southern Ontario dispensing The Blue Collar Blues to a rabid following and one can’t help but think aloud “The World needs to hear these guys…”.  Johnny and his band mates have a mission and a message and it’s basically the same as Hound Dog Taylor’s i.e. “Have some fun ‘cause when you’re dead you’re done…”  They dispense Blues as a soul-fixin’ remedy and connect with The People in a way all bands should.  I’m told that Max Band gigs are a wonderful experience with many conversions to The Cause and they have very, very, very few serious competitors in Eastern Canada.  Only a few artists really understand that it’s all about giving your audience a Big Present and that Present is the Joy Factor.  One must be dedicated to making others happy and realizing that the rewards that come from that are priceless.  If you can make a living from doing this than so much the better.  The Johnny Max Band exudes these three principles and the numbers of satisfied fans keep growing.  2005’s album “Ride And Roll” was more of a down-home Blues feel, while “A Lesson I’ve Learned” has a Southern Rock/Blues identity.  There have been some major personnel changes to the band with Teddy Leonard handling guitar now and Garth Vogan on bass.  Martin Aucoin, one of Canada’s finest pianists (it seems that Southern, Ont. is the ‘factory’ for pianists raised on Jerry Lee Lewis, Fats Domino and mentored by Stan Szelest) has a spot on the bench, as he did on “Ride And Roll”, Duncan McBain has been on drums for both albums and, of course, big-voiced Johnny Max is frontman with his very pleasing-on-ears vocals.  Johnny and Martin have really evolved into one of the finest song writing teams in North America, with 11 of the 13 tracks original and most being standouts, as well as jointly producing this new album.  If someone had told me that “A Lesson I’ve Learned”, “Write Your Name” or “It’s Not My Fault” were written by John Hiatt or Delbert McClinton I’d have no problem believing it. 

The disc opens with “Down In History” and it’s a perfect introduction (the very important first track is something that surprisingly not everybody gets…) and the tandem of Teddy Leonard’s soul-drenched guitar and Marty’s rockin’ piano/organ makes for a real Hot song foundation.  It’s a wonderful sound that nobody else comes close to and I admit I’m a sucker for piano as a lead or co-lead instrument.  Both Teddy and Marty are long-time Toronto music scene vets who are at their creative peaks and the rock solid rhythm section is one of the best.  Also, Johnny’s great pipes are going to surprise the uninitiated.  Track #2 furthers the realization that this is one great outfit.  “Banks Of The Credit” will strike a chord in any/all Mississauga refugees who partied on Ontario’s prettiest river from Belfountain to Lake Ontario.  Wonderful lyrics and guitar work that sounds like it was nurtured in Georgia/Alabama anchored by Duncan’s talented stick work.  Another superb tune.  “We’re Gonna Do It (All Night Long)” has Shag Hit written all over it and with an infectious chorus and sometimes naughty lyrics I can picture “We’re Gonna…” hitting #1 on Carolina Radio and that’s a Big Deal (for those of you poor souls who don’t know about the Carolina Shag/Beach Music Scene I’d suggest you Google: “Myrtle Beach Shag Fessa Hook” and delve into the greatest Blues-based music scene in North America).  Marty and Johnny have got a knock-out combination in the song writing department and “A Lesson I’ve Learned” would be a Hit in Commercial North American Radio if it was still open to Indie. music the way it used to be.  It’s a beautiful song with lots of potential and “Write Your Name” is a Ray Charles-styled Love Ballad that adds further proof.  “If That Ain’t True” has a New Orleans flavor thanks to Marty’s Art Neville-sounding piano work and that infectious shuffle-rhumba laid down by the band.  “It’s Not My Fault” (Track #7) is a funky toe-tapper with some cool Hammond organ and more proof that this may be the Best Band in all of Canada.  “Greezin’” is a Funk/Jazz vehicle that shows off Teddy’s and Marty’s talents and it’s propelled by nice percussion.  (It’d be a better World if every band had a Hammond, Farfisa or even a Fender Rhodes…).  Teddy’s got restraint that makes every note burst with power and identity.  The only cover is a fine take on Don Covay’s “Have Mercy”.  “Big Ol’ Girls Need Some Lovin’ Too” is a snappy ode to females who eclipse their male counterparts in strength and lovin’ ability.  Nice organ-work and a beat that’ll keep the feet going, which, of course, makes it a Shag Market potential.  “Why I Sing The Blues” is a song by B.B. King that no one should attempt (at least in the same arrangement) and these guys pull-off what countless others have failed at.  They give it some added spice in the percussion dept. and funky piano while keeping the throbbing bass line.  A Nice Gospel-style piano break gives this tune even more of a new identity and they score bonus points for invention.  So, I realized by track #8 or #9 that this CD already had more to offer in terms of Great Music/Song writing than virtually any other Canadian release and by album’s end it’s evident that The Johnny Max Band is the Best Band working in Canada right now.  Heck, they could even win respect in Nashville, Austin and Portland, Oregon and on that note; a 5-Bottle rating is more than fitting.  Boy do we need music like this in 2007!  Thanks guys!

Johnny Max Band
A Lesson I’ve Learned
By David Barnard

In the past ten years, Canada has produced some of the best new blues recordings anywhere. Think Jim Byrnes, Sue Foley, Paul Reddick, Harrison Kennedy and Julian Fauth, to name but a few. This high standard of competition is helping to raise the bar and bring the best out in people. Judging by the new release from Port Credit’s Johnny Max, he’s ready to join the cream of the crop. Max is an expressive vocalist, someone who back in the day would’ve been called a “shouter.” He inhabits a song’s storyline, imbuing it with a strong dose of irony and a knowing “been there, done that” tone. Over 13 songs, including 11 originals written primarily by Max and keyboardist Martin Alex Aucoin, he sings of mistakes made, dreams and lies, obsessions and living in the Mississauga Delta, in case you were wondering where Port Credit is. The band, comprised of Aucoin, guitarist Teddy Leonard, bassist Garth Vogan and Duncan McBain on drums, are a supple, well oiled unit that enlivens every arrangement, whether it’s the Memphis fatback soul of “It’s Not My Fault,” the rocking ’60s R&B of “Going Down, Standing Up” or the New Orleans style funk of “Banks of the Credit,” featuring searing slide guitar and a lovely gospel piano bridge. Aucoin wins MVP, consistently adding excitement to each song, such as on the title track, a burbling Southern soul number where his combined B3 and Wurlitzer beautifully support Max’s wry lyrics and subdued vocal delivery. (Pour Soul)

John Valenteyn TBS/Maple Blues

Johnny Max Band A Lesson I've Learned Pour Soul

With his various projects and his radio show (on commercial radio!), Johnny Max has become a mainstay of the west end blues scene. This CD shows why. This is the quintet band, with Max on vocals, Martin Alex Aucoin on keys, Teddy Leonard on guitars, Garth Vogan on bass and Duncan McBain on drums. The material is a delightful mix of blues and R&B, just like his show. We get a couple of blues before we get to the R&B and the title song. The original songs are by Martin Alex Aucoin and Johnny Max and I hope they keep the partnership going. Aucoin's own CD is reviewed further down but his contribution here shows a thorough knowledge of blues and R&B forms. Max's lyrics, especially about is own part of town are unmatched anywhere. "Banks of the Credit (The Mississauga Delta)" is all the evidence I need. His singing now shows a remarkable resemblance to that of Watermelon Slim and on some songs may well be better! "(You're) A Lesson I've Learned" deserves to be the title of this one. It's classic R&B, the kind you would've cranked up the car radio each time it came on (and I hope you do that still). You may have thought that songs like this weren't written anymore. The new arrangement of Don Covay's "Have Mercy" will make you sit up and take notice too. "Going Down Standing Up", credited to Aucoin, is another stunner, with some amazing guitar work from Teddy Leonard. Get this one soon. www.johnnymaxband.com gives you several options and it'll fill you in on some of his other projects too.

JOHNNY MAX BAND - A Lesson I’ve Learned

Pour Soul Record  

An album that is totally convincing from the first riff of the opener, “Down in History” to the last note of the closer, “Why I Sing the

Blues”.  At home with R n B, some Rock numbers, some Funk (“It’s Not My Fault”) and Soul (“Have Mercy”), the band from Toronto delivers another sparkling performance with this, its fourth album.  Dynamic, compelling, with strong, lightly raw vocals by Johnny Max, pearly keyboard work by Martin Alex Aucoin, captivating guitar work by Teddy Leonard, and a powerful carpet of rhythm delivered by Garth Vogan on base and Duncan McBain on the [translator’ note: the line(s) after this is/are cut off].

…”Down in History” will settle irresistibly in your aural passages and “Banks of the Credit” could have originated from the pen of the Stones or of John Hiatt.  Greetings from Delbert McClinton, on the other hand, are delivered by the title song.  Along with the indubitable expertise of the musician, we are seduced by the song-writer duo of Max/Aucoin; they give us terrific songs and perfect arrangements.  The cherry on top is provided by the inspired singing of Johnny Max, which assures the group its high return value.  Never mind where the digital detector gets on board: you are guaranteed a good time!  This contender for Album of the Year is going to be hard to beat.

Dietmar Hoscher
CONCERTO Magazine
Austria

http://hoscherscoloursofblues.com
http://www.concerto.at

By Rockin The Blues

RIDE AND ROLL - JOHNNY MAX BAND (2005)


Fasten your seatbelts, ladies and gents, ’cuz Johnny Max is gonna take you on some wild rides!

His vocal engine’s revved and ready to impress on the barrelhousin’ strut of the band’s original “Please Don’t Go”, ignited to the max by Kevin Higgins’ guitar, Duncan McBain’s drumkit, Uli Bohnet’s bass guitar and Martin Aucoin’s keyboard.

Moving right along, we shuffle off to Johnny and Kevin’s “Brown’s Line” (an actual west-end location in Toronto, Ontario) before putting pedal to the metal on the manic title track, composed by the legendary Brownie McGee.

Strangely enough, the pace then slows right down to sail through the beautifully dramatic “Angel of Mercy”. I don’t think I’ve ever heard such abject poverty expressed so eloquently. The track was composed by Homer Banks and Raymond Jackson and covered by Albert King and Ms. Frankye Kelly (the latter in a more jazzed-up vein).

That one’s followed by a catchy rhythm and blues original called “Whatcha Gonna Do” and then the gears are switched completely by a traditional acoustic gospel spiritual called “Walking in Jerusalem”.

Johnny Max (a.k.a. John McAneney) injects a lot of vocal soul into the otherwise guitar-funky “Long Gone Train”, another of his and Kevin’s collaborations about living for the present.

Martin Aucoin gets to noodle creatively on another original, “I Heard a Rumour”, whose basic melody and rhythm lines seem influenced by John Lee Hooker.

Next comes one of my favourites, “[My Baby’s] Mad at Me”, a mid-tempo swing shuffle. Actually, that’s something I like about the Johnny Max Band – there’s nothing too fast and nothing too slow. It’s all very relaxed but musically interesting at the same time.

My all-time favourite is the big blues swagger of Bukka White’s “Shake ’Em Down” – ooh, is that hot or what? A perfect pairing of piano and slide guitar tailor-made for exotic dancing, whether you’re a pro at it or not. While I dug Robert Plant’s vocal interpretation, this one is more sensual than tormented.

Big-city meets suburbia in “Mimico Bus”, a funky blues-rock mix that could thumb its nose at Golden Earring’s classic theme song, “Radar Love”.

I got another exquisite slide guitar fix on “Junko Partner” (a.k.a. Junco Partner), an apparently very popular song by (producer) Bobby Shad and the Badmen that has been covered by the likes of James Booker, Mike Bloomfield, the Derek Trucks Band and, perhaps most appropriately, Carlos Del Junco. Nice military touch on the drums during the outro.

The last official song (yet another excellent original) is “I Like Women”, a solid, bouncy little head-boppin’ funkster that would catch the ear of anyone lucky enough to hear this cranking out the windows of a souped-up T-Bird (as opposed to the dirty old station wagon on the CD cover).

The musical ride eases to a smooth stop with an uncredited, a cappella gospel chant sung by Johnny (with clapping accompaniment) probably known as “True Religion”.

Erstwhile music performer (bass, guitar, vocals) Alec Fraser has scored yet another production coup with the Johnny Max Band’s Ride and Roll. Add it to your own collection of favourites.

By Rockin The Blues

IN THE DOGHOUSE...AGAIN! - JOHNNY MAX BAND

When Johnny Max sings that he’s “in the doghouse”, backed by the furious guitar work of Kevin Higgins, you can be pretty sure he ain’t jiving you. You’d think a blues song like that would be arranged in a real slow and mournful manner, but Johnny is one of those curious blues musicians who prefers to masquerade sadness and misery with a false expression of happiness (so as not to upset the “massa”, or “missus” in this case).

Even when covering C. Kenner and Dave Bartholomew’s “Sick & Tired (of fooling around with you)”, the upbeat rhumba rhythm expresses a joyfulness in declaring his liberation from the object of his annoyance. Kenny “Blues Boss” Wayne guests on piano on this one track.

Lowell Fulson’s “Black Nights” gets into a true-blue mode, a la John Mayall, with some sizzling keyboards by Michael Fonfara, and Howlin’ Wolf is given a more than decent tribute on “Rockin’ Daddy”, care of renowned drummer Bob Vespaziani and lesser-known, but no less talented, bassist Bill Keeley.

Kevin Higgins occasional trades in his electric guitar for acoustic and resophonic ones, especially on the traditional Appalachian arrangement of Mississippi John Hurt’s “C.C. Rider/My Creole Belle”, which perfectly suits Johnny’s thick-as-molasses vocals.

Like most blues acts in Toronto, there are two sets of players in the Johnny Max Band – those who play the grueling live circuit and the session musicians who deliver the goods on the recordings. Kevin Higgins is a mainstay of either team, as his songwriting skills, in collaboration with J. McAneney, are also put to great use on this CD, notably on “City Boy” and “Poor” (both of which any Torontonian could relate to). The other touring band members in the Johnny Max Band are Duncan McBain (drummer), Uli Bohnet (bass) and Martin Aucoin (keys), all accomplished players in their own right.

Speaking of great songwriters, Johnny also covers Merle Haggard’s “Working Man Blues”, Franklin & Franklin’s “Baby, Baby, Baby” (which was ultimately out of his vocal range) and an exciting slide guitar treatment of Danny Brooks’ “Carolina Shine”, with Danny himself providing backing vocals.

Joe Lee (Big Joe) Williams’s barrelhousin’ crossroads shuffle, “Highway 49”, features a raucous, rip-roaring slide guitar, making for an excellent finale on this self-produced disc, mastered by Andy Krehm.

Other than the individual (and necessarily small-print) dedications by each of the players, the CD sleeve (no name given) wishes God’s blessing “to those who have inspired, conspired, perspired, transpired and expired playing their music and in the process passed on their love…to the purveyors of the rhythm.” Sounds like something Arlo (or maybe even his daddy, Woody) Guthrie might have said.

by Cindy McLeod
www.jazzelements.com

Johnny Max Band - Ride and Roll

The Johnny Max Band hit the nail on the head with their 2005 release ”Ride and Roll”, one fired up straight-to-the-top boogie blues CD. Thirteen tunes packed into one near-hour of groove, these tracks are laid down by some of the best in blues.

A gumbo of traditional Chicago blues, classic R&B, and soul, delivered with a raw yet keenly polished sound, Ride and Roll is expertly produced from a live off-the-floor studio session.

Singer and bandleader Max injects an explosion of energy into the ensemble, with Kevin Higgins (guitar), Uli Bohnet (bass), Duncan McBain (drums) Martin Aucoin (keyboards), and Alec Fraser (vocal) creating the powerhouse, unified backup. The six-piece band kicks out rock solid feels, afinely tuned sound, and beefy vocals, with Max’s enigmatic voice the catalyst. The sign of great musicianship, the Johnny Max Band makes a big statement in simple, clear tones… the message is the medium.

Feels range from the southern swamp boogie shuffle and grunge guitar of “Brown’s Line”, to the swing blues ballad “Angel of Mercy” with its electrifying Hammond intro and great interplay between vocalist Max and guitarist Higgins. “Walkin’ in Jerusalem” offers a soulful slide guitar and moving vocal accompanied by foot stomps, handclaps, and great backup vocals to enliven this traditional spiritual. The group injects a little humour into their music, bringing light to their mix with “Mad at Me”, a drivin’ boogie-blues, and groove with a capital G to their “I Like Women”. “Junko Partner” funkifies with its killer feel laid down from the outset by drummer Duncan McBain, who opens the tune, and thickens to a juicy stew with Bohnet’s bass, who turns in a fine performance throughout.

Ride and Roll promises just that, an exhilarating rush of great music… recommended.

www.lahoradelblues.com - Spain

Johnny Max Band - Ride and Roll

"Here comes a right passionate blues and boogie exposition. The Johnny Max Band really know what they are doing, With a strong dose of emotional feeling and a forceful performing, the band gives us thirteen beautiful songs. Guitar, bass, vocals, piano and drums perfectly match with an amazing ‘savoir faire’ that immediately moves you with such a feeling that exceeds the limits blues listeners are normally used to. This Canadian band is one of my favourite in the last months, because they easily connect with the audience with an skilful powerful straight performing. This is their third cd and let’s hope it will not be the last one because audiences need such kind of bands to discover and enjoy real blues as the one they perform, giving to blues the lively suitable high place they deserve. GREAT."

Real Blues Magazine

Johnny Max Band - Ride and Roll
By Andy Grigg

I know that it’s still early 2005, but I’ve just listened to what could be the Best Canadian Blues CD of the year and all other homegrown talent will have a real task to match this disc let alone attempt to surpass it. The Johnny Max Band is truly West End Toronto’s (Etobicoke/Mississauga) Blue Collar Blues Crew, an outfit that plays for the patrons and delivers what most of us really want from a Blues Band: the ability to make you forget your boss, your money troubles, wife/husband turmoil and all stresses one needs to jettison, at least on a Friday or Saturday night. Hound Dog Taylor, I believe, said, “Have some fun, ‘cause when you’re dead, you’re done” and that could be this band’s motto as well.

I’ve heard and praised Max’s previous 2 CDs and they have always been in the Top 10 of Annual Best Canadian Blues CDs for their ability to convey HONEST, blue-collar, goodtime Blues and the band is blessed with a couple of stellar talents: Johnny can really sing and Kevin Higgins is the kind of guitarist that may not be a household name, but to other guitarists he’s The Man (no wasted notes, no histrionics, knows EXACTLY what to deliver and he’s a Team Player). With Martin Aucoin, who may be the Best Pianist in Eastern Canada, Uli Bohnet (bass) and Duncan McBain (drums) providing a tremendously solid foundation, this band has to feel like DeNiro (“You talkin’ to me?”) and should be one of the Best Live bands in all of the country.

The big difference with “Ride and Roll” is Alec Fraser who has become the Producer of Choice for authentic Blues sounds and the studio he uses, Liquid, has given so much of an edge to all who recorded there. So, while the spirit may have been there in the past (on their previous CDs), we now have a Producer who knows his stuff and has that all important outside view of the Band and a world-class studio that can make a band sound like they’ve spent mega dollars.

Starting off with a ‘thumper’, “Please Don’t Go” (an original tune), the band sets the pace and the identity of the disc (so important!): a tough, gritty, True Blues outing replete with nasty guitar and vocals, rippling piano and rock solid bass/drums. Excellent! Now the listener is thinking, “Hey, I hope there’s more of the same” and yes, indeed, there certainly is. “Brown’s Line”, Track #2, is a boisterous, barroom Blues gem with a great chorus that all of us ex-West Enders get immediately (I feel guilty that I haven’t acknowledged drummer McBain’s skills in previous Awards issues). “Brown’s Line” is as good a Canuck Blues tune that I’ve heard. “Ride and Roll” is a tour de force raging rocker that will probably instigate broken chairs, bottles against the wall, etc. if played at 1:55 a.m. on a Friday night. It also is Mr. Higgins’ crowning achievement (from what I’ve heard so far, at least) as guitar slinger with a solo that would have Johnny Winter and Matt Murphy grinning. Other highlights include “Watcha Gonna Do” (major crossover potential), the lowdown “I Heard A Rumour, “Mad At Me” with Marty’s heavy left hand rollin’ (Shag hit potential), the grinding, belly rubbing “Shake ‘Em On Down” and the excellent lyrics (shop this tune around) of “I Like Women”.

So, we have an excellent album (their best) from a great band and it will please all of the Johnny Max Band’s fans enormously plus bring aboard many thousands more who dig The Real Thing. The crossover potential is enormous, so let’s hope this band gets the ‘greases’ that they deserve. Our astute listeners in Europe will dig it for the talent/energy while the Beach Music fans in the Carolinas will have at least 3 great Shag tunes. 5 sweaty bottles for an excellent, honest Blues album.

Blues & Co. Magazine, France

Johnny Max Band - Ride and Roll
By Marc Loison

This group from Ontario has shared the stage with the likes of Mel Brown, David Rotundo, Downchild, Jeff Healy and Jack de Keyser. Not all youngsters, in Johnny Max's band!! A true experience with contributions from "biggies" like (Snooky Pryor, Willie "Big Eyes" Smith, A.C. Reed, Little Mack Simmons....) and the playful spirit with which guitarist Kevin Higgins plays, for whom "less is more". Without delay, let's discover this very friendly group. "Please don't go", with the rock'n'rollish, deep confident voice of Johnny Max, the first clean range entry.....Then it's "Brown's line", imposing with its syncopated rythm remeniscent of a Paul Butterfield Blues band of the 70's. We already are aware, by now, that we are not dealing with just any Canadian group. Produced by Alec Fraser, this 13 piece 'enjoyment', abounds with good ideas. Brownie McGuee's "Ride & Roll", largely re-worked & fast, rocks!! The piece "a pompes", knee wrecker, provider of an amazing chorus, rock riffs with ravaging slides....After this, who would expect a re-doing of "Angel of Mercy" popularized by Albert King? The counter-points of a fluid guitar smoothly ties in with the theme that we discover with pleasure.... We think of Son Seals in the vocal treatment...........Why not a good old Soul song next? "Watcha gonna do" convinces us: Johnny Max's band has 'more than one string in his bow' and it works wonderfully... What a treat, this keyboard part by Martin Aucoin, a little sweet slide on a cool background tempo, a soft touch, an agile foot with "Walking in Jerusalem". A bit more old-school soul?? A good slice of "Long gone train" will do the trick.

Let's continue listening.......with good low-down blues, definitely enthralling: "I heard a rumour". The perfect bass playing of Uli Bonnet, the mastered talent of Duncan McBain on drums and the down-home piano style is in perfect sync. Suddenly, a lighter range; "Mad at me" with its clear and haunting riff, sometimes interrupted by a flourish of notes.....a good piece and good for dancing thanks to a roaring and generous walking-double bass. Next comes "Shake 'em down", another medium-slow piece sometimes with a finger slide to interrupt the rythmics. The masculin voice of Johnny Max does wonders on it.........And now, for my favourite piece: "Mimico bus", soulful, just what you need, a guitar riff that 'tickles' everything it finds, exciting organ flares and a nice low, rythmic, needed, rythm & blues on drums. the foot! Too bad, however for this 'chuntee' ending......'Junko partner", in a lazy tempo, brings back memories of slide roots, playing on the bottom of empty cases. We end with "I like women" a very soulful, kinda sixties style; I especially like the singing that is almost like "preacher talking". A hidden title awaits the listener of the 13th piece: foot-stomp and singers only conclude this album in a spiritual way with surprising variety and maturity....the Johnny Max band, blending many styles and making it their very own throughout the C.D.

Ride & Roll is a guaranteed 'good buy' with no let-down and a beautiful discovery, proof of the vitality of the Canadian market.

Toronto Blues Society Magazine May 2005

Johnny Max Band - Ride and Roll
By John Valentyn

This band gets better and better! With Kevin Higgins on guitars and a new rhythm section of Uli Bohnet on basses and Duncan McBain on drums and Martin Aucoin on keys, Mr. McAneney turns in a nicely varied program of originals and covers. The title song is the Brownie McGhee tune electrified and taken at a breakneck pace - an appropriate choice for a title. There are other fine examples of re-arranging other people's songs to make them your own: Albert King's "Angel of Mercy" and Bukka White's "Shake `Em On Down" to mention two. Their own, though, shine as well: "Brown's Line" and "Mimico Bus" leave no doubt as to the west end home of this outfit. Higgins continues to shine on guitar, impressing with his choices no matter the style of music. There are a couple of soul songs in the mix here that put one of our better vocalists in a different light: "Watcha Gonna Do" and "Long Gone Train". He too handles the challenge with ease. "I Heard a Rumour" is a strong band original built on Howling Wolf's `44' riff and the New Orleans standard"Junko Partner" is taken at such a slow tempo you'll hardly recognize it. It works, though. A hidden track features a strong gospel vocal from Johnny. This is another masterful Liquid Sound production. If you need a reason to visit the west end, this is it. Check the listings and head out! Failing that you can go www.johnnymaxband.com.

Roots Music Report
Johnny Max Band "Ride and Roll"
Rating : 5 stars

Ride And Roll is a perfect title for this new release. This band definitely takes the listener on a ride of blues with a bit of rock and roll flavor. Every song tells it like it is. Direct and to the point. Johnny Max is the real deal. This band is a group of guys that are utilizing their extraordinary talents to make truly fantastic music. From slow heartfelt ballads to driving tunes. The Johnny Max band delivers it all with a forceful passion for their music.

Johnny Max Band "Ride and Roll"
Poor Soul Records 2005, Produced by Alec Fraser
Bear Claw's Blues Picks 2005
By Bear Claw Bob

I read a little piece recently by music critic Larry Lablanc where he said that the blues had ceased to be solely an African American music form, that there is also a distinct Urban Canadian blues form. If you want to know what it sounds like, check out Johnny Max Band's new release. Johnny's snarling vocal and Kevin Higgins' crunchy Fender guitar team up here to roll the listener on a hard drive through 13 tracks that keep you ever breathless for the next turn, the next hook. B3 player Martin Aucoin knows just where to drop a delicious lick or raise up a soul-searing oceanic wave, while bassist Uli Bohnet and drummer Duncan McBain stay right in the pocket all through the set, squarely where a good blues rhythm section thrives. My favourite tunes are "Please Don't Go" "Brown's Line" and "Angel of Mercy," but this is one cd that stays in my car player everytime I go out on the Trans Canada Highway.

Johnny Max Band – Ride And Roll – JMB0022
Reviewed by: John Taylor Email: john.taylor@ca.ey.com

In a celebrity-obsessed world conditioned to expect slick production, the term ‘bar band’ has developed an almost derogatory connotation. But blues and rock ‘n’ roll are best served up sweaty and close, and if your tastes run to the righteously raucous and real, Johnny Max and friends have achieved the near-impossible – a disc that sounds like there’s a real, live band in the room.

Johnny Max leads one of Toronto’s busiest bands, a thoroughly professional outfit that cranks out lean, muscular music night after night, ‘til it’s as natural (and as necessary) as breathing. Guitarist Kevin Higgins is a quite simply a marvel. Never one to waste a note, he crunches out chunky rhythms and tears out slashing leads with equal authority, his thick tone and the sheer power of his playing irresistibly propulsive. The rhythm section, bassist Uli Bohnet and drummer Duncan McBain, are equally powerful but exhibit the kind of supple ease that comes only with countless nights on stage, ‘til they literally begin to play as one. Martin Aucoin alternates between sparkling piano and moody B3, both his fills and his leads adding immeasurably to the music’s urgency.

And then there’s Johnny. His is one of those voices that combine grit and gravel with a soulful smoothness, and somehow he manages to exude a passionate intensity with an almost laconic assurance. He makes it all seem easy and natural, yet a careful listen reveals a singer with an intuitive sense of dramatic delivery.

The playlist is primarily original, with the bulk courtesy of Higgins and cowriter J. McAneney. They’re tough roadhouse rockers that borrow freely from blues, R&B, and flat-out rock ‘n’ roll, the kinds of songs that fuel delirious dancing, and every one’s an economical gem. Covers include Brownie McGhee’s “Ride And Roll,” the starkly spooky “Walking In Jerusalem,” a grinding ”Shake ‘Em On Down,” and “Junko Partner,” with its Memphis-meets-New Orleans groove.

Again, if your idea of either rock ‘n’ roll or blues involves stadiums, elaborate light shows, or makeup, this one’s probably not for you. But if you believe music should be honest and real, played by people to whom it’s as vital as air, this one’s as good as it gets.

Highly recommended!

JOHNNY MAX BAND: RIDE & ROLL March 2005
by Gary Tate

Ride & Roll, the exceptional new release by the Johnny Max Band, is their most fully realized one to date. There are powerful performances and great material galore that’ll hook the most jaundiced listener from the get-go. Part of the credit is due to the live-off-the-floor production at Liquid Studios in Toronto, giving everything a spontaneous, immediate feel. Johnny Max & Company ride and roll their way toward an explosive 13-track set, one that’s deliciously raw and always fun to listen to. A smokin’ mixture of hard-edged Blues, Stax/Volt-saturated Soul, and classic Rhythm ‘n’ Blues. Johnny M’s facility for uncovering the quirkiness in everyday situations is evident in such endearing delicacies as Brown’s Line and Mimico Bus. Topicality, colourful imagery, and delightful insights, meaning they’ll gladden the hearts of the most cynical among us. The wistful I Like Women may offend some, but that’s just the way it is with Johnny, whenever he puts on his witty raconteur hat. He’s incapable of playing it safe. And when Johnny’s hearty, full-throated tenor and Kevin Higgins’ intense and searing guitar accelerate into high gear--then fasten your seat belts folks. They pull out all the stops from their bag of tricks to induce a lump in the throat, or a tear in the eye. Especially on Albert King’s Angel Of Mercy, but also with Motherless Children, or the gospel-drenched Walking In Jerusalem. Other battle-scarred veterans of the Blues wars appear, including bassist Uli Bohnet, drummer Duncan McBain, and keyboard maestro Martin Aucoin. The other great news to report is that the song quality is singular; the new stuff carries as much weight and substance as the covers, starting off with Please Don’t Go which expands upon a familiar Blues idea, then re-shapes it into a grind ‘n’ boogie groove. Tough as well-aged leather! The title track is a “shake ‘n’ bake” number originally done by Sonny Terry and Brownie McGee; it’s always been a perfect fit for Johnny & Kevin, an automatic favorite at the myriad clubs where the guys regularly hold court. Whatcha Gonna Do is a pure revelation, a huge leap forward in terms of raising the bar on what’s to be expected of their material. Long Gone Train is another stirring accomplishment, very reminiscent of the Stax/Volt soulful sides that used to regularly sail from the legendary Muscle Shoals studio. Mad At Me is another crackerjack of a song, a swinging tale of babe-induced aggravation. When the chorus chips in--henpecked guys the world over will want to wail along. Crazy yet cute! Shake ‘Em Down features Johnny at his suggestive best, a nifty shuffle featuring some deliciously greasy slide guitar work from Kevin. Nice foreplay before getting down to business! Ride & Roll is easily their most mature, confident, and accessible release ever. Their dedicated legion of fans, who’ve been following the guys since veteran primo guitarist Kevin Higgins and Blues/Soul preacher Johnny Max first crossed paths in various western Toronto oases, had an initial impression: that they were privy to one very special partnership. Well, Ride & Roll is the ultimate confirmation that they were right on the money. And it’ll rock your socks! Ride & Roll can be ordered via any of the following websites: www.johnnymaxband.com; www.cdbady.com; www.iridescentmusic.ca You can also check out the Johnny Max radio program called Sunday Night Soul (www.sundaynightsoul.com) at 1430 on the AM dial. It’s on Sunday nights from 10 to 11 pm, and Johnny get to play all the sounds that have inspired him—current and past. So you’ll hear large doses of Blues, Soul, R&B, and basically anything that has formed the foundation underlying all the great music heard on Ride & Roll.

To-Nite Issue #255 May 1-7, 2002

Johnny Max is In The Doghouse Again..! -but no need to toss him a bone

by Gary Tate

I wouldn't want anyone to be consigned to the doghouse, but in the case of the new CD by the Johnny Max Band, In The Doghouse ... Again! I'll make an exception.

This band has become a fixture in the West End, at such oases as Timothy's Pub, J.R.'s Bar & Grill, P.K. Creek, and Touchdowns. I predicted big things for the guys when they started out; they possessed all the necessary tools to make substantial waves: excellent vocals, superior stage presence, charisma, substantial material, supremely tasty guitar work, and a rock-solid rhythm section. Include a gift for igniting a festive, house party atmosphere. Soulful vocalist and MC Johnny Max guarantees not a wasted moment: thanks to his self-deprecating sense of humour, a razor-sharp mind, plus a penchant for the unpredictable (and often the slightly bizarre). He's gotten his plaudits and kudos the old-fashioned way by earning them. Kevin Higgins, a guitarist of astonishing abilities, understands the difficulty of translating the dynamism of what's heard live to the confines of a studio. Blues acts in particular have been especially traumatized and intimidated by the recording experience. In The Doghouse Again..! managed to avoid these pitfalls by choosing a different tack altogether. The decision resulted in a sound that is warm, friendly, and completely their own. Kevin recorded all the band's tracks in his home basement by renting a 16-track portable studio, a decision I applaud. He also enlisted the services of two keyboard greats: Downchild's Michael Fonfara and the legendary Kenny "Blues Boss" Wayne, lending added rhythmic urgency to several of the 12 tracks.

The title track (Johnny and Kevin's' first original composition) has the hallmark of a perennial crowd favorite with its rumba-powered groove and some lowdown lyrics that harried hubbies can identify with. "Sick and Tired" is a jump boogie written by Chris Kenner and the sands of time has served it well. Johnny's phrasing captures the excitement of its driving beat; Kevin's guitar positively smokes, while those snappy putdowns of slovenly housewives are bang-on. Johnny's vivid and soulfully dramatic interpretation of the dark, brooding spirit inherent in Lowell Fulson's "Black Nights" is uncanny. Kevin's hypnotizing guitar fills add the precise sense of tension to this all-time Blues classic. Give one listen to the medley "C.C. Rider/My Creole Belle", and you'll immediately understand how proper justice has been given these acoustic Blues standards. A duo of Country-oriented offerings is also offered up. Merle Haggard's "Working Man Blues" is a timeless tome to the backbreaking spirit of the common working stiff. Special mention must also be given to "Carolina Shine"; a recent and remarkable Danny Brooks composition that sounds like it's been around forever (Danny's also featured on guest vocals). Kevin's virtuoso slide guitar is paramount on this track, and every bit as much so on "Highway 49", the Big Joe William's classic. Johnny's cool, confident, and assured vocals offer a brilliant counterpoint to Kevin's furious, jaw-dropping leads. Kevin and Johnny have a vast knowledge (and collection) of music at its quality best, so their past temerity in doing original material was a belief that it would become completely eclipsed by the brilliance of the surrounding fare. Their four compositions, however, are so full-bodied, well arranged, well-written, and so darn good, that this thought need never enter their minds again. "3 Ex-wives" is a hoot from beginning to end, a good-natured novelty item that sprung from Johnny's quirky imagination. But the piece de resistance has to be "Poor", a fully realized Blues burner that is eerily convincing; its foreboding lyrics and stunning guitar phrases ranking it with the best of them. Johhny, Kevin, bassist Bill Keeley, and new drummer, the veteran Bob Vespaziani (check Bob's formidable resume backing up the likes of Mark Stafford, Dave Rotundo, Little Bobby and the Jumpstarts, etc.) 
have fashioned a brilliant release that will only enhance their reputation.

Frankly, after listening to In The Doghouse...Again!, I can safely predict that the Johnny Max band's next set of lodgings will be in the penthouse. CD release is this Sat. May 4 at Timothy's.

Toronto Blues Society Magazine June 2002

The Johnny Max Band In the Doghouse…Again!
By John Valentyn

In my review of their first CD, Long Gone Train, I mentioned they were working on an album of new material. Well, it's not all new but it's welcome anyway, the title song alone making it worthwhile. Max is still in fine voice, with Kevin Higgins, ace guitarist; Bob Vespaziani, the new drummer and Bill Keeley, bass. Guesting on this self-produced CD are Kenny "Blues Boss" Wayne and Michael Fonfara on piano for three songs. Other highlights include the acoustic John Hurt medley of "CC Rider/My Creole Belle" which shows Max can sing with less power; the original jump blues "3 Ex-wives"; "City Boy" (no country life for him); and Danny Brooks' "Carolina Shine" on which Danny helps out on vocals. There is a nice variety here and enthusiastic performances. Some of Max's vocals are too low in the mix but this is definitely a step in the right direction, bring on CD #3!

Toronto Blues Society Magazine January 2001

The Johnny Max Band Long Gone Train
By John Valentyn

The Johnny Max Band are Max on vocals, Kevin Higgins, guitars; Bill Keeley, bass and Eddie Dailide, drums. Kevin Higgins' name should be familiar to fans the Kendall-Wall Band, among others, and Keeley is a veteran of the David Wilcox and Morgan Davis bands. Their profile should rise quickly beyond the westend of Toronto because Max has one of the best blues voices I've heard in a long time. Paired with Higgins' highly-regarded and blessedly effects-free wizardry with the strings plus a fine rhythm section, this is a group to check out as soon as you can. The program is a mix of blues and soul songs with the highlights a rocking "Do The Do", "Jelly Roll/John The Revelator", an interesting version of "Looking Back" and the slow "Third Degree". They are hard at work on some songs of their own for the followup CD.

8th Annual Real Blues Magazine Awards

2001 Best Canadian Blues CDs (Canadian Artists)
#5 The Johnny Max Band Long Gone Train

2001 Top 10 Canadian Blues Guitarists
#7 Kevin Higgins (The Johnny Max Band)

Real Blues Magazine

The Johnny Max Band Long Gone Train
by AG

This blues band has become one of the most popular and respected Toronto bar bands in the last several years, and they have earned a reputation for being hard working, dependable, and very danceable. First glance at the CD cover may give one cause for concern regarding material selection ("Do The Do", "Third Degree", "Use Me" and several other well known standards). But everybody knows if you do something that's well known, do it in a way that no one's expecting and focus on creativity and imagination. That's exactly what we have here as guitar meister Kevin Higgins (a long time picker on the T.O. music scene and a great instructor) lends his talents to recreating most of the material in unique and enjoyable ways. Johnny Max is a fine sore throat styled vocalist with a Lazy Lester laconic delivery. "Long Gone Daddy", the old Hank Williams Sr. gets a nice treatment as Higgins shows his stuff (less is more school) on the guitar. The mix throughout (Kevin Higgins and Bill Keeley) is perfection (nice job guys!), and sound quality is crystal clear. I've had a lot of reports in the past regarding the entertainment this band has been providing to the 
Southern Ontario blues club/festival fans, and this recording certainly more than confirms everything we've heard. The live in the studio format (with some guitar overdubbing) gives an accurate indication of what the band is all about. One thing you've got to love about most blues acts/recordings: unlike most rock/pop artists, blues band can recreate their CDs on stage and there is little or no difference between CD and live performance. "Looking Back" (Don Nix / Leon Russell), is a great choice to cover and Max and Higgins both shine. Bassist Bill Keeley provides a throbbing bass (Fender Jazz Bass?) throughout and he and drummer Eddie Dailide work together in a way that suggests perfect harmony/communication combined with talent and lots of studying Chicago's finest drummer/bassist pairings (Below/Myers, Smith/Jones). If you're thinking about skipping the last two tracks, don't; there's enough fire and originality in both to bring life back to the dead. All in all, a very fine blue collar blues effort that stays totally true to the genre and represents this tough, little band quite accurately and honestly.

4 bottles for one of the best Canadian blues releases of the past couple of years.