The Johnny Max Band

Johnny Max & His So-Called Friends

Pour Soul Records

The award-winning Johnny Max Band has traveled across Canada, performing at some of the finest blues and roots festivals. Celebrating their twenty-fifth anniversary, the band continues to move forward creatively, backed by seven previous albums, two Juno Award nominations, and multiple Maple Blues Award nominations. Drawing from the sounds of New Orleans, Memphis, Toronto R&B, soul, blues, and rock ’n’ roll, the band delivers a rich and seasoned musical blend. The album was co-produced by Jim Casson and Johnny Max and recorded by Mark Lalama at The Old Sumbler House in Fenwick, Ontario.

Johnny Max handles lead and background vocals and is joined by guitarists Mitch Lewis, Dylan Wickens, Wayne DeAdder, and Neil Chapman; Bill Evans on keyboards; bassists Steve Goldberger and Russ Boswell; Jim Casson on drums, bass, percussion, and backing vocals; and the horn section of Dave Dunlop on trumpet and N. Jay Burr on tuba. Additional backing vocals are provided by Suzie Vinnick, Quisha Wint, and Sabine Casson, while Nan McAneney adds spoken commentary. All songs are written or co-written by Johnny Max.

The album opens with “You Can Do Better Than Him,” written by McAneney, Casson, Evans, Goldberger, and Wickens. McAneney, as Johnny Max, sings, “The story’s all over town… remember what your daddy says, you can do better than him,” supported by strong piano work from Evans and sharp guitar from Wickens.

“How the Other Half Lives,” co-written with Lewis, follows with Lewis replacing Wickens on guitar. Max sings, “I don’t have love, I had my fun… I want to know how the other half lives,” with Wayne DeAdder on guitar and Evans adding organ textures.

“I’ve Said All the Sorrys I’m Gonna Say” is a reflective ballad, with Max declaring, “I’ve said all the sorrys I’m gonna say… nothing I do makes you happy,” once again highlighted by DeAdder’s guitar work.

“Might As Well Be on Mars,” written by Chapman and Graeme Williamson, is a biting social commentary. Max groans, “Sunday morning with The New York Times, sun is shining in my penthouse suite… I might as well be on Mars, only the stars mean anything to you,” capturing detachment and excess with sharp imagery.

“I’ve Never Met a Bridge” is co-written by Max and Lewis, as Max confesses, “I never met a bridge I didn’t want to burn,” embracing recklessness and emotional fallout with gritty honesty.

“These Are the Things That Make Me Think of You” finds Max reflecting tenderly on memory and connection, supported by Dave Dunlop’s trumpet and Evans’ piano as he sings, “There are things I will remember, some that I’ll never forget.”

“Memphis Women & Fried Chicken,” the Dan Penn classic, is delivered with swagger as Max belts out a celebration of southern comfort, love, and grease-soaked joy, capturing the spirit of Memphis soul with gusto.

“Kiss from Joanne” rides a rumba-flavored groove, with Max howling, “She’s so pretty… she’s from Lafayette… all I want is a kiss from Joanne,” while DeAdder’s guitar adds flair.

“What’s Good for the Goose” is another original, with Max warning, “What’s good for the goose is good for the gander,” as Wickens returns on guitar to drive the message home.

“When You Love Somebody” continues the originals, with Max proclaiming the quiet truths of devotion and understanding, reminding listeners that love leaves a lasting mark.

“Be Good to Yourself,” written by Andy Fraser, carries a reflective tone as Max sings, “You can count on me when it’s a friend you need… be good to yourself every day and every night.”

The album closes with “Plastic Jesus,” written by Ed Rush and George Cromarty, as Max croons the familiar refrain, “I don’t care if it rains or freezes, long as I have my plastic Jesus,” offering a humorous and thoughtful conclusion.

On his eighth album, Johnny Max once again proves his ability to craft strong originals while reimagining classic material with personality and soul. This is a highly enjoyable listen and comes highly recommended.

Richard Ludmerer

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