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Johnny V's Webhouse by Blow Your Top Productions. Calgary, Alberta. Canada ©1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005
JOHNNY V'S BLUES ALLSTARS
IF MY DADDY COULD SEE MEE NOW BYT 71391 (1996)
http://home.sol.no/~sstensle/
Rolf Stensletten
Brekkemyra 10
5382 SKOGSVÅG
NORWAY
14 melodier T:53:51
Johnny V. Mills kommer fra Canada, hvor han har vært en kjent bluesstørrelse i en årrekke. Av uforståelige grunner er han lite kjent utenfor Canada. Med «If My Daddy Could See Me Now» har han laget en plate helt utenom det vanlige. Johnny er en glimrende gitarist, og han har en flott stemme som er som skapt for å synge blues. Han utmerker seg også som en glimrende låtskriver, og han har laget halvparten av sporene på platen. Musikerne han har med på platen er for meg helt ukjente, men dette er antagelig kremen av bluesmusikere fra Canada.
I tillegg til de egne komposisjonene, har han med en del standardlåter. På grunn av helt nye og originale arrangementer fungerer disse låtene veldig bra. Johnny behersker alle stilarter innen blues, og det er den herlige blandingen som gjør dette til en slik underholdende og god plate.
Selv om det er elektrisk blues med mye trøkk som dominerer, finnes også et par nummer som er helt akustiske. Platens høydepunkt for meg er den akustiske «Depression Blues» med Johnny på gitar og Sonny Rhodes som gjestevokalist. Melodien er skrevet av Johnnys far. Han gjorde selv ingen plateinnspillinger, men var en omreisende trubadur på 30 og 40-tallet.
Dette er den platen som har vært oftest i min CD-spiller i 1996. Uansett hvilken stilart innen blues du foretrekker, vil du finne noe som faller i smak på denne platen.
KJØP !
The Calgary Herald
James Muretich
Sept. 6, 1997
The V-Man is known far 'n' wide. The grass is always greener on the other side of the road. And for Calgary blues recording artist Johnny V, the grass has been a lush green on the road this summer. To begin with, the guitarist/vocalist was a smash success during his European tour that saw him play at major blues fests such as the Ecaussines Spring Blues Festival in Belgium, a country where his 1996 CD -- If My Daddy Could See Me Now -- was on the charts for a phenomenal six months. "Their musical palette is more mature over there. They can tell pretenders from the real thing and they have no patience for them, none whatsoever. If you go there once and they deem you to be Joe Pretender, then you're forever a pretender and they won't have you back." Not so with Johnny V. He's going back to Belgium early next year, as well as France, Germany and possibly Italy.
Perhaps his crowning glory was winning the Break Out Artist of the Year award at Bluesfest International '97, an annual event held jointly in Detroit and Windsor. "I mean, Detroit, you've got to figure how many great guitar players have come out of that city. And they're still spawning tons. To get that award, well, that was real recognition," says Johnny V, whose real name is John Mills.
Even cooler was the fact that the festival's artistic director, Ted Boomer, called the office of Alberta Premier Ralph Klein to inform him of the news. Premier Klein responded with a letter of congratulations to Johnny as well as the mayors of Windsor and Novi, Michigan, the 'burb of Detroit where Bluesfest International is held on the U.S. side of the border. "I thought it was totally cool that Ralph would even do that, send a letter off. That proves to me he still has time for the little guy," says Johnny V, who met Klein once over beers at Calgary's St. Louis Hotel when he was still a reporter for CFCN TV. "Ralph also sent letters to the mayor of Novi, that's the little burb of Detroit, sort of like what North York is to Toronto, and also to the mayor of Windsor. I guess the mayor of Novi was flipping out. She was running all over the town going: Check it out! The Premier of Alberta! "Apparently, there was a beer ticket stuck to the letter too, kind of like, hey, have a beer on me."
Certainly, the 44-year-old guitarist-vocalist deserves the recognition. He has honed his chops to the point where he's one of the most internationally recognized Calgary-based blues artists, along with the likes of Amos Garrett and Ellen McIlwaine. "See this grey hair. See the beard babe. You know what (blues artist) Sonny Rhodes told me about grey hair? He said: 'That's your life experience.' "
There's been the hard-earned personal experience that comes from life in clubs, bars and on the road, some of that time on the road spent as a Harley Davidson man before Harleys were the playthings of yuppies. And there's been the experience of playing rock, country-rock and mostly blues for over two decades. For Johnny V, perhaps the turning point came when renowned Chicago blues guitarist/vocalist Eddy Clearwater (a regular at the King Eddy) took Johnny on the road with him back in 1986. Two years later, Clearwater put up the initial money for the V-man to start work on his first solo recording project, Roosters and Hens. "Eddy is my blues Godfather. I owe him so much. He always said to me you have to put back in what you take out. He taught me many lessons about life on this meagre little planet, about human nature and about believing in myself."
Since then, there has been three Juno nominations as a solo artist and as a member of Calgary's Triple Threat, which included Calgary guitarist/vocalist Tim Williams and harmonica player Rusty Reed from Edmonton. Johnny V even won a Best Roots and Traditional Juno in 1991 for the song I Need a Woman, featured on a blues compilation by Edmonton's Stony Plain Records, a well as being chosen best Canadian guitarist by West Coast Blues Review magazine in 1995. And aside from his own projects, Johnny V has produced albums for Calgary bluesman Don Johnson and Richard "King Biscuit Boy" Newell, who first gained fame with Ronnie Hawkins and then the legendary Canadian band Crowbar. The first time Newell caught Johnny on stage he approached him and said: "You don't play like anybody." And it's true. The roots and rock side of the blues come together with ease when Johnny V's on stage, not to mention his gutsy vocals and true-grit presence. As Johnny V once told me years ago: "I never wanted to be a star, man. I just wanted to be accepted by my mentors." He's done that. And more.
As well with half the money in place for a new album and a possible live album to come from next year's European tour, there's plenty more to be heard from this Calgary blues artist who's making waves from the Pacific Ocean to the other side of the Atlantic.
On behalf of the Government of Alberta, I would like to offer my congratulations to you for receiving the Break Out Artist of the Year Award at the Bluesfest International '97 Music Festival. Through your accomplishment you are joining the growing list of Alberta musicians and artists who are making their mark on the international stage.
Once again, congratulations and the best of luck in all your future endeavours.
Sincerely yours,
Ralph Klein
-- Letter from Alberta's Premier to Johnny V, June 16/'97
If his dad could see him now...
James Muretich, Calgary Herald
April 12, 1996
The blues has always been in Johnny V's blood. The nominations for Juno Awards for his work with King Biscuit Boy and Calgary's now defunct Triple Threat, the Juno he won for his contribution to the Stony Plain compilation Saturday Night Blues, and the brilliant new indie CD he's just released, none of this would've been possible if not for the blues flowing in his veins. That's why Johnny V., whose real last name is Mills, has called his new solo release If My Daddy Could See Me Now.
"My dad is responsible for me playing. He took me under his wing and started me playing and hipping me to the music,'' says V, who performs tonight and Saturday at Topo's, with Saturday the official release party for his new CD. "He played the guitar and harp, kind of like Jimmie Rodgers, Woody Guthrie, Leadbelly, and he wrote some great tunes (one of which, Depression Blues, appears on V's new disc).
"He wasn't a professional. On the weekends, though, all his blue- collar pals would get together and have this weekend house party. "I grew up hearing all this great music and it was 20 years ago, exactly two days before Christmas in '76, when he was on his death-bed, that he pulled me down to him and said: `Look, you go do this. I couldn't. "He had six kids. He was just a truck driver, man. He didn't make a lot of money. He always wanted to play but never could and he made me promise that I would.''
Johnny V has made good on that promise. As he says, he's never aimed for stardom, just respect among his peers and he's achieved that. Internationally renowned guitarist-vocalist Amos Garrett, who now lives in Turner Valley, an hour's drive southwest of Calgary, asked Johnny to play on his new recording. Chicago guitarist-vocalist Eddy Clearwater invited V to his home.
He's worked with King Biscuit Boy. And Victoria's West Coast Blues Review just awarded Johnny V top honors for Best Slide Guitarist, Best Live Performance and Best Band. His new CD is a smokin' affair that ranges from acoustic to electric, from jump blues to hard-driving Chicago blues, with V backed by his Blues Allstars which includes drummer Don `Pockets' Johnson, keyboardist Dr. Boogie and bassist Bill Eaglesham. As well, highly touted American blues artist Sonny Rhodes makes a special guest appearance. Along with recent CD releases by Back Alley John and Tim Williams, it's another sign of just how dynamic and creative the Calgary blues scene is right now.
"There was the influx of players who came from the East (in the late '70s and '80s) and settled here and weren't the creeps and bums that (then Calgary Mayor) Ralph (Klein) talked about. They were guys who wanted to do something for the community and it's starting to show,'' says V, who moved to Calgary in '79. "Look at Back Alley John, I knew him in Ontario and he's here now and putting out great records. Look at (Tim) Williams (V's former partner in Triple Threat). He's originally from California and doing all kinds of brilliant stuff. (Don) Johnson's from Texas and he's here. Amos (Garrett) is living in Turner Valley and Ellen McIlwaine calls Calgary home. "I'll tell you, this city has a great vibe.'' Johnny V is a big part of that vibe. And if his daddy could see him now he'd be proud, real proud.
Hot guitarist off good ways to get the blues
Roger Levesque, Edmonton Journal
May 2, 1996
Johnny V. called to chat from Vancouver where he's part of a special funk-blues review at the Commodore this week headed up by Motown session ace Ike Stubblefield. But the Calgary-based guitar slinger/singer (originally John Mills) was pleased to background his new CD If My Daddy Could See Me Now. After just about one month he's already close to selling out the first pressing (1,000 discs) of the independently produced set (available via Festival Records). V. says he's getting great feedback from across the country. The Sidetrack Cafe hosts Johnny V. one night only Saturday (three sets from 9:30 p.m. for a $6 cover) with bassist Bill Eaglesham, drummer Don Johnson (both figure on the album), Kelly Jay (formerly of Crowbar) on keyboards, Dave Foley on trumpet and John Reid on sax.
Clearly V.'s talent has matured. He feels he's found a stylistic balance between the blues roots he got as a kid and the rock influences that captured his attention via Jimi Hendrix. "I have a full plate of styles that I can call upon to make it happen but still sound like myself. I want my own musical identity. After taking these influences and filling up my trick bag, it's definitely my signature on it and I'm happy about that.''
V.'s longtime band The House Rockers were renowned for their hard-driving sound. Side projects in the trio Triple Threat, recordings with Johnson, Amos Garrett and King Biscuit Boy (Richard Newell), and many tours alongside famous blues names helped build his reputation as one of the country's feistiest players, winning him various awards along the way.
The new album (his first solo project since his 1989 House Rockers set) is a terrific showcase for his multi-faceted electric sound as he takes on a variety of rockin' blues, shuffles and jump styles. Along with original tunes and covers from the likes of Son Seals and Willie Dixon you'll find an acoustic track too, The Depression Blues, written by V.'s father. Therein lies the story of V.'s musical origins.
He was born in Toronto 42 years ago and grew up hearing the blues greats via his dad's record collection. V.'s father was an avid acoustic guitarist who took his young son to see players like Lonnie Johnson live and gave his son a guitar at age 11. He was busking in Toronto's Cabbagetown soon after and gave his first paid performance at 13. Still, he admits he didn't really get serious about the blues until he moved to Calgary in 1979. That was shortly after his dad passed away -- not before getting his son to promise he would follow music.
The new album is V.'s best proof that he kept his word.
Johnny V. asks only to be accepted
James Muretich, Calgary Herald
June 6, 1995
Johnny V. never wanted to be famous. It's a good thing too, 'cause he ain't.
Johnny V. just "wanted to be accepted by my mentors.'' That's a good thing too, 'cause he is.
He was recently chosen as the best Canadian guitarist by the West Coast Blues Review.
He's also been one busy bee recently.
Aside from being a member of the Juno-nominated acoustic blues group Triple Threat, the Calgary guitarist-vocalist heads his own electric blues-rock trio as well as working as a record producer and session man. He produced and played on an independent blues 'n' soul disc by Calgary drummer-singer Donald Johnson (It Ain't Easy Being Blue) and also performed on the recently released CD -- Urban Blues Re-Newell -- by Canadian blues legend Richard Newell, better known as King Biscuit Boy. "I've had nothing but serious respect for Richard ever since I was a kid,'' says V. about the harmonica-vocalist who first caught people's ears as a member of one of Ronnie Hawkins' bands before that band became Crowbar. "I've known Richard for over 15 years. There are people around who are geniuses. "I don't care what the rest of their problems in life are. They're just geniuses. And Richard is one of them. "You get hanging with this guy and you feel absolutely dwarfed in his presence, by his intensity and knowledge of blues. "I mean, Richard could hear any guitar player in a bar and tell you, oh, that's Freddy King from this album and that song. "He can not only tell you whose style the guy is playing, he can tell you the tune that lick came from.''
Despite that talent, though, Newell was stumped when he first heard Johnny V. He came up to me and said: 'You don't play like anybody,' '' says V. "I spent years learning solos note for note off of records. Learning to play exactly like Freddy King. Exactly like Otis Rush. But then from 1976 on, I worked at developing a style that was in the blues idiom but still didn't sound like anybody. I stopped listening to everybody and started developing my signature. "That was my intention all along, just like how Amos (Garrett) has a defined style,'' says V., referring to another supremely talented southern Alberta blues guitarist. And V. has done that. His playing on King Biscuit Boy's disc literally jumps out at you. It's strong as hell and yet there's a sweet, soulful feel to his solos. Aside from live gigs, there's another Triple Threat project on the horizon and perhaps a solo disc from V. himself. The main thing, though, is to just keep on playing. And that Johnny V. will do, for many, many years. "Basically, I never wanted to be a star, man. I just wanted to be accepted by my mentors. "And I'm getting there.''
Edmonton Sun
Friday, April 12, 1996
Promise to dad fulfilled
Bluesman Johnny V pays tribute to family in new disc
By ROD CAMPBELL
Express Writer
Johnny V's dark eyes sparkle. He's in the middle of a story about a fetish wedding he once played, where the groom was whipped on the altar as a treat. But then he goes on to sing the praises of the Victoria-based magazine Westcoast Blues Review and pays tribute to his good friend Dr. Boogie's uncanny ability to imitate the likes of piano-playing greats Otis Spann and Big Maceo. We're supposed to be talking about Mr. V's superb new album, If My Daddy Could See Me Now. But, then again, Johnny V. Mills has made a career out of being sidetracked. Possibly the premier blues guitarist in the country, he's spent the past 20 years touring from coast to coast with the likes of King Biscuit Boy and Triple Threat, paying scant attention to his solo career. Along the way, though, he won a Juno Award for his contribution to Saturday Night Blues: The Great Canadian Blues Project, but refused to pay the $180 for his award. And he did release the much-praised cassette, Roosters and Hens, which came out in 1989. But there's been nothing from the man himself until now. Well, if the wait has been long, it's certainly been worth it. If My Daddy Could See Me Now spans the blues spectrum in all its Technicolor glory. The disc covers territory as broad as the big beautiful brassy Four Full Seasons of Love to the emotional, back-to-the basics acoustic roots of The Depression Blues - a song written by John's father Stan and sung by Sonny Rhodes.
"My dad died 20 years ago. He's the reason I'm playing. He made me promise on his deathbed, 'You go play. I always wanted to and I couldn't because I had six kids to raise. In his day, musicians were, sort of the lowest form on the planet. He opted to have a day job. So he said, 'Look, you're good, go do it,' " says Johnny. The album artwork includes photos of father and son. Stan first heard the blues as a kid on Manitoulin Island. During Prohibition, rum-runners used the island as a port. And they brought with them the music from the streets of Chicago and Detroit. Stan absorbed all he could and eventually passed it on to his son. Stan died in 1976, and it was only then that Johnny began to take his music seriously.
He has since played in every setting within the blues idiom, hence the diversity of his new album. "I wanted to do a retrospect. Throughout the last 20 years, I've had everything from an eight-piece big band with horns then scaled down to the Triple aspect - the acoustic end." Currently, Johnny V's touring band includes former Crowbar keyboard plunker Kelly Jay, one-time James Keelaghan urban bass man Bill Eaglesham and past disco drummer Don Johnson. Johnson won a Grammy in the late '60s singing the hit Boogie, Oogie, Oogie with the band Taste Of Honey. He met Johnny V in Calgary while drumming for Philip Walker. "Donald Ray's a Grammy winner, man. He's played with Freddie King, Joe Turner, Big Mama Thornton. He's out of Bryant, Texas, originally. He's the real thing."
And off goes Johnny V again.
"If My Daddy Could See Me Now"
Johnny V's Blues Allstars
Festival Records - BYT71391
by Ann Wickstrom
Until I was given this CD to review, I had never heard of Johnny V. Boy am I embarrassed.
"If My Daddy Could See Me Now" quickly opened my ears to the heartfelt music of this wonderful blues cat from Calgary, Alberta, Canada. Originally from Toronto, Johnny V-whose real last name is Mills-moved to Calgary in 1979 and got serious about the blues after growing up listening to his father play acoustic blues guitar and harp. Just before he died in 1976, Johnny V's "Daddy" made him promise that he would follow music, something his father could never really do since he was struggling to raise six children.
If his daddy could see him now, indeed. Mills was a member of an acoustic blues group called Triple Threat and now fronts his own electric blues-rock trio. Two years ago he was chosen as the best Canadian guitarist by West Coast Blues Review. In addition, he works as a session man and record producer. The Allstars are a seven-piece band that includes piano, organ, sax and trumpet. "If My Daddy Could See Me Now" is as much a tender and touching release as it is a smokin' affair. Tunes range from swing (Ruth Brown's As Long As I'm Movin') to slide (the original I Ain't Gonna Dust My Broom Again, an interesting take on the Robert Johnson/Elmore James classic). In addition to five other fine originals and one of his dad's, Depression Blues, Mills throws in a couple of horn-punctuated Son Seals songs (Four Full Seasons of Love and Don't Bother Me) as well as one from Magic Sam (You Belong to Me). My favorite, however, is a spare, guitar-bass-drums-only approach to the blues standard Next Time You See Me. From the sly dusting of the brushes on the snare to the haunting echo in Johnny's guitar, this tune is bad to the bone. Much like Little Junior Parker's version, it couldn't possibly be any slower-or any better.
Johnny V's sound is definitely within the blues realm, yet he doesn't sound entirely like any other blues performers. Vocally, there are shades of Johnny Winter and others whose voices have a lot of miles on them. But for the most part, Johnny V is his own man. Get this CD. It'll warm you up inside!
You can order this CD through:
Festival Distribution Inc.
1351 Grant St.
Vancouver, B.C. CANADA V5L 2X7
Phone: 1-800-633-8282
Born in Toronto, Ontario Johnny V (aka Johnny Mills) may be Canada's best kept blues secret, at least on the US side of the border. Canadians seem to be getting hip to Johnny's swinging style of blues, as he and his band, the Blues Allstars, were named by Westcoast Blues Review as Best Canadian Blues Band of 1995. While Johnny has appeared on a number of releases, such as Amos Garrett's 1992 release, "Third Man In" and King Biscuit Boy's "Urban Blues Re: Newell," this is his first release since a 1989 effort backed by Eddy Clearwater. Dedicated to his father, the late S. J. Mills, who apparently was a fair country blues player in his own right, this disc contains 14 tracks, most of which were penned by either Johnny or his father.
Johnny's style is an eclectic one, leaning toward a swinging west coast sound that reminded me, upon first listen, of Duke Robbilard's latest project, "Duke's Blues." Johnny throws in some country blues as well as some fast pace rockin' numbers to add some spice to the mix. While he does not take a minimalist approach to his music, neither is he an over the top guitar wanger - he simply has a fine sense for what a particular tune calls for and delivers it up. One thing's for certain, whether cutting lose on some Elmore James inspired licks or playing one of his dad's downhome numbers, Johnny is serious about his blues and it comes through loud and clear. Finding this disc may take some effort, but it will be worth it, for its definitely a keeper.
AS LONG AS I'M MOVING / FOUR FULL SEASONS OF LOVE / MAXINE / I AIN'T GONNA DUST MY BROOM AGAIN / DON'T BOTHER ME / WALKIN' BLUES / NEXT TIME YOU SEE ME / 29 WAYS / MISSIN' THE FLU? / WHAT'S UP WITH YOU? / IS THIS THE GAME TO PLAY? / YOU BELONG TO ME / THE DEPRESSION BLUES / MAIL MY LETTER
NY CD Takes
AS LONG AS I'M MOVING: Johnny V opens up the disc with this swinging blues number that is very reminiscent of Texas blues ala T-bone Walker. A big horn sound helps solidify the swing in this cut and Johnny V's guitar playing fits right in. If you liked Duke Robillard's recent outing, "Duke's Blues," this cut should get you up and moving. Johnny is in fine form vocally as well as on the frets.
FOUR FULL SEASONS OF LOVE : Not too many blues players cover Son Seals, but Johnny offers up the first of two covers of Seals' tunes on this disc. This track is perhaps not as impassioned as Son's own, but Johnny adds a nice touch, emphasizing the swinging rhythm and the horns in the arrangement.
MAXINE: This track is a rockin' blues number in the best tradition of the genre. Johnny has a voice well suited to more rockin' material and he uses it well here. As befits the song, Johnny's guitar sound is rock toned and comes fast and furious. The rhythm section, though, carries the show, laying down tough power chords and a solid backbeat. Mike Clark offers up just a taste of wailing saxophone at the end.
I AIN'T GONNA DUST MY BROOM AGAIN: In an interesting take on the Robert Johnson/Elmore James classic, Johnny turns it from a song about leaving a faithless woman into a number about settling down with a good lady. Once more Johnny shows that he is well suited to this rockin' style and he carries off the Elmore James style slide work with great alacrity.
DON'T BOTHER ME: The second of the two Son Seals covers, Johnny again brings his own sensibilities to this cut while retaining the feel of Seals' original. Johnny sings just a tad behind the rhythm, injecting some additional interest in the vocal lines. The horns are the hallmark here, setting the tone and tempo for the track.
WALKIN' BLUES: For his version of Robert Johnson's oft covered classic, Johnny does what Elmore James did to "Dust My Broom." I have heard this tune done far more over the edge then Johnny and unless you're constitutionally predisposed to disliking electric covers of acoustic blues this track is a real grabber. Johnny's slide is razor edged and the cut is propelled along at a "just right" pace! A highlight track for me.
NEXT TIME YOU SEE ME: Johnny changes tempo abruptly with this tune, offering up a slow tempoed version of an old Junior Parker song. This track has a interesting melodic hook in it. Johnny's playing is nicely restrained, again well suited to the material, as are his vocals. A nice choice to include here and a song not too many will be familiar with.
29 WAYS: Willie Dixon's tune gets Johnny's attention for this track. A stripped down number featuring some African rhythms and only vocals to carry the melody. This cut is a nice study in rhythmic techniques.
MISSIN' THE FLU?: Another humorous twist and traditional blues lyrics by Johnny V. This cut has a jumpin' rhythm and a keening slide line. The title comes from the chorus "You miss havin' the flu? That's how I'm missin' you." Another line that is truly a pearl hear is "If your phone ain't ringin' that's fine' that'll be me...at the end of your line."
WHAT'S UP WITH YOU?: Johnny lays down a slow tempoed shuffle number for this track, another original from him. The cut opens up with some more slick slide and then careens off into a kind of California style blues. Some more hot sax work spruces the cut up in the last third.
IS THIS THE GAME TO PLAY?: Blues meets folk on this cut, if that isn't more than a little bit redundant. This cut's melodic and lyrical progression is more "folksy" then blues, but the way Johnny sings and plays it has a lot of blues about it. Just Johnny and acoustic guitar - this is a very mellow tune.
YOU BELONG TO ME: Johnny takes this Magic Sam number and makes it into a electric blues/rock track here. Johnny's guitar has a decided rock tone and his playing definitely puts him in that camp for this number. The horns are a nice touch. Johnny shows that he can do blues of just about any stripe.
THE DEPRESSION BLUES: Johnny performs one of his father's, S. J. Mills, tunes. This is another acoustic number with Johnny on the guitar and Sonny Rhodes holding vocals, and while it may say blues in the title that has more to do with the lyrical content then the form and music. This is more a folk song and Johnny and Sonny perform it quite well. Of note is the acoustic slide playing.
MAIL MY LETTER: This boogie woogie cut closes out the disc. The music is pretty standard boogie fare with the piano provided by a musician credited simply as "Dr. Boogie." Well, boogie he certainly does, and in stand-up fashion. The lyrics are something of a double entendre and Johnny carries the metaphor throughout the song. A rousing way to close out an eye opening disc. Winner of a number of Canadian awards, Johnny V deserves wider attention.