Johnny Bennett

On paper, opening a record with a gospel-tinged, Elton John-on-speed number with spoken interludes sounds like a very, very bad idea. But Bennett's boyish enthusiasm throughout 'Chance Meeting' somehow carries this energetic tune and just you try not to clap along.

The upbeat vibe spills over into 'Red Light Room', where Bennett's raspy, reedy voice differentiates him from the silky Connick Jrs and Jamie Cullums of this world. Granted, this man can do fairly pleasant piano balladry ('Where We Belong'), but his vocals suit the more gritty funk-blues of 'Exit Sign' far better. His pipes only reach their limit on the EP's closing track 'This Year's Lie', where attempts to call to mind the Red Hot Chili Peppers' BloodSugarSexMagik era on the pre-chorus ask a little too much of his vocal cords.

If you only have time for one track, do give 'Exit Sign' a spin. The marvellous blues licks throughout this song will give you an idea why Bennett has supported bands such as Lynyrd Skynyrd and The Doobie Brothers during his time in Nashville. It might be time for that debut album..
Chris McCague / Tastyfanzine.org
- Tastyfanzine.org

This is one of the best singer/solo jobs I've heard in a while. Talk about a musical guy. He has this total 70s James Taylor vibe going on but has little relation to easy listening other than it's listenable. The guy is classically-trained and probably one of those kids who got a plastic drum kit for Christmas when he was two.
He's a young guy and if his bio is any indication, a comprehensive background in music and its education. Yeah, he's one of those guys who actually studied music classically before finding his path. This EP - I think 5 tracks = an EP - Red Light Room, has a great up beat vibe to it and I'm sure it's been a while since you've heard old-school/70s done right.
It's the kind of record you and your parents could listen. No, not that Rolling Stones crap, but that James Taylor uniqueness. Johnny has the music in him and I'm curious what he has planned next. I'm sure he's busy and this a sideline, labour of love for him, but that doesn't take away from great song writing.

- Lefthip.com

Well, I’ll be dashed! I never know what’s going to be in my mailbox from day to day. I opened this gem—no program notes, shucks!—and could not believe my ears when I played it. Only five songs, folks. But, they were five songs that grabbed me and held on until the last note of “This Year’s Lie” had played. I went to Bennett’s Web site myspace.com/johnnybennett and the first song on the CD, “Chance Meeting,” was playing. The picture on the CD cover just doesn’t do Johnny Bennett justice after seeing him on myspace.com, folks.
This is “not” The Johnny Bennett Band, or The Johnny Bennett Wranglers. This is Johnny Bennett. The group—let’s call it that—is made up of Bennett (vocals/guitar), Trevor Morgan (guitar), Adrian Walther (bass), Richie Peña (drums/programming), and Tim Veazy (piano). Bennett has a rich, full voice that comes across strong and he uses it well without losing control; it’s almost like he could fill an auditorium and sing to the back row without a mike and still have glorious tones. There wasn’t a single warble in his voice. Frankly folks, I was disappointed this CD only had five songs on it. All of them were new to me and I wanted more. I even expected to see a DVD movie play after the last song. This man is good and I don’t know if the producers are timid about showing his talents or just exactly what. But, we definitely need more from this promising singer.
I’m sure he’s had to play in dives and honky tonks and make the rounds of sleazy places, but this singer can go places. I’ve been trying to think of someone to compare his to, but you know what? I can’t think of anyone. He’s not a Garth Brooks, a Brad Paisley, a George Jones, a Kenny Rogers. He’s a Johnny Bennett and that’s good enough for me. I’d love to be sitting in the audience the night he debuts for the Grand Ole Opry. As I said, he can probably sing without a mike and scare up the back row. That’s a powerful singer and that’s what I get when I listen to his CD. I cranked up the volume, I turned it down to a whisper. Every word was clear both ways.
Log on to myspace.com/johnnybennett and listen to his music. You will not be disappointed by the music you hear. In fact, you’re going to walk away from your computer wanting more from this singer. I propose we all write to his production company, False Momentum Songs, and ask them to release more of this man’s wonderful music. Maybe we’re the ones who need to set off an alarm that it’s time to hear more from this man.
George T
- Pop Syndicate

Sounding something like a young Bob Dylan played a bit too fast, Johnny Bennett’s up-front vocals on Red Light Room catch your attention right away. Bennett’s economical compositions leave his five man band little room for messy playing and they’re more than up to the task. Fronting the band on vocals and guitar, Bennett creates a sound reminiscent of the tight, punchy music on John Lennon’s Plastic Ono Band solo album (think of “Remember,” with its percussive piano and driving bass line). The rest of the band is made up of guitar (Trevor Morgan), bass (Adrian Walther), drums and programming (Richie Pena), and Tim Veazey playing some signature rock/pop sounding piano. Thankfully, the production work on this project is crisp and bright, giving each element of these songs a good, solid presence. The final effect is that you get to hear these five men playing their musical roles with a minimum of studio augmentation – working-man’s rock with a pop edge. The piano work in particular, lends real character to the songs: in fact, until I read the credits, I’d assumed (incorrectly) that Bennett was behind the keyboard, since all of the songs are so well-colored by the piano contribution. It’s the refreshingly stripped-down sound of these four songs that makes them immediately ear-catching. Bennett writes lyrics that fit so neatly into his music that they become elements of the whole, and not simply afterthoughts; usually, the songs deal with observations on relationship issues but also take detours to subjects such as creativity and the recording business – at least, that what it sounds like. The lyrics aren’t always linear, in terms of narrative story-telling, but this makes it all more interesting. These are basically five very well-crafted, satisfying songs.

Johnny Bennett’s Red Light Room: tight, punchy, intelligent, well-played pop/rock with all of the fat cut off. Good stuff, good stuff. Bennett’s band has a great basic sound that could definitely yield some interesting projects in the future, and Bennett obviously has an interesting musical head on his shoulders. Open the door, turn on the red light, listen, and enjoy.

Bert Saraco http://www.tollbooth.org/2008/reviews/johnnybennett.html
- Phantom Tollbooth

The background organ from 46Bliss keeps droning for awhile and a lightly handled bass enters the proceedings, then Wham! The narrator says “Thanks for keeping me in the mix.” You’re very welcome. “Then she’s gone.” That’s it. The guitar enters and we’re having a rock and roll party! “It’s like broken dreams.” The drums play just enough to make my feet move, and the occasional stop is great for a giggle as my feet tangle. “I said now come on over here, make up your mind.” I have my mind made up – this is fun, and worth savoring. Shoutouts for This Year’s Lie & Exit Sign (with his best Jagger impression, the narrator says “I’m crashing everything, I can’t believe I’m still alive”).

- EarTaste