Born and Raised in Wilmington, Delaware, Johnny Neel cut his first single at the age of twelve, as Johnny Neel and The Shapes Of Soul. As an adult, the Johnny Neel Band had a strong following up and down the East Coast and released two well-received independent albums. Neel moved to Nashville, the premiere song writing city, in 1984, where he immediately became recognized as an "A" session studio player. Others began to notice Neel’s songwriting talent and decided to take advantage by recording his songs on their albums.

Performing with various bands in area clubs drew the attention of former Nashville resident Dickey Betts, who asked Neel to join his road band, and begin working on Dickey's solo LP for Epic Records. That relationship led to seven cuts on the "Pattern Disruptive" LP including the Top 10 AOR hit, "Rock Bottom." Neel's talented keyboard and harp playing on that album convinced Gregg Allman to ask Neel to tour with his road band.

Neel decided to join the reunited Allman Brothers Band, immersing himself in a successful tour, which led to a number one AOR smash hit during the summer of 1990. Car radios all across America blasted "Good Clean Fun", from the Seven Turns Album, co-written by Neel with Allman and Betts. The chart topping hit provided the reunited Allmans with their highest charting single since "Ramblin' Man" fifteen years prior.

Following that tour, Neel released "Late Night Breakfast", which was recorded at his studio, Straight Up Sound Studio, with the members of his band, "The Last Word", and special guests such as Shane Theriot (The Neville Brothers), Rick Vito (Fleetwood Mac) and Wayne Jackson (The Memphis Horns). This record was released on Neel’s label, Breakin’ Records, which showcased his pleading vocals as well as brilliant piano, B-3 and harp work. During that same period of time the recordings were made, Neel also became a member of Blue Floyd, a premiere jam band with variations on the material of Pink Floyd. In addition to Neel, the band was comprised of Marc Ford (Black Crowes), Matt Abts (Gov't Mule), Berry Oakley, Jr. (OKB Band) and until his recent and unfortunate demise, Allen Woody (Gov't Mule). Neel and Abts then went into the Straight Up Sound Studio and recorded the X2 project which was graciously received by fans and the media.

More recently, some of Neel penned songs have been recorded by Travis Tritt, Montgomery Gentry and Delbert Mc Clinton. Neel is also excited about his latest release on Breakin’ Records titled Gun Metal Blue, which was release in April, 2004. As a man with boundless energy, Neel still manages to juggle studio work, local club gigs, road work and hit song writing, and somehow between the chaos maintains his sanity. “They say that you can’t do it all; Hell, I’m trying to prove ‘em wrong.” - Johnny Neel.

Johnny has a smoking new band called The Criminal Element that is really on the cutting edge. They can improvise better than most bands could ever hope to. This new sound has given Johnny’s always tasteful melodies a driving energy of their own. Johnny Neel and the Criminal Element have just put out their second release in the past year. The band is not slowing down at all. As a matter of fact their creativity is accelerating due to the synergistic effect of all members pushing forward and contributing to the overall sound. The Volume 2 release has expanded on their Volume 1 release with the same fresh music and street-smart lyrics that made "Johnny Neel & Criminal Element" Volume 1 such a break-through recording. This new CD starts off like gangbusters. The melodies are very catchy and the first track’s opening notes sound like a majestic whirlwind keyboard, then suddenly locks down into a tight groove mixed with some crafty sounding lyrics that are reminiscent of John Popper’s Blues Traveler. The story invokes images of a long lost forbidden love.

Track 2 starts off with a fast syncopated beat from drummer Curt Redding that brings back fond memories of Les Claypool during his most funky jams. The chorus of the song has a full sounding texture that hints at a Widespread Panic-type of sound, then slows down and drifts off into a jam band “space” during the break.

Track 3 allows Johnny to add some melodic keys while guitar player Randy Boen shows off his amazing R&B vocal prowess, sounding like a seasoned Al Green or Stevie Wonder.

On cut # 4, Smackin’ Pepper, Johnny brings back some of that hard-driving thump from his earlier masterpiece, Paybacks a B***h. Clocking in at over 10 minutes, and coupled with some rich-sounding keys, this one’s a real cooker!

Track 5 will surely be a crowd favorite at live shows, with its play on words alluding to the pleasures of drinking good whiskey, referred to as My Friend Mikey.

Track 6 is a great instrumental with some awesome keys that hint at Yes or some of the other progressive rock bands from the past like Emerson Lake and Palmer.

The seventh cut, Here Right Now, is my favorite, where Russell Wright contributes a great bass solo and the muted trumpet keyboard effect sounds almost like Charlie Brown’s teacher speaking to the listener.

The final track is an epic masterpiece describing a 24 hour day, it’s sort of a concept medley with some heartfelt vocals by Randy and some cool scatting by Johnny. I also love the way the song changes into a whole new tune, between the waking hours and the dream sleep. The second half of the tune has a Come Rain or Come Shine tease that cuts to your soul, and the megaphone voiceover by Johnny reminds one of McCartney’s Uncle Albert days.

The bonus cut, which has no name, I like to call Neely’s Horror Fest because it sounds like a Rob Zombie film, with its kaleidoscope of SoundBits, lustful imagery and demonic sounding echo voices.

This band has recently hit its stride and reached a new level of playing, and there’s no stopping their combined force. They’re churning them out so fast that I can’t wait to hear Volume 3 (or 4, 5, and 6)!

www.myspace.com/thecriminalelement

Barefoot Reviews
Pete McKernan
Copyright 2008