Supersonic Blues Machine - West Of Flushing, South Of Frisco (Album Review)
Thursday, 03 March 2016
Written by Simon Ramsay
When it comes to modern music, there's a lot of smoke and mirrors involved. Auto tune can turn pitchless also rans into singing sensations, backing tapes make dire live acts resemble world beaters and computers can replicate virtually any sound you desire. Thankfully, the chemistry, passion and spontaneity of genuine, interactive musical performances can't be faked, and such creative authenticity is in full force on this stupendous stew of rock, blues, soul and country from one of the hottest new bands around.
Let's rewind to 2012. Texan singer-songwriter and guitarist Lance Lopez hooked up with bassist and producer Fabrizio Grossi to work on some ideas. Realising something special was brewing the pair recruited drummer Kenny Aronoff to complete the core trio of Supersonic Blues Machine and, with the help of some special acquaintances, bring their vision to life.
“I was thinking of all the people we know and thought, how about putting together something like The Who or The Rolling Stones used to do in the early '70s,” Grossi said. “They would put together a record and bring all of their friends on board, I thought that would be cool. Bring back the spirit of camaraderie between musicians.”
Such guest heavy efforts are often uneven affairs due to some musicians phoning in their parts and the overall product lacking focus and cohesion. Grossi and co. swerved those potential pitfalls, wisely choosing collaborators who genuinely cared and bought into their philosophy. Walter Trout, Robben Ford, Eric Gales, Warren Haynes and Chris Quarte all deliver wonderfully synergistic performances, but this album's primary strength is that it avoids the common mistake of relying solely on the star names.
The buoyant groove of Miracle Man, Texas swagger of Bone Bucket Blues and quirky Watchagonnado are guest-free peaches that highlight the trio’s classy ability to construct and execute wonderful compositions. Not to be outdone by his fellow fret wizards Lopez, in particular, delivers a career-best performance with sumptuous soloing and gravelly vocals that give a bluesy rasp to the record's infectious melodies.
Like the Stones' 'Exile on Main Street', this sprawling collection effortlessly marries together genres that hang side by side on the Americana family tree. And by adding similar flavours to each track - lots of female backing vocals, strong hooks, sizzling instrumental flair - there's a stylistic consistency throughout.
From the breezy southern rock of Remedy – where Lopez and Haynes engage in a mouth watering six string dialogue – to the Billy Gibbons-fronted Runnin' Whiskey and streetwise Motown strut of That's My Way, the band's voice and vision shines through from start to finish.
A strong thematic thread also helps glue everything together. Focusing on empowerment, forgiveness, peace, hope and love, there's a redemptive edge to the Beatles flavoured Let It Be and a powerful sense of hard fought rebirth to I Ain't Falling and the demon wrestling of Can't Take It No More, where Trout once again shows that, post transplant, he's in the form of his life.
Life affirming, uplifting and inspiring, 'West Of Flushing, South...' would be most groups’ defining masterpiece. But with Grossi's list of pals including the likes of Joe Bonamassa, Steve Lukather, Glenn Hughes, Slash and Leslie West, its inevitable sequel has the potential to become 'The Godfather Part Two' of the blues-rock world. Maybe machines can make great music after all.
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