Bassist/producer Fabrizio Grossi has worked with the very best. With credits including Alice Cooper, Joe Bonamassa, Steve Vai, George Clinton, Slash and Paul Stanley (and that really is just the tip of the iceberg), he has the respect of his peers and the public alike. It is Fabrizio, alongside guitarist/singer Lance Lopez and drummer Kenny Aronoff, who sits at the heart of Supersonic Blues machine, a “collaborative extravaganza” (and for once we must take the press release at its word) that features contributions from (deep breath) Billy Gibbons, Warren Haynes, Chris Duarte, Eric Gales, Walter Trout and Robben Ford in a stunning display of blues community solidarity that steals the breath away. ‘West of flushing, south of Frisco’ is the band’s remarkable debut album (released via the ever-impressive Provogue records) and it more than makes good on the promise of its guest list, taking the listener on a tour of the blues that is awash with positivity, life and love.
It says much of the band’s confidence that, with all of the guest spots on show, they choose to open the album with two numbers that are collaborator-free. However, from the moment ‘Miracle man’ swaggers into view, there is no question that the band made the right choice. The guests each bring their own distinctive style, but far better is for the band to introduce themselves first and ‘Miracle man’ is the perfect vehicle with its acoustic strum and gritty vocal giving way to a countrified blues that takes its cue from the likes of Lynerd Skynerd and the blues Brothers. This is blues with heart and soul fully intact and everything from the gospel-infused vocals on the chorus to the hand claps that keep the rhythm swinging, it’s a great start to the album. Next up is ‘I ain’t falling again’, another track that helps the band assert their own distinctive voice before introducing their many guests. A heavy blues number with plenty of attitude in the vein of Cream, shot through with hints of Macy Gray, it sees Kenny laying down a thunderous backdrop upon which Fabrizio and Lance daub their vivid lines with style. The first contribution comes from ZZ Top’s Billy Gibbons (who also helped to kickstart the project, introducing Fasbrizio to Lance), on the track ‘Running whiskey’. A rampant blast of alcohol-fuelled rock ‘n’ blues in the vein of Billy’s mothership, Supersonic Blues Machine nonetheless steer Billy into their own comfort zone, rather than remain in his, and it becomes clear that this is going to be one hell of a celebration. Next up is a slinky blues number named ‘Remedy’ (featuring Warren Haynes). One of those effortlessly good-time tunes, there’s a lightness of touch that sees rich R&B, touches of soul and rock all collide in one joyous celebration of the power of music. Things take a rockier turn with the fast-drivin’ ‘Bone bucket blues’, a brilliant track that digs into the sort of rootsy R&B that Aerosmith used to deliver before the drugs got in the way. Next up, ‘let it be’ is a dreamy track with plenty of soul and some sublime guitar work. Another guest appears on ‘That’s my way’, a track that features featuring Chris Duarte, and it shows the band in fine, fiery form, all gritty vocals, funky bass and grizzled lead. With an organ line that would make John Paul Jones proud, ‘that’s my way’ is simply a great track.
After so exhilarating a ride it’s time to slow things down and there could be few better tunes than the Bobby Bland classic, ‘Ain’t no love (in the heart of the city)’, which is faithfully covered here, the band treating the original with a great deal of respect. Of course you can’t keep a good band down for long, and ‘Nightmares and dreams’ (featuring Eric Gales) explodes into life with some cracking guitar work, not least the blistering solo that sees the song reach a sweaty, explosive conclusion. Another hero appears next with the mighty Walter Trout guesting on the sultry ‘Can’t take it no more’, an atmospheric track awash with echoing guitar, harmonised leads and that indomitable spirit that Walter brings to his own recordings. Cruising on a bruising bass riff, ‘Whiskey Time (running Whiskey’s extended ending)’is a monstrous workout that recalls Gov’t Mule at their most wacked out whilst, in stark contrast, ‘Let’s call it a day’ (featuring Robben Ford) is a beautiful ballad that is awash with a poignancy that is near unbearable. Fortunately, the album ends not with heartbreak, but with the funky shuffle of ‘Watchagonnado’, which draws the album to a close on a bright note.
The name says it all – Supersonic Blues Machine is exactly that, a community-minded celebration of the wonderful power and diversity of the blues. You can’t listen to this album and not feel the love and joy that went into its creation thrill through your veins. It’s one of those rare albums that brightens the day and, remarkably, every guest appearance adds something new to the mix, without there being any sense of ego interfering with the music being made. If you are a fan of the blues, or music in general, then ‘West of Flushing, South of Frisco’ is an album you have to add to your collection. An absolute delight.
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