My there’s some great Blues out this year, I’m still playing Joe Bonamassa’s new album on heavy rotation and reaching out for something else a bit bluesy and this lands on the turntable. Now you may not be familiar with ‘Supersonic Blues Machine’ as yet but I’m betting you will be soon on the strength of this here release… just read the ‘special guests’ and tell me you’re not intrigued when it lists Billy Gibbons, Walter Trout, Warren Haynes, Robben Ford, Eric Gales, and Chris Duarte…
Main man Lance Lopez of course has history, pedigree and is a damned fine player and teamed up with producer Fabrizio Grossi and drummer Kenny Aronoff it’s a musical delight. ‘Miracle Man’ opens things up nice and low ley before the smooth stomp of ‘I Ain’t Fallin’’ and the ruinous wail of ‘Runnin’ Whiskey’ featuring Billy Gibbons on vocals and guitar. That hard edge is offset almost immediately by the Hammond and sweet refrain of the American-tinged, Warren Haynes sung, ‘Remedy’. It’s a fine start to a great album.
As we progress Barroom rocker ‘Bone Bucket Blues’ adds some grit and wailing harp, whilst ‘Let It Be’ contributes a laid back cool groove before Chris Duarte (a fine Texan Blues guitarist) chips in with the exceptional hard blues of ‘That’s My Way’ which is one of our very favourite tracks here just for the funky take on the genre.
As a fan of the song for years it’s great to hear a new take on ‘Ain’t No Love’ (the Bobby ‘Blue’ Bland number made famous by Whitesnake) which says it all really, it’s a great song and a great interpretation. Dig further in and the Eric Gales (a great Tennessee guitarist) contribution ‘Nightmares and Dream’ is simply breathtaking, great blues with a nice hard rock edge.
Walter Trout too does a killer job on the spellbinding ‘Can’t Take it’ before ‘Whiskey Time’ adds a little more Gibbons magic in an extended run out to ‘Runnin’ Whiskey’ with some nice growls and wails. As a great juxtaposition ‘Let’s Call it a Day’ featuring Robben Ford adds some nice subtlety and lightness of touch in a contemplative blues. Then closer ‘Whatchagonnado’ adds a twist in wondering what Jesus would say about the state of the world today in a suitably funky style. It’s a cool closer.
Throughout the album there’s a cool 70’s vibe both in the compositions themselves which have funk and rock amongst the Blues, but also in touches like the backing vocals, the Mowtownesque stabs, a dab of Americana here and the scent of Southern Rock via the Allmans there: it’s a heady mix and it all goes together to make one of the albums of the year, and one of the most solid Blues debuts I’ve ever heard.
