Supersonic Blues Machine: West of Flushing, South of Frisco Review

Supersonic Blues Machine, formed by bassist and vocalist Fabrizio Grossi, and drummer Kenny Aronoff with guitarist Lance Lopez, has just set out on their maiden voyage with their release West Of Flushing South Of Frisco. In addition to the already stellar line up, the release features guest performances by Billy Gibbons, Walter Trout, Warren Haynes, Robben Ford, Eric Gales and Chris Duarte making this super group even “more super.”

If you are familiar with Lance Lopez’s music then you know that this album is all about hard driving southern rock and blues based riffs. The album opens with the southern rock inflected “Miracle Man.” All the Lopez penned tracks are strong but here he shows off his knack for great hooks. In the right hands (or wrong hands depending on your point of view) the hooks are catchy enough to find a home on country radio. But don’t be alarmed. He follows up with the minor key grooving “I Ain’t Falling Again” and from that point on, the album just burns the entire farm to the ground.

The guest artists all put their unique stamp on their perspective tracks. Billy Gibbon’s “Running Whiskey” could be a lost ZZ Top track and “Remedy” with Warren Haynes would sound at home on a Gov’t Mule record. Both Chris Duarte and Eric Gales give empassioned performances. The ballad “Let’s Call It A Day” is a perfect vehicle for the legendary Robben Ford and shows him at this melodic best. He and Lance even do a little harmony work on the intro as well as near the end of the track.

West of Flushing, South of Frisco is a total treat for the those of us who crave great hard driving blues based rock and ear frying guitar playing. The core of Supersonic Blues Machine of Lopez, Grossi, and Aronoff have nothing to prove. They could easly have carried the entire project themselves. The guest stars are just icing on an already very tasty cake.

The Review: 9.5/10

Can’t Miss Tracks

– Miracle Man
– Running Whiskey
– I Ain’t Falling Again
– Nightmares and Dreams
– That’s My Way

The Big Hit

– Remedy

Matt Andersen: Honest Man Review

Honest Man is the latest release from singer songwriter Matt Andersen. In case you haven’t heard of Mr. Andersen; he does over 200 dates a year worldwide and is a European Blues Award winner and a JUNO nominee. Andersen’s soulful baritone is a gorgeous cross between Joe Cocker and Marc Cohn and yet that doesn’t completely do it justice. Andersen’s voice is pure greatness and Honest Man beautifully showcases his talents as a vocalist and a songwriter.

The first single, “Let’s Get Back” has a Pat Green feel and a sweet brass solo that is a nice surprise in this country-ish track. Here Andersen muses about how his country as a nation has changed, but not for the better. On the heartbreaking ballad “I’m Giving In,” Andersen bears his soul about the seduction and allure of surrendering to another. This is one of the highlights of the album and has the potential to be a huge pop hit in the adult contemporary vein.  “Last Surrender” is a great old school R&B slow dance in the vein of Otis Redding.  All ten songs that make up the album explore both the political and personal sides of Matt Andersen. The title track with its tight Memphis groove and perfectly placed bari-sax kicks was inspired by a U.S. political cartoon, while “All The Way” takes a more personal approach as he sings about the decision to fully commit to a relationship.

If you’re looking for serious guitar riffing or rocking gutiar solos then you will need to look elsewhere. Honest Man is about the song. Commissioner Gordon’s (Amy Winehouse, Josh Stone) production and his use of some looped beats brilliantly serves the songs and Andersen’s voice. With songs this well crafted, all any producer has to do is just get out of the way. Honest Man is an album full of transcendent musical moments. The Commissioner’s light handed production approach to Andersen’s songwriting and magical voice might just propel him from indie songwriter to world renowned success.

The Review: 9/10

Can’t Miss Tracks

– All The Way
– Last Surrender
– I’m Giving In
– Honest Man
– Let’s Get Back

The Big Hit

– Let’s Get Back

Jeff Healey: Heal My Soul Review

Heal My Soul is the first album of new material in fifteen years from the late great Jeff Healey.  A  lot of posthumous releases leave me with the impression that there was a good reason why the artist never released this material.  Naturally, I was nervous when I was asked to listen to Heal My Soul and write a review. I have been a Jeff Healey fan since his debut, See The Light. Was I going to have to give a bad review to one of my favorite artists of all time?

With the first blistering guitar strains of the opening track “Daze Of The Night,” I breathed an enormous sigh of relief and it gets better, too.  “Moodswing” keeps us rocking hard with it’s wah-wah soaked riffing and trippy-drippy vocal lines. I started to realize that this is no collection of b-sides and throwaways. The acoustic “Baby Blue” is a gorgeous ballad with harmonies that just bring a smile to your face. “I Misunderstood” shows what Jeff can do with a cleaner “Strat-tone.” Then it’s back to hard driving blues rock riffing with “Please.” There isn’t a bad song or even dull moment in the whole lot. In many ways this is some of Jeff’s best work. Which begs the question, why did it take fifteen years to release?

Heal My Soul was compiled with the participation and full approval of the Jeff Healey Estate to coincide with what would have been Healey’s 50th birthday on March 25th, 2016.  Jeff Healey is remembered as one of the most outstanding guitarists and performers of the past 30 years. This album reignited my passion for Jeff’s music and I found myself digging into his back catalog.  Heal My Soul is much more than just a fitting tribute.  With it’s superb song selection, fiery guitar work and very modern production, this album sounds like Jeff made it yesterday.

The Review: 9.5/10

Can’t Miss Tracks

– Daze of the Night
– Please
– Moodswing
– Baby Blue
– Temptation
– Under A Stone

The Big Hit

– Daze Of The Night

Trevor Sewell: Hollow Review

Hollow is the latest release from blues multi-instrumentalist, Trevor Sewell. On Hollow, Sewell covers vocals, guitars, bass, mandolin, harmonica, and keys.  For the U.K. portion of the record he worked with Trevor Brewis on drums and percussion, Anthony McNally on fiddle and Franky Gibbon on bass and piano. The U.S. portion features Paul Barrere on slide guitar, Linda Chorney and Mia Moravis on backing vocals and Brooke Nickerson as featured vocalist. All the tracks were written, arranged and produced by Trevor Sewell.

The world beat meets, Cajun blues  “Hollow – Pt1”, opens the album. Trevor’s gutsy voice, reminiscent of Chris Rea, gives the entire album an edginess even on mid tempo ballads like the second track, “Shaky Ground.” Here Sewell creates a melancholy atmosphere with a combination of soulful vocals, and wonderfully medolic guitar work.  “What You Say” takes on yet another character with it’s subtle, funk feel. While all the tracks are excellent some of the standouts are the hard driving acoustic shuffle of “Small Change,” the mandolin drenched ballad “As Long As I Can Breathe,” and the Little Feat inspired “So Tired.”  The latter is a horn kicking, gospel back up vocal, slide guitar affair that would have made Lowell George damn proud.

The entire record has a nice eclecticism.  Every song is a little different but Sewell’s voice and solid writing ground the entire project. This is a true feat considering that he uses two completely different band line ups from each side of the Atlantic. Hollow actually took a little time to grow on me, but now I cannot stop listening. It’s the kind of record where you hear something new with each spin.  It’s a rich tapestry of sound and soul from one of the genre’s most talented artists.

The Review: 9/10

Can’t Miss Tracks

– Small Change
– As Long As I Can Breathe
– Hollow Pt1
– Hollow Pt2
– Shaky Ground
– So Tired

The Big Hit

– So Tired

https://soundcloud.com/trevor-sewell/so-tiredgoinhome

Ben Poole: Time Has Come Review

Time Has Come by singer/guitarist Ben Poole is the follow up full length studio release to 2014’s Live At The Royal Albert Hall.  Ben is still a relatively new artist on the blues scene.  With his smooth tone, tenor voice and pop sensibilities, Ben has clear crossover potential. Time Has Come has an official release date of April 1, 2016. Wayne Proctor is credited as the producer and guitarists  Aynsley Lister, Henrik Freischlader and Todd Sharpville are guests.

The album opens with the hard rocking “Lying To Me,”  the most aggressive track on the record and then takes it down a few notches with “I Think I Love You Too Much.” This is a soulful number sporting a nice mid-tempo groove, John Mayer-esque vocals and guitar work right out of the Robben Ford soloing book. Next is the soulful 6/8 ballad, “Longing For A Woman.”  This is a tender piece with some nice organ and piano work.  Ben picks it up a little more on “If You Want To Play With My Heart,” but brings it back down immediately with “Time Might Never Come.” The latter has a solo that is more than just a slight nod to David Gilmour’s iconic solo on “Comfortably Numb.”

“The Question Why” with it’s sweet ’70s southern California vibe, rounds out the album.  With the exception of the opening track, the entire record has a very mellow feel about it. Even the up-tempo “Stay At Mine” with it’s spanky Telecaster work feels like it’s just simmering and not really on full burn.

Time Has Come is a well made record. The songs are solid and Ben has a very nice voice in the pop/soul niche. There is also no deying his guitar cops. The notes seem to pop out of the mix and his phrasing will definitely tickle your ear. If you like some of the more current music from Jonny Lang and John Mayer, then Time Has Come is right up your alley.

The Review: 9/10
Can’t Miss Tracks
– I Think I Love You Too Much
– Time Might Never Come
– Lying To Me
– Longing For A Woman
The Big Hit
– I Think I Love You Too Much

Supersonic Blues Machine: West of Flushing, South of Frisco Review

Supersonic Blues Machine, formed by bassist and vocalist Fabrizio Grossi, and drummer Kenny Aronoff with guitarist Lance Lopez, has just set out on their maiden voyage with their release West Of Flushing South Of Frisco. In addition to the already stellar line up, the release features guest performances by Billy Gibbons, Walter Trout, Warren Haynes, Robben Ford, Eric Gales and Chris Duarte making this super group even “more super.”

If you are familiar with Lance Lopez’s music then you know that this album is all about hard driving southern rock and blues based riffs. The album opens with the southern rock inflected “Miracle Man.” All the Lopez penned tracks are strong but here he shows off his knack for great hooks. In the right hands (or wrong hands depending on your point of view) the hooks are catchy enough to find a home on country radio. But don’t be alarmed. He follows up with the minor key grooving “I Ain’t Falling Again” and from that point on, the album just burns the entire farm to the ground.

The guest artists all put their unique stamp on their perspective tracks. Billy Gibbon’s “Running Whiskey” could be a lost ZZ Top track and “Remedy” with Warren Haynes would sound at home on a Gov’t Mule record. Both Chris Duarte and Eric Gales give empassioned performances. The ballad “Let’s Call It A Day” is a perfect vehicle for the legendary Robben Ford and shows him at this melodic best. He and Lance even do a little harmony work on the intro as well as near the end of the track.

West of Flushing, South of Frisco is a total treat for the those of us who crave great hard driving blues based rock and ear frying guitar playing. The core of Supersonic Blues Machine of Lopez, Grossi, and Aronoff have nothing to prove. They could easly have carried the entire project themselves. The guest stars are just icing on an already very tasty cake.

The Review: 9.5/10

Can’t Miss Tracks

– Miracle Man
– Running Whiskey
– I Ain’t Falling Again
– Nightmares and Dreams
– That’s My Way

The Big Hit

– Remedy

The Family Business: Balls Pricey Review

Balls Pricey is the fourth release from the Madison Wisconsin neo-classic rockers, The Family Business. Over the years the boys have explored different genres from straight up heavy blues riffs on their debut Nightmares and Wildest Dreams, to the more Americana, Band-esque sound from the their last record Forefathers. On Balls Pricey  we find T.F.B. cranking out a mix of straight up rock and roll as well as exploring a few other related genres.

Balls Pricey opens with the hard rocking “The Problem.” The band quickly shifts gears with the R&B grooving “Make My Move” followed by the boogie rock of “You Never Know.”  The entire record is a mini catalog of various feels and grooves and types of songs in the blues rock idiom.  One of my favorites is the 6/8,  psychedelic,  Allman Brothers tinged “Blue.”  This is definitely one of the album highlights. The guys seem to be stretching their muscles a bit and they do quite well no matter what style they put their hands to.  Ambient production, rock and roll attitude, and their love of the blues keeps the record from sounding too eclectic. There is a definite sonic thread that The Familiy Business weaves through out the entire album. While it’s obvious that they can play anything that they want and still sound authentic, great rock and roll is still what they do best. Tracks like” Double Suite,” “Still Alive,” and “Big Red Button” is where they seem most at home.

Singer and guitarist Alex White is a natural blues rock singer with enough bite to convince the even toughest “rock is dead” critic. Lead guitarist Eric Ziegler’s tasteful solos create a powerful double guitar attack with White. T.F.B. meld rock and blues effortlessly. Both White and Ziegler benefit from the formidable rhythm section of Garrett Wartenweiler and Derek Hendrickson who keep Balls Pricey rocking hard from start to finish.

Ball Pricey, no matter what genre The Family Business is working with, has a very live feel.  It’s well produced but not slick. The guitars are warm and fat. The drums are loud and the vocals are ruff and soulful. This is the way that great rock and roll and great blues should always sound.

The Review: 9/10

Can’t Miss Tracks

– The Problem
– Blue
– Still Alive
– The Double Suite

The Big Hit

– Big Red Button

http://familybusinessband.bandcamp.com/album/balls-pricey