Voodoo Nation Supersonic Blues Machine

• 1 Money 03:42
• 2 Too Late 03:27
• 3 Coming Thru 05:32
• 4 You And Me 05:50
• 5 Get It Done 03:54
• 6 8 Ball Lucy 05:32
• 7 Devil At The Doorstep 07:58
• 8 Is It All 05:14
• 9 Do It Again 03:15
• 10 I Will Let Go 05:22
• 11 Voodoo Nation 06:58
• 12 All Our Love 04:29
• Total Runtime 01:01:13

Info zu Voodoo Nation

Voodoo Nation ist das dritte Studioalbum von Supersonic Blues Machine und das vierte insgesamt. Das Album beginnt mit dem Track "Money", in dem es um Gier geht. "Die Gier allein ist nicht das Problem, es ist die Gier und der fehlende Respekt für alle anderen", erklärt die Band. An dem 8-minütigen "Devil at the doorstep" ist Eric Gales beteiligt - dessen letztes Album Crown ein #1 Blues Billboard Hit war. Der Song ist eine Studiodarstellung dessen, was passiert, wenn sie live mit Gales spielen.

SSBM betonen die Probleme, mit denen Musiker konfrontiert sind, in "Coming thru" und "Get it done" - letzteres mit dem in Los Angeles lebenden Virtuosen Josh Smith. "Do it again" ist ein weiterer Kracher, der das Thema abrundet und auf dem Ana Popovic zu hören ist, die über "das Glück und den Segen, das zu tun, was man liebt" spricht.

Die junge Harlem-Blues-Sensation King Solomon Hicks übernimmt Gesang und Gitarre bei "You and me", einem Aufruf zu den Waffen. Das Markenzeichen der Band, der gefühlvolle Blues-Sound, ist auf "I will let it go" mit Kirk Fletcher zu hören, und auf dem prächtigen "Is it all" mit dem legendären Joe Louis Walker, bei dem er und Barras ihre Stimmen auf der atemberaubenden Soul-Ballade tauschen. Der Titeltrack greift das Gefühl der allgemeinen Unzufriedenheit in der Gesellschaft auf.

Supersonic Blues Machine reflektieren, wie sie die Welt durch ihre Linse sehen, und nie ist eine Botschaft der Hoffnung weit entfernt, und das Album schließt mit dem inspirierenden Country-Blues "All our love" mit Charlie Starr von Blackberry Smoke.

Das Album beginnt mit dem Track “Money”, in dem es um Gier geht. “Die Gier allein ist nicht das Problem, es ist die Gier und der fehlende Respekt für alle anderen”, erklärt Grossi. An dem 8-minütigen “Devil at the Doorstep” ist Eric Gales beteiligt – dessen letztes Album Crown ein #1 Blues Billboard Hit war und sich in Deutschland zu seinem best verkauftesten Album entwickelte. Mit “Coming Thru” und “Get It Done” – letzteres mit dem in Los Angeles lebenden Virtuosen Josh Smith, unterstreichen SBM die Probleme mit denen Musiker heutzutage konfrontiert sind. “Do It Again” ist ein weiterer Kracher, der das Thema abrundet und bei dem Ana Popovic mitwirkt, und der vom “Glück und Segen, das tun zu können, was man liebt” handelt. Die Harlem-Blues-Sensation King Solomon Hicks übernahm für den Song “You and Me” den Gesang und die Gitarre. Das Markenzeichen der Band, der gefühlvolle Blues-Sound, ist bei “I Will Let It Go” (mit Kirk Fletcher) und bei dem wunderbaren “Is It All” zu hören. Bei der Soul-Ballade wechseln sich Kris Barras und der legendäre Joe Louis Walker am Mikro ab. Der Titeltrack greift das Gefühl der allgemeinen Unzufriedenheit in der Gesellschaft auf. SBM zeigen auf, wie sie die Welt durch ihre Augen sehen. Aber die Hoffnung ist nicht weit, und so schließen sie das Album mit dem inspirierenden Country-Blues “All Our Love” mit Charlie Starr von Blackberry Smoke ab.

Supersonic Blues Machine
Gäste:
King Solomon Hicks,Gitarre (Track 4)
Josh Smith, Gitarre (Track 5)
Sonny Landreth, Gitarre (Track 6)
Eric Gales, Gitarre (Track 7)
Joe Louis Walker, Gitarre (Track 8)
Ana Popovic, Gitarre (Track 9)
Kirk Fletcher, Gitarre (Track 10)
Charlie Starr, Gitarre (Track 12)

Supersonic Blues Machine
Real blues is the music of life experience. It is simple, but contains multitudes - feelings and knowledge accrued over decades. Collectively, the trio of musicians that make up Supersonic Blues Machine (SBM) have experienced more than three typical lifetimes. These world-class musicians have banded together in Supersonic Blues Machine, bonding in their love of this uniquely American genre and motivated by a desire to help its spirit evolve.

Fabrizio Grossi (bass/producer/engineer/wordsmith) worked his artistry in his birthplace - Milan, Italy - before migrating to London, Canada, New York, and currently Los Angeles.

Texan Lance Lopez (guitar/vocals) accrued at least one lifetime of experience before he was out of high school while playing bars in Louisiana and Florida. College came in the form of tours with R&B legend Johnny Taylor and blues masters Lucky Peterson and Bobby Blue Bland.

Kenny Aronoff (drums) has a resume that spans four decades and reads like a “Who’s Who” of roots rock legends, including John Mellencamp, John Fogerty, Eric Clapton, Jack White, Billy Gibbons, B.B. King, Bonnie Raitt, and Dr. John.

Supersonic Blues Machine stems from Fabrizio Grossi’s desire to return to his roots. “The blues is what makes me tick. It is the main ingredient of any successful musical recipe,” he explains. “It is like pasta in Italian food. You can add all the ingredients you like and any sauce, but the pasta is the core of the dish. I’m the chef and blues is my pasta.”

Like a great recipe, Supersonic Blues Machine adds carefully chosen flavorings to its blues stock. “Blues is my passion but my favorite bands have always been eclectic, like the Beatles, Queen, Toto, and Earth, Wind and Fire,” Grossi continues. “I wanted to apply their lessons to Supersonic Blues Machine, and my band mates totally get that.” Aronoff calls it “a blast from the past aimed at the future.” Says Grossi, “You will feel B.B. King’s presence on stage even though we might be wearing space suits.”

Grossi found a magical connection with Kenny Aronoff when the two toured as the rhythm section of Toto guitarist Steve Lukather’s side Jam band “Goodfellas.” The next step came when Lance Lopez contacted Grossi about working on the Texas guitar whiz’s new solo project. While they were recording, Grossi got a call from Billy Gibbons, whom he had met on a Los Angeles session. The ZZ Top guitarist had known Lopez as a young blues prodigy, and strongly suggested Grossi and Lopez join forces. It was the Reverend Billy G’s blessing that helped birth Supersonic Blues Machine, and a stronger imprimatur for a nascent blues-rock project would be hard to find.

The first tune recorded for the Supersonic Blues Machine project was “Running Whiskey,” written by Gibbons, Grossi, and Tal Wilkenfeld. It features Gibbons on guitar and vocals and helped forge the sound of this new blues-rock supergroup. “It had the twist on the blues that infuses all the other songs on the record,” says Grossi.

The guest guitarists on Supersonic Blues Machine’s debut West of Flushing, South of Frisco are not a random selection of famous names, but more like members of an extended family. “I have worked on projects with Warren Haynes [guest and co-writer on ‘Remedy’], and when he tours anywhere near Dallas, he will always have Lance sit in,” Grossi explains. Lopez and Chris Duarte (“That’s My Way”) have been friends for years, and the SBM guitarist grew up with guest Eric Gales (“Nightmares and Dreams”). Walter Trout (“Can’t Take It No More”) is yet another member of this blues fraternity who, despite battling health issues, was anxious to contribute to the project. Finally, Grossi describes Robben Ford (“Let’s Call It a Day”) as the “classiest guy” he knows. “All these people light up the room when they walk in,” he says.

European and North American tours are planned. “It was important for us to do this with people who can eventually join us live on stage when we tour,” says Grossi. “Every night will see different guests appearing. It will be like The Who’s ‘Magic Bus’ tour.”

Supersonic Blues Machine marks a new page in the story of three creative musicians with a history of lending their prodigious talents to others. “Here, the artist is us, no boss to follow or established identities to be maintained,” says Aronoff. “We’re writing our own book, and when you have been blessed and enriched by having collaborated with so many significant artists, your vocabulary gets richer.” Adds Lopez: “We’re mixing all the shades of the blues with our personal sound.”

An anonymous sage once said, “We used to sing because crying didn’t seem to help much.” The blues is not just about experience. It is about creating catharsis to help people through the hard times. “Everyone on this record has fought through their own personal demons,” says Grossi. “This is the redemption record.”

Dieses Album enthält kein Booklet