‘Flying Machine,’ the title track from Bonneville’s second album, ‘Flying Machine’, a follow-up to their well-received self-titled debut, has just been released. Bonneville is a band that has carved out a reputation for its retro-soul, funky R&B sound. Their compilation of work reflects their Southern artistic roots, passion to preserve the music legacy of this era, and tireless effort to reignite the appreciation and celebration of classic soul grooves through their own unique blend of styles.
‘Flying Machine’ was born late one night when guitarist, songwriter, and co-producer Jeff Hayashi went searching for his two-year-old son. “I finally found him hiding behind his curtain, looking up at the moon. I was enamored by how fascinated he was with something we as adults take for granted, and it brought me right back to my childhood, when anything you imagined felt as real as the walls around you,” Hayashi recalls. “I went back to bed, and as I started to fall asleep, the chords, melody, and groove were just there.”
A modern, funky dance groove wrapped in an airy, vibey dreamscape, ‘Flying Machine’ draws on the sounds of Jamiroquai, Cymande, and Stevie Wonder to capture the spirit of a young boy’s limitless imagination. “I wanted to convey the emotion of imagination that children feel when pretending or playing, but from the perspective of an adult who has lost that connection. I mean, a child can turn a cardboard box into a rocket ship, and it’s a real rocket ship—but to most adults, it’s just trash,” Hayashi explains.
At a broader level, ‘Flying Machine’ is also a coming-of-age anthem—a reflection on self-actualization and personal power. As bandmate and lead vocalist Wes McGee puts it, “It’s about how we all can rise higher than who we are and not be constrained by norms or expectations of others.” That theme also shaped his vocal approach: “With the vocals, I wanted it to feel whimsical and dreamy at the top—like a daydream—but then hit hard later to convey the deep need of the character I envisioned, someone wanting more for his life.” McGee adds, “I threw in elements of Stevie Wonder and a little nod to Michael Jackson at the end, because so many of his songs had an aspirational quality.” Through both its lyrics and vocal delivery, the song invites listeners to rediscover the wonder and freedom of childhood imagination, not as an escape, but as a doorway into becoming something more. “I hope listeners will see themselves as the Flying Machine and know they can do anything,” McGee shares.
‘Flying Machine’ steps outside of Bonneville’s retro soul sound into a more retro electronic funk realm, fusing electronic music with live instrumentation. “Production-wise, I’ve always heard a post-disco, pre-house feel in the song. I wanted to incorporate a jazz base with a more pop-like groove and feel,” Hayashi explains. “I wanted electronic elements to support and complement the heavy groove of the organic instrumentation.” McGee was pleased with the sonic evolution in this song. “This was a departure from what we usually do, which is to lean into an older sound. I loved this musical direction,” McGee adds. “The chord structures and the heavy use of MIDI to add sound effects make the song very playful. I think it’ll stand out from the rest of the songs on the album.”
At Muscle Shoals Recording Studios—where this song and others on the album ‘Flying Machine’ were recorded—Producer Starita, known for his work on GRAMMY® Award-winning albums, was excited to collaborate with the legendary session players to create a modern, funky dance track. “The theme and writing style of this song lent itself to a more modern production than I’ve done in the past with Bonneville. We were going for a classic-meets-the-future sort of vibe,” Starita says. “My approach was very focused on getting a solid dance groove that would not only portray the theme of the song, but also blend well with synths and modern production techniques. As a producer, I’ve always loved blending electronic elements with live instrumentation, and this song is a perfect example of that. The theme of a young boy’s limitless imagination flying through space inspired many of the sounds and synths I used, which gives it a futuristic funk vibe that I love. It felt effortless in the end, and we nailed exactly what we were shooting for. When fans listen to this song, I hope they have a feeling of being transported to a funk-filled, faraway planet where anything is possible!”
The creative process of fusing electronic music with live instrumentation was not without its challenges. “When blending electronic elements with a live band, there is a balance that has to be kept between the two,” explains Starita. “My goal is always to make the two blend seamlessly, which can be a challenge.” Co-producer Hayashi agrees: “Though I was excited about the electronic and MIDI elements, we had a massive amount of sonic material in the track and needed to blend it without it getting muddy.” The band also hit a lull in the creative process. “Wes and I were not happy with the original chorus. It needed to be a big chorus, so we reworked it over a year after cutting the original track.” McGee adds: “We sat on the song for three years trying to figure out what we were going to do with the chorus! It wasn’t giving what it needed to give–it was a little too sleepy. When we found the more powerful chorus and the harmonies, we got excited. I’m glad we didn’t rush it this time.”
After listening to ‘Flying Machine,’ Hayashi hopes fans are inspired to stay youthful in their minds. “It’s easy to get bogged down in adulting, but tapping into our innocence and childlike wonder frees us up to be more creative and flexible in all aspects of our lives.”
The full production team on ‘Flying Machine’ include band members – Jeff Hayashi, songwriter, guitar, co-producer; Wes McGee, songwriter, lead vocals; Andy Dixon, bass; Brad Kuhn, keys; Justin Holder, drums; Starita, producer, recording engineer, programmer, synths; Wes Sheffield, recording engineer, mix engineer, mastering engineer. The album was recorded at Fame Studios, Muscle Shoals, AL. Creative direction and photography by Tam Akiko. Released by Starita Records, a division of Starita Music.
About Bonneville
Sometimes an artistic journey is a road back in time, to a place where you’ll find the most genuine version of yourself. If you embrace the wisdom of the past, you may find the purest form of your art. Bonneville duo, Jeff Hayashi and Wes McGee, have both had a lifelong love of music. Each has traveled a bumpy road searching for the truest expression of that love. Their retro-soul, R&B sound embodies that fearless reflection of their artistic roots. Their energetic sound expresses the joy in the discovery.
For Wes, the time machine reveals memories of his father’s well-traveled Gibson 335 guitar, sitting by the door in a weathered case. It was a sacred object to Wes, who stole moments to open the case and strum the strings. He grew up with artists like Journey and Phil Collins; he was emotionally gripped by the sounds. “It helped to sew the tapestry of who I became,” says Wes, “listening to these people and understanding their tones.” At an early age, Wes forged a deep connection to music.
But when his father suffered a debilitating injury, it put distance between Wes and his creative pursuits. “In college, I did what everyone told me to do”, says Wes. He started his career in IT work, but it wouldn’t be long before his true nature emerged. Influenced by a girl, he tried acting and rediscovered creativity. It was a revelation: “I don’t have to be anyone else except who I wanna be,” says Wes. Now his creative pursuits are numerous, including writing and acting. But music is his first love, and Bonneville is the vehicle to revisit those early influences.
When guitarist and songwriter Jeff Hayashi bought a Gibson 335 guitar identical to the one owned by Wes’s father, their collaboration seemed like it was meant to be. Jeff was also captivated by music in his childhood and heavily influenced by his father, a jazz/rock drummer who was his first and only guitar teacher. Having learned the major chords by age 11, Jeff would be self-taught from that point forward. It seems the teacher and the pupil flourished. “Jeff pulls songs, rhythms, and melodies out of the air like nobody I’ve ever seen,” says Wes.
Jeff’s time travel is embodied in his love of rare guitars, evidenced by his purchase of the Gibson. His favorite is a 1957 reissue of Les Paul Black Beauty, a key to the retro southern blues sound that is Bonneville’s acoustic signature. Working with a trained vocalist like Wes gives him new artistic space. “There’s a freedom, like shackles being removed,” says Jeff. “I feel like I can write whatever I want, and Wes can sing it.” Bonneville is for Jeff, as it is for Wes, a return to his past to rediscover his voice. “For the first time in my life,” says Jeff, “I am writing and playing the music that is closest to my soul.”
Bonneville’s journey continues as they experiment with new sounds. But the common thread is a musical legacy. It’s not a strictly retro sound, but it echoes the passions of the previous generation for both men, and recalls the time of hand-crafted, “analogue” music, sung from the soul. It’s a beautifully imperfect sound that makes you want to go along for the ride.
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