A Heartfelt Revolution from Eric Lindell
Grant Britt
Posted On September 5, 2018
Sounds like Delbert McClinton relocated to New Orleans to crank out crusty, second line soul. Eric Lindell gets the Delbert soundalike thing a lot, as well as comparisons to former Black Crowes leader Chris Robinson. But Lindell’s sound has a little something extra, bluesy soul with a street-parade strut. Then there’s his guitar work, surrounding him with intricate licks inspired by his immersion in the works of Albert King as well as Howling Wolf and Buddy Guy.
Originally from San Mateo, California, Lindell soaked up blues in San Francisco and built up a following fronting his own blues band. He drifted to New York before meeting his wife-to-be, who wanted to get back to her family in New Orleans, relocating there in 1999. He released several records on his own Sparco label before debuting on Alligator with 2006’s Change in the Weather.
Back in 2007, just after the release of Change in the Weather and before Low on Cash, Rich in Love came out, Lindell said he wasn’t big on guitar-slinging stuff, but wanted to hear harmonica and B3 and sax as well. But he’s slingin’ it pretty good on this outing, playing his Tele as well as a Gibson ES 335 12-string, and contributing B-3, bass, harp, acoustic guitar and synth. His only other accompanist is percussionist Willie McMains.
Lindell lays out some sound advice on the title cut, trying to live up to what his grandpa taught him: not to speak ill of others. “I may fall short sometime,” Lindell confesses, “But I know I got to do my part / start a revolution in your heart.” Lindell’s style is laid back, but his laconic delivery gets his point across, easing it in and poking it around till it gets your attention.
“Heavy Heart” sounds like Tyrone Davis’ late ’70s mellow soul on “Turn Back Hands of Time” and “Turning Point,” but there’s an added attraction with the second line undercurrent stuttering along underneath. His guitar adds another dimension, tossing in electric country blues breaks that somehow mesh smoothly with his weathered soul vocals.
He’s most country on “Appaloosa,” a strange mix of Waylon Jennings-style guitar leading a second line trail ride on a moonlight jaunt to Bogalusa see his beloved once again.
“Millie Kaye” brings in longtime McClinton keyboardist Kevin McKendree to play piano flourishes on the King Johnson-sounding twangfest.
Lindell’s soulful strut can be found at the crossroads where Louisiana, Mississippi, Texas, and Chicago collide for a devilish run through the countryside that’ll leave you breathless, but still hot to to trot.
