[rating=8.00]
When Eric Lindell was first signed to Alligator for whom he made three records, some fell into the trap of conveniently dubbing him a bluesman. That’s only one of the styles this genre-defying artist is adept at, however, as throughout his twenty-year plus recording career he’s touched on soul, country, doo-wop and authentic roots music too. This, his ninth album, continues that legacy. Keep in mind that while Lindell made terrific records for Alligator, the label to which he is returning, he made great self-released records too.
So what’s different this time around? The catchy hooks and NOLA groove, hallmarks of his sound, are gloriously present again. Here though, for the first time, Lindell plays almost every instrument on the album – guitar, harmonica, bass, organ and keyboards. Drums are handled by his friend Willie McMains. The only other credit goes to pianist Kevin McKendree who plays on “Millie Kay.”
He and engineer Ben Mumphrey produced the album at Bogalusa, Louisiana’s famed Studio in the Country. Glean the titles like “Big Horse,” “Kelly Ridge,” “Appaloosa” and others and it’s rather easy to tell that Lindell must live in the country and own horses in his other home in Northern California where he splits time. So, the rural recording setting was appropriate.
These songs are deeply personal, and his irresistible melodies will have you tapping your feet instantly. The music sounds simple, but folks have said that about Van Morrison too until they tried to cover his songs. What makes Lindell especially remarkable here is how he must be hearing the various instruments in his head. The guitar and keyboard parts flow together so seamlessly. Highlights include the rocking “Big Horse,” (perhaps a takeoff on “Big Chief’) featuring terrific wah-wah guitar, rarely ever played this tastefully by any guitarist using that pedal. The breakup song “How Could This Be?” is a co-write with kindred spirit Seth Walker, now also residing in New Orleans. “Pat West,” marked by layered vocals, is about his childhood and long-departed friends. “Kelly Ridge” reaches for similar nostalgia. “Claudette,” about his mom, features his harmonica. The longing love song “Appaloosa” features the guitar work you’d expect from a veteran of many soul bands, yet it has Lindell’s indelible stamp on it.
Most of these songs are in the three-minute range with only two of them exceeding four minutes. Even the ballad tunes are imbued with a funky rhythm. His sound is timeless, and he pulls it off so naturally, never showboating, using his instruments to support the engaging tunes. Lindell is a quadruple talent as songwriter, singer, guitarist, and multi-instrumentalist. His tight, soulful groves just ooze naturally. It’s his undeniable gift.
When not on tour with his own band he plays with Dragon Smoke, the New Orleans supergroup he co-founded that includes Ivan Neville with Galactic’s Robert Mercurio and Stanton Moore. Lindell’s sets at the New Orleans Jazz and Heritage Festival have earned him legendary status. Although that’s already happened, Lindell does plan to tour extensively behind this album now that he’s back with Alligator.
