| | Eric Lindell Change In The Weather CD Eric Lindell Discography of CDs
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Although he was not born in Louisiana, Eric Lindell follows Marc Broussard's career path as a young and soulful guitar-slinging upstart with his heart in the R&B of the '60s and his soul in New Orleans. This pastiche of an album released in 2006 collects and remasters the audio for music that has been previously available on tiny, poorly distributed local imprints. Despite its stitched-together origins, the disc holds together remarkably well as a cohesive statement, primarily due to Lindell's low-key yet impressive talents as singer, songwriter, and bandleader. Latin influences such as the percussion (courtesy of War's Harold Brown) and trumpet on "Sunny Daze," along with a reggae lilt on "It Won't Be Long," "Casanova," and "Two Bit Town," bring Caribbean sunshine to the sound. The opening "Give It Time" recalls Traffic in its "Dear Mr. Fantasy" chords, but the tune -- like many on his Alligator Records debut -- snakes around a soulful, gospel-styled, slow-burning vibe that is best described as rootsy. Lindell is loose and seems like he's having a ball throughout. That enthusiasm bleeds into the album's upbeat approach, especially on such frisky, party-ready tunes as "Feel Like I Do." He brings the horns and female backing vocals for an Otis Redding-inspired "All Alone," one of the many examples where Lindell's relaxed yet convincing vocals carry the song. Like much R&B, there aren't many guitar solos and only the sax takes the lead on most instrumental breaks. But the album connects with hummable songs less concerned with individual talents than with the musicians' contribution to the overall groove. As laid-back and casually inviting as a crisp spring day, Lindell kicks off his career for this blues imprint with an impressive and frothy release that shows he's just starting to reveal the full extent of his talent. ~ Hal Horowitz
Photographer: Paul Natkin.
Personnel: Eric Lindell (vocals, guitar, organ); Randy Dzielak (guitar, dobro); Chris Mule (slide guitar); Greg Izor, Andy J. Forest (harmonica); Jason Mingledorff, Jason Parfait (saxophone); Dave Chachere (trumpet); Adam Theis (trombone); Ivan Neville (Clavinet); Marc Adams, Jerry Plaisance (organ); Harold Brown (drums, percussion); Jake Brown (drums, background vocals); Stanton Moore (drums); Steve Froberg, Delisha Adams, Raychell Richard, Shannon McNally (background vocals).
Audio Mixers: Eric Lindell; Drew Vonderhaar; Wes Fotenot; Mark Bingham; Phil Smith; Roger Tschann.
Down Beat (p.73) - "Lindell props up his beguiling group sound on the foundation of time-tested blues, reggae, soul and r&b..." Dirty Linen (p.91) - "The album's crossover appeal, thanks to a blend of '70s-inspired Stevie Wonder, Pops Staples, Buddy Guy, and Junior Wells is enormous..." Living Blues (p.62) - "[H]is breezy pipes complement the chilled-out, springtime atmosphere of the tunes..." Change In The Weather Music Eric Lindell Change In The Weather Songs Change In The Weather Review
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$16.29 Remember in the late '80s, when Led Zeppelin clones were at a premium (Kingdom Come, Bonham, etc.)? Well, although the Quill isn't as instantly smirk-inducing as some of the aforementioned bands, they definitely have studied their Zeppelin and other '70s-era classic rock records, as evidenced by their 2006 release In Triumph. After all, singer Magnus Ekwall certainly has Robert Plant's "cat in heat" vocals down pat, while guitarist Christian Carlsson has obviously studied Jimmy Page's guitar grandeur. Case in point, "Broken Man" sounds like it's straight off of Whitesnake's Slide It In, while the album-opening "Keep the Circle Whole" would have fit snuggly on the self-titled debut by Badlands. For fans of bands influenced by the mighty Zep, the Quill's fifth full-length release definitely aims to please. But you get the feeling that if In Triumph was released, say, in 1988 or 1989, the group would have challenged the likes of Great White for valuable MTV and radio space. In 2006, however, the album comes off as a bit of an anachronism. ~ Greg Prato
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$14.75 Robert Pollard enjoys writing songs. He likes to record songs. Pollard can't help but write and record songs. These truths are well known to fans and zine readers alike, but what is rarely discussed, and seemingly unlikely for a man who doesn't need any help with songwriting, is his desire to collaborate. Turn to Red, his first team-up with former GBV bassist Chris Slusarenko, is one such work that deserves attention beyond the standard knee-jerk response: "What, he put out another album?" As is the norm for this sort of undertaking, Slusarenko wrote most of the music and sent the tapes to Pollard, who then recorded his vocals. Much of the material wouldn't be out of place on a number of different Pollard endeavors, which is astonishing ...
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