Brian Lindsay
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Brian Lindsay


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The best kept secret in music


""If Van Morrison were a cowboy... who knows.""

If he hadn't mentioned Sea Breeze on the first cut with the knowledge of a man that had actually been there, I'd swear Brian Lindsay was from Nashville. And I mean the kind of Nashville of folks like Jim Lauderdale and Lucinda Williams, not those nouveau rednecks that got Bush re-elected. Lindsay's The Crossing seems rooted in Americana but offers slick, almost classic rock riffs and harmonies before you think there's just one side to the man. These are really, really good songs. If Van Morrison were a cowboy... who knows. Just check out "Forever Yours (Marianne)."

--- Frank De Blase
- Rochester City News

""a modern-day Man In Black""

In the title song of Brian Lindsay’s new CD, The Crossing, Brian sings about the unique shoreline and bay area where he lives, using that imagery as a visual background while weaving a story that first pays tribute to the Native Americans who lived in the area centuries before his own youthful glory days, which are then conjured up in a series of memories revealing an un-dying passion for both the area, and everything exhilarating and cherished that has happened there for him. The same intense longing and passion shines through brightly on The Night Is Long, where Brian uses the form of a ‘doo-wop’ ballad as few before him have. He sings a steadily building story of un-requited love in a way that anyone who has walked that troublesome road will both thank him and damn him for bringing their own bittersweet memories so vividly back to life. Right down to the smell of a summer’s night, and the heart-pounding desperation of desire. Yet through all of Brian’s trials, tribulations, and search for the truth, one thing remains perfectly clear: he’s not about to give up any time soon. Some people compare Brian’s work to Springsteen; I feel Brian’s work is more akin to the humility, soul, and wisdom of the Late Johnny Cash. Sort of a modern-day Man In Black, fighting the good fight, searching for the truth that resonates within his own heart. - Geoff Tesch

"The naked honesty of Americana soars..."

Y’know, there’s nothing quite like an artist who is able to hit the sweet spot between rock ‘n’ roll and country-folk. Well, we’ve had Bob Dylan, Neil Young, Bruce Springsteen, Gram Parsons (oh yeah!) – add Brian Lindsay to the list. The naked honesty of Americana soars on the wings of wild, liberating rock with songs like “It’s All About You,” “East Side of the River” and “The Night Is Long.”
Visit Kevin Mathews for tea at


"In the case of The Crossing, the victory is all Brian Lindsay's."

With The Crossing Brian Lindsay has released a remarkable independent record; one that celebrates the heart and spirit of American rock'n'roll. His influences range from Springsteen, Mellencamp, and Petty, to electric Dylan with a dash of Steve Earle thrown in for good measure. Musically, the record features solid performances from Lindsay and a myriad of side musicians, and the production is both crisp and powerful. As with the best artists known for the Americana genre´of music, Lindsay sings from the standpoint of underdogs waging the impossible battle against all odds, yet always convinced victory will be theirs in the end. In the case of The Crossing, the victory is all Brian Lindsay's.

Bruce Pilato
Contributing Editor and writer for
Illinois Entertainer, Mix Magazine
and The Gannett News Service.

- Pilato Entertainment Group

"Lindsay's new CD, The Crossing, is an outstanding collection of Americana-styled songs..."

A couple very talented men recently sent out their impressive new solo efforts, including Brian Lindsay, who you may have seen performing with his longtime group, The Bootleggers at any number of venues around town. Lindsay's new CD, The Crossing, is an outstanding collection of Americana-styled songs, blending a rockin' New Jersey sound (ala Springsteen) with a Midwestern, rootsy flavor (think Mellencamp). Recorded at the superior GFI Studios, Lindsay excels as a master songwriter, crafting melodic and meaningful tracks, all sung with a slight twang, and lots of soulful passion. The first single, "East Side of the River," has already been added to at least nine AAA stations, but my favorite is the musician-makes-good story of "Brave New World (Wide Open)," which finds Lindsay singing with contagious excitement about NYC adventures (reminiscent of the Boss' "Rosalita"). Hear for yourself as Lindsay celebrates the release on Saturday, July 30th at the Newport House, with an all-star jam promised!

Michelle Picardo

"This is knocking you to your knees great music. Roots Rock at its finest."

Brian Lindsay's songwriting is unique and his performance on this new release is full of attitude and he presents an unblemished mixture of music. The tracks are full of original guitar licks and the rhythm section is right in the pocket. Here is another significant contribution to the roots rock music industry -

""Brian writes foot-stompin' ,soul-searchin' rock n' roll.""

Whether you call it Americana,singer/songwriter,or jukebox country,there's no denying that this stuff will make you want to catch a freight train out to the prairie.Songs like "Brave New World" and "East side of the River" bask in rural ambition much in the vein of Bruce Springsteen or Bob Seger.We here at Shut Eye dig the stuff... -

"Brian Lindsay's songwriting is second to none...."

Brian Lindsay has been taking the New York music scene by storm over the past few years. His songwriting is second to none and he has a few songs that have been recorded by other artists that are receiving national air play. But what really drives Brian Lindsay is performing his own music, that’s why he has finally decided to record his own CD, “The Crossing”. “The Crossing” is a unique blend of musical genres that produce his unique “Americana” sound. It’s like mixing Bruce Springsteen with the Northern Pikes and adds some jazz and blues influence in it as well. It gives you a feeling like you are in the heart of the USA during the early 20th century where the country’s values and pride were being formed. Songs like the title track, “The Crossing” and “East Side Of The River” showcase more of a country feel than the rest of the record. They are both powerful tracks that could be appreciated if Brian Lindsay ever opened for Bruce Springsteen. These tracks are very well written and showcase Brian’s excellent songwriting. One of my favorite tracks on the record is “Lonesome Train”. It is a throwback to good old rock and roll tracks by artists like the Northern Pikes. This track showcases the energy that Brian puts into his performances. The track is upbeat and has some excellent guitar work on it. The more you listen to it, it almost sounds like a more southern George Thorogood. Another excellent track is the more ballad like “The Night Is Long”. The track has a 1950’s feel to it but still shows Brian’s rock influence. It turns out to be a very good love song that has a timeless feel to it. This song is one that you defiantly cannot miss. If you are in the New York area you should look to see if Brian Lindsay is performing and go see him and support his music. Please go to his website, and check out some clips of his CD and buy it there if you like it.

"Springsteen vibe fuels album."

The Crossing is not quite The River-era Bruce Springsteen; not too many records are. But songs like "East Side of the River" have that sound. And maybe there's a debt to the non-political side of Steve Earle as well.

"I definitely listen to a lot of Springsteen," says Brian Lindsay, who celebrates the release of his album, The Crossing, at 9 p.m. July 30 at the Newport House, 500 Newport Road, Irondequoit. "The Stones, the Who. I'm a classic-rock guy."

The big push to get his songs heard also includes appearances on two local radio shows Sunday, Whole Lotta Shakin' at 3 p.m. on WITR-FM (89.7) and Sunday Night Shakedown at 9 p.m. on WBZA-FM (98.9).

The Crossing sounds ambitious, and it draws on a vast array of local studio studs such as guitarist Don Mancuso and Jimmy Richmond, supplying the Clarence Clemons-style sax on "Forever Yours (Marianne)."

It's also loaded with "a lot of local references,". You'll find Sea Breeze, Keuka Lake, Kings Highway and the Genesee tucked among his lyrics. "I live on Irondequoit Bay," he says, pointing out the convenience of a show at the Newport House. "I can take my boat to the gig."

The Crossing ends on a slightly different note. "American Justice" began as a song about avenging the Sept. 11, 2001, attacks. Over time, it changed. "I didn't want it to be another, 'Let's go over there and freakin' dust somebody' song."

Influenced by Springsteen's own thoughtful response, The Rising, "it became," Lindsay says, "'Let's think more about why people are doing this.'"

- Democrat & Chronicle (Jeff Spevak)

""Luckily, guys like Brian have it in their heart to pursue the truly American art form of Rock’n’Roll, and keep it burning bright""

Brian Lindsay’s solo CD debut – “The Crossing” – is a refreshing release from someone who worked for years to find his own voice among the similarly styled bands of 1990’s Rock’n’Roll. A veteran of three bands that nearly broke through, (“The El Fidels”, “The Dragonflys”, and “The Bootleggers”), he set himself apart from the “Aerosmiths”, “Black Crowes”, and other bands that managed to get airplay in the 1990’s or had their musical roots related to the “Faces” & “Rolling Stones”. Times are tough for everybody now; even strong acts like “Bruce Springsteen” and “R.E.M.” can’t get played very often. Luckily, guys like Brian have it in their heart to pursue the truly American art form of Rock’n’Roll, and keep it burning bright despite what the charts tell us.

The lyrics of the songs are definitely influenced by the traditional Blues and Gospel elements that give them a strong foundation. Words like “believe”, “unconditional love”, “redemption”, and other elements relating to the Soul permeate his lyrics. I am quite amazed how he pieced it together as a complete Rock’n’Roll album, without sounding too “Blues” or overly “Christian”. I don’t like to compare, but it comes close to the feeling I get after hearing mid-period Bruce Springsteen (like the “Darkness On The Edge Of Town” album). There is enough of that “American-styled Rock” feel to give it an edge and keep you dancing. What’s fun about this CD also are the local Rochester, NY references about the “Genesee River” or “Sea Breeze” (just like when Lou Gramm mentioned “Lake Avenue” on the “Dirty White Boy” album). Great harmony vocals throughout support Brian’s voice; which at times can be subtle or commanding in the same tune.

The album was produced by fellow El Fidel Mark Gifford, who also worked with New Math and The Raw Magilly’s (now - The Atomic Swindlers) at G.F.I. Studios.

Here are some notations – song by song:

1. The Crossing – Title track that builds from a subtle harmonica to a strong mid-tempo rocker; it also sets up the “train” theme that is explored in other songs.

2. It’s All About You – It reminds me of Mick Jagger’s urgent sounding solo material or a little bit like “That Smell” by “Lynyrd Skynyrd”. Features Lou Gramm alumni – “Don Mancuso” on lead guitar.

3. East Side Of The River – Very powerful track – the closest to something that Bruce Springsteen would think of. This deserves to be a played single track.

4. Forever Yours (Marianne) – Nice love song with great saxophone and
piano throughout. A “testified” ending.

5. Lonesome Train – Not the “Burnette Trio” song, but nevertheless the
fastest song on the CD with “train-beat” drums, a great lead guitar, &

6. Brave New World (Wide Open) – Another “train” ride with acoustic start & breaks. Formally an older “Bootleggers” song – also features former “Dragonfly” & “Riviera Playboy” lead guitarist “Bob Janneck”.

7. Unconditional – Nice, bluesy guitar with duet toward song’s end with
singer “Caroline Rohlin”. Has a slow waltz rhythm.

8. Begin Again – Strong guitar work courtesy of acoustic artist “Alan
Whitney”. Another older “Bootleggers” song with organ fills.

9. The Night Is Long – A true gem on this record. Very similar to a timeless “Drifters” song or a “Ben E. King” tune. Actually features surviving members of “Danny & The Juniors” who are every bit as good as Elvis’ “Jordanaires”.

10. Last Of The True Believers – A great blues-rocking story of Adam
& Eve and of eventual redemption in music.

11. Talk About Love – Another former “Bootleggers” gem with strong
power chords in the rhythm, and biting lead guitar.

12. American Justice – A song that begins with the visual of gangs & guns
on the streets; and then to the war overseas. Leaves the listener with a
question – whether “American Justice” is right or misguided. An edited
version of this song would be a great movie or television show theme.
Lead guitar courtesy of “Bob Janneck”.
- Del Rivers 89.7 WITR FM


"The Crossing" on the GFI label(Indie)
Contact:Tony Gross
Copyright 2004 / release date April 2005


Feeling a bit camera shy


Stations currently spinning The Crossing:

Detailed review of The Crossing from Saby Reyes-Kulkarni at

Let’s face it, blending Rock,Soul and Americana is nothing new. Many artists have done it in fresh, exciting ways, and we may even right now be in the middle of one of the greatest creative surges those musical forms have ever seen. But singer/songwriter Brian Lindsay’s debut album, The Crossing, should assure him his rightful place at the table -- crammed as it is already with the innovators and visionaries who precede him.

It may seem hard to believe that an artist can convey sincerity before he’s even uttered a word, but Lindsay accomplishes just that (with the help of producer/arranger Mark Gifford) in the Crossing’s first few seconds, when a harmonica calls out against soaring acoustic guitars in a vibrant, life-like musical backdrop that would have sounded flat, empty and canned had there been an ounce of calculated cynicism in putting it together.

When Lindsay’s voice does come in, he sounds reassuring, warm and profoundly human. Not unlike Neil Young, Lindsay values feeling over perfection, an approach that works wonders. His phrasing is immediately, strikingly distinctive. And, because of his skillful balance of assuredness and vulnerability, emotion prevails in each performance. Earnest lyrics combine with the material to create a mood that remains down-to-earth and accessible until the album concludes.

Nowadays, it seems the music world is littered with half-baked country songs set to macho posturing and flaccid electric guitars trying to sound tough. That stuff may make good, disposable fodder for truck commercials -- and make for a great laugh -- but you’ll recognize the real deal when you hear it all over The Crossing. Lindsay’s back-up cast plays with striding confidence, but they never overplay their hand. This is certainly hard-knuckled rock and roll, but the players -- including Lindsay on acoustic guitar -- forego swagger for heart, a choice which gives the music real power instead of just force.

A far cry from the sanitized radio-friendly attempts at rock coming out of Nashville these days, Lindsay’s work is nonetheless resplendent with savvy arrangements that make The Crossing a rich, textured listen. There’s touches of R&B (the back-up vocals of “It’s All About You”) subdued, Elvis Costello-styled blues rock (the sweet saxophone on “Forever Yours”), doo-wop (the haunting atmosphere of “The Night is Long”), bar-room blues (the slide guitar on “Unconditional”), and other flavors as well.

Lyrically, Lindsay is a classic example of the artist who is able to dig into his own sensitivity and find strength. And he possesses that rare knack for avoiding narcissism and self-pity. He finds his muse in the world around him, so his music resonates with conscience. With a flair that’s often gentle and fleeting but deftly poetic, Lindsay acknowledges tragedy in this country’s past, (the once proud Native American country from “The Crossing”), captures the pain of being disapproved of by a lover’s old man on account of his background (Now your daddy don’t know me/said someday I’ll walk away from “East Side of the River”), and soberly questions violence both nationally and abroad (Now we build weapons/to arm rebels overseas/I’m not sure I want any part of that from “American Justice”).

Mostly, Lindsay takes an admirably straightforward approach to lyrics. But occasionally he makes great use of ambiguity (whispers in the dark/knocking at the door/strangers in the night/voices I ain’t never heard before, a final verse that casts a dark uncertainty on the otherwise devoted tone of “Unconditional”), and even wry irony (I never wanted to be no rock star/there goes the last of the true believers, from “The Last of the True Believers”).

Lindsay embodies the new American values of conscientiousness and social introspection. Americana-rock music is a better place now that he’s around. Once you hear him, you’ll want to ask, “where you been all this time?”

For a full CD contact: