Rock and Roll Doctor - Mark Brend

Little Feat became one of my favourite bands once I had taken the time and trouble to properly listen to their music, in my mid-twenties. However, until recently I had not closely studied the group's history or the stories behind the music. This gap has been remedied to some degree by reading Mark Brend's book Rock and Roll Doctor, which looks primarily at the life of Little Feat's guitarist, vocalist and songwriter Lowell George.

The appeal of Little Feat for me, over and above their infectious quirkiness, was their sheer musicality. There is an intangible and elusive quality which is difficult to pin down, and I have often thought to myself that once somebody has heard Little Feat's music in favourable circumstances, that person is a fan for life.  And much of the pull and allure of Feat was, and is, down to the talent, personality and humour of Lowell George.

Brend's book is perhaps not a definitive biography of either George or the group, but I found it enlightening. Time is taken to document George's musical education, and how some of the things which characterized his conduct during the Little Feat era stemmed in part from those early days.  What emerges for me is a picture of one of the more cerebral, unusual and restless talents in the history of rock music.

The author makes some mild criticisms of the group's eponymous debut LP, and I am in accord with those views, up to a point. Yes, the sound of the album does not have the depth or richness of later efforts, and by some measures Feat remained very much a work in progress at that juncture, looking for a niche and that "sweet spot" which later came to encapsulate the band's unique vitality. However, taken on its own terms that first record exudes a charm and relative innocence which makes it highly enjoyable and affecting.

Throughout the work, Brend displays a good way with words, especially when evaluating the individual albums and their constituent tracks. These commentaries are very well put together, and the dissection of the songs reminded me how the band's finest moments came when fairly conventional ingredients were mixed together to form a vibrant and distinctive product.

I would have liked a little more about Little Feat as a live act, since that was where they gained much of their reputation, especially in their "middle period".  Having said this, the book helped to deepen my understanding of Little Feat's methods and the dynamics within the band. There is some shrewd appraisal of the reason's for Feats difficulties, both in attaining major commercial success and in maintaining harmony and unity.  Brend also exhibits a sound understanding of the legacy of George and Feat.

This is a very readable and well-written exploration, a fine attempt to capture what made George and Feat so special and beloved by so many people, both the fans and journalists. In its portrayal of Lowell George, it paints a picture of a person who had his faults, but who equally was generous in his collaborations, and endlessly musically inquisitive and curious.

The Band - The Band (the second album) - album review

Following on from my blog post about The Band's debut album (Music From Big Pink), I thought I'd take a look at the 1969 follow-up, their self-titled magnum opus.

The Bob Dylan influence is much less overt, and there is virtually no discernible overlap with the folk-rock and/or psychedelic movements.  Robbie Robertson's blossoming songwriting prowess is clear for all to see, and the songs sound much less derivative of particular styles. On this work The Band almost created their own sub-genre from a stew of diverse musical influences. It is a thrilling snapshot of a potent idea more or less fully crystallizing.

This record also feels more philosophically and spiritually "together", although that perception may not hold up to minute scrutiny.  Above all, the key to this album's enduring quality and allure is its sheer " musicality", and it reminds us that passion, soul and ingenuity are at least as important as conventional technical prowess or virtuosity in generating art.

The first number "Across The Great Divide" sets things up perfectly. That opening line ("standing by your window in pain...") invites the listener on an invigorating journey. Those bars encapsulate so much of what makes them a captivating act.

"Rag Mama Rag" illustrates the subtle advance which was made between the first album and this one. I have heard Robbie Robertson say how proud he was of this track, and one can see why. So many elements contribute towards its uniqueness - Rick Danko's violin, Garth Hudson's twinkling piano, the humour of the lyrics and the blending of "unusual" instruments. Intangible magic is the result.

Among the general public, "The Night They Drove Old Dixie Down" is the best known song on this record, and one of the most famous in The Band's oeuvre. A powerful piece of work, with a theme which was probably "unfashionable" for its time. To be frank, I have never truly warmed to it, possibly because I was familiar with it before I discovered, and embraced, the group's wider body of work.

On an LP of this quality it is harsh to speak of "lesser" tracks, but the likes of "Rockin' Chair" and "When You Awake" constitute the glue which holds it together. The former contains some lovely and touching lyrics.  One of the things which set The Band apart from most of their contemporaries was the variety and imagination of the topics which were addressed in the compositions.  The acclaim which was (rightly) accorded to their music sometimes concealed their willingness to tackle dark or uncomfortable themes. As with the "Big Pink" album, the deliciously ragged and earthy harmonies emanating from three distinct voices permeate the piece.

"Up On Cripple Creek" is cut in a similar vein to "Rag Mama Rag", and could be categorized as "country funk", a label which was often assigned to Little Feat, a group which was seemingly heavily influenced by The Band. The groove is irresistible but idiosyncratic.  The clavinet both accentuates the "funkiness" and in a strange way complements it, as it sounds rustic and bucolic as well as rhythmic. The song also highlights the importance of varied keyboard textures in the make-up and vitality of the band's music.

A change of mood is supplied by "Whispering Pines", which also serves as a showcase for Richard Manuel's vocals, such a feature of the first two albums in particular. Fragile, shaky but a gripping listen. Inventive use of keyboards and vocal interplay to engender the requisite atmosphere.

Two of the most impressive and affecting songs appear towards the end of the album. "Jawbone" has received comparatively scant phrase, possibly a result of its musical complexity, but to me it is one of the work's cornerstones. Another vocal tour-de-force from Richard Manuel, expressing and interpreting some strong and incisive lyrics.

"King Harvest (Has Surely Come)" has been rightly revered by the critics. Almost Steinbeckesque in its setting and poetic sentiments, with Manuel once again in inspired form. At first glance, the R&B backing might seem incongruous, but it actually works beautifully. A real high point of The Band's catalogue, and it can be persuasively argued that they never achieved this level again.

How do I sum up "The Band"?  Well, let me just say that if I was being banished to a desert island, and was allowed to take just one album with me, I would almost certainly plump for this one. Its innate musicality, humanity and zest for life still sustain me today, almost two decades since I first heard it. Whenever I listen to it after a period "away" it refreshes my enthusiasm for music in all its forms, and makes me glad to be alive.

Little Feat - the first album - review

It is common to assert that Little Feat's best work centred around the period 1972-74, but their 1971 debut album was a substantial record, featuring, albeit in embryonic or prototype form, some of the hallmarks which would dominate their future endeavours.

On the surface, Little Feat seems a conventional effort, not as experimental, esoteric or eclectic as the group's subsequent recordings, but closer scrutiny reveals a distinct character, if enclosed within a relatively uniform veneer. The background of the musicians (some of whom had inhabited the Zappa/Beefheart arena) blends with the blues rock/country rock backbone to create something endearingly idiosyncratic, refreshing and entertaining.

The sound on this record is more streamlined and ascetic than the later Little Feat releases, and this is partly determined by the line-up of the band at the time, which was a comparatively straightforward four-piece (guitar,piano,bass,drums). The exotica of the later more "funky" style is largely absent here, and this less ambitious foundation is anchored by the proficient piano work of Bill Payne and a solid rhythm section. Lowell George's slide guitar is to the fore on several tracks. The group's acknowledged virtuosity is thereby more concentrated and less diffuse.

It is fair to say that some of the compositions on this album edge more towards the "conservative", in musical terms, but this should not mislead us as to its level of melodic invention, and the quality of the lyrics. Several of the more "mellow" numbers, such as "Brides of Jesus", "Takin' My Time" and "I've Been The One", can almost seem to drift by unnoticed, and real attention is required to appreciate their charms and depths. In that sense, this is a record to really listen to, rather than simply permit its vibes to seep into one's sub-conscious.

The lyrical content and general atmosphere are very varied, from the light-hearted ("Crack In Your Door", "Crazy Captain Gunboat Willie") to the vaguely surreal ("Strawberry Flats", "Hamburger Midnight") , to the poignant ("Truck Stop Girl") to the ethereal.

I'm not sure whether it was intentional, but the running order places two very meaty and energetic rockers up front. This may have been a way of emphasising that for all the diversity of styles and genres, Little Feat remained in essence a bluesy, rootsy rock n roll band. "Snakes With Everything", with its marvellous intro, is an ideal opener, and I can imagine that the members of the Black Crowes may have come across it at some point in their youth!

If there is any one feature of Little Feat which lingers in the psyche it is Bill Payne's superb piano playing, a foretaste of the artistry which would form a large part of the bedrock of the band's appeal and unique pull. His contributions here are almost exclusively on acoustic piano, in contrast to the more varied diet of keyboards (organ, electric piano, synths etc) which featured on the later albums. There is an agility and sprightliness about these parts, and it is a tribute to Payne's abilities that they almost overshadow the presence and guitar/vocal prowess of Lowell George.

If not as infectious, libidinous and irresistibly rhythmic as Little Feat's later releases, their debut LP betrays many of the characteristics which made them so special, and which continue to make them so cherished and fondly remembered. If people do nothing else, they should try at some point in their lives to check out "Crack In Your Door" - hilarious lyrics, beautiful guitar and piano work, and an overall effect which will make one both smile and marvel. An overlooked gem on an album which can justifiably fit the same description....

Sailin' Shoes - Little Feat - album review

Continuing a look at Little Feat's classic 70s albums, we come now to "Sailin' Shoes", released in 1972.

One of the charms of Feat's early work is that the albums have their own distinct character.  "Sailin' Shoes" lacks the clarity and simplicity which characterizes much of the first album, and the sensual suppleness of "Dixie Chicken", and ploughs its own defiantly gritty and bluesy furrow. The band line-up is ostensibly unchanged from "Little Feat", but the sound is warmer and more expansive, with more variety in the keyboard and guitar parts.

The album maintains the trend from its predecessor of embracing an eclectic mixture of lyrical themes, from the amusing, almost cartoonish songs celebrating life's hedonistic pleasures, to more introspective and profound sentiments. This combination was one of the under-estimated factors which contributed towards making Little Feat so unique and compelling. They were capable of evoking a range of emotions. "Sailin' Shoes" is possibly less "easy" and comfortable to listen to than those collections which preceded and followed it, but no worse for that.

Many might contend that the stronger compositions are packed into the first part of the album (what would have constituted Side One on vinyl), but this is a slightly harsh judgement on the closing tracks, which may be less immediately accessible, but which also surrender their hidden depths with repeated listening. Other bands might have mixed up the running order to balance things out, but being conventional and predictable was never the Little Feat way!

So what of some of the more notable tracks in that running order?

"Sailin' Shoes" begins with the vibrant "Easy To Slip", which a few people have likened to Crosby Stills and Nash, presumably on account of the acoustic guitar motif and the prominent organ.  It, however, contains notable Little Feat trademarks, including a subtle Lowell George vocal and that intangible and infectious vibe which pervades so many of their songs.

The less exuberant but equally memorable "Cold Cold Cold" follows, containing some powerful lyrics, and an almost claustrophobic production which perfectly complements and augments the subject matter. "Trouble" is one of those acoustic-oriented ballads which Lowell George was able to summon up with such facility. Lowell always managed to stamp his personality on songs such as this, and make them so much more substantial than they might otherwise have been.

The version of "Willin'" on this album is the definitive one, although this is not to decry the rendition which appeared on the eponymous record from the previous year.  The 1972 edition of the song has a more melodic quality, with various instrumental flourishes added.

"Apolitical Blues" is one of my favourite "minor" Feat numbers. Perhaps poking fun at the the penchant in those days for musicians (even some of their friends and contemporaries) to incorporate political messages in their work, the tongue-in-cheek humour partially overshadows the song's musical qualities, which include some tasty slide guitar, and familiar Bill Payne piano licks in a languid melodic base.

The title track has a deceptively simple tune, but as with so much of Feat's work, it is the "feel" which drags the listener in. The imagery in the words is exotic, euphemistic but hardly impenetrable! The country blues ambience is most agreeable, as is the phrasing in Lowell's idiosyncratic vocal.

As the record draws to a close, we are given hints as to the band's impending direction. "Got No Shadow" has jazzy and rhythmic inclinations which point the way towards the band's more "experimental" music later in the 70s. These features, together with Bill Payne vocal on "Cat Fever" are perhaps indicators that the other members of the band would begin to assume the creative limelight more.

For me, "Sailin' Shoes" is one of those albums which possesses real bite and character, and in some respects it is the most inimitable of all Little Feat's works, the one which most accurately encapsulates their quirky appeal. An enigmatic record, but an excellent one.

Dixie Chicken - Little Feat - album review

Many bands or solo artists reach a sweet spot, never to be repeated, at some point in their career.  Often this is not part of some pre-ordained masterplan, but rather a consequence of cumulative influences and experiences.  One of my favourite groups, Little Feat, arrived at this landmark in 1973 with their superb album "Dixie Chicken". They made great music before then, and made some fine records afterwards, but this remains their most coherent and affecting album.

"Dixie Chicken" marked a departure for Little Feat, both in terms of personnel and musical direction. New emphasis was placed on rhythm, with the recruitment of a new bass player, and the addition of a new percussionist and second guitarist. The first two albums had been primarily blues and country inflected, but the new record saw a partial immersion in more funky New Orleans R&B styles. The generally grittier tones of the eponymous debut and "Sailin' Shoes" were joined, if not totally supplanted, by the smoother, more sensuous charms of "Dixie Chicken".

Having observed this stylistic shift, it must be stressed that the idiosyncratic and quirky approach which made them such an endearing and compelling act still remained, that quality which causes so many people to become lifelong fans as soon as they hear Little Feat once. If anything this phenomenon was accentuated by the increased "funkiness" on display.

Some critics have complained that Little Feat's work became less focused and more self-indulgent from the mid-70s onwards, and it is fair to say that they were walking a thin line on "Dixie Chicken", where the tightness of the playing, the fresh angle and the residual rootsiness of earlier records, formed a very agreeable cocktail.  Did the later records become patchy?  In comparison, possibly yes, although by that time it may be argued that they were more renowned as a stellar concert attraction. There were great recordings post-1973, but they were fewer and less frequent.

Lowell George's penchant for writing amusing and entertaining lyrics was never better exemplified than on "Dixie Chicken", most clearly in evidence on the "Fat Man In The Bathtub" and the title song. The earthy rhythm guitar work of Paul Barrere added a new dimension to the sound, ideally complementing George's familiar chops. The augmented line-up also doubtless aided Feat's rise and rise as a live act, by filling out the sound, and aiding and encouraging improvisation onstage.

The overall sound on this album is very languid and seductive, and even ethereal in places ("Kiss It Off", "Juliette"), with some "swampiness" introduced, often by a combination of keyboards and percussion. The variety and diversity facilitated by the revised line-up of players, and several guests, creates a glossy veneer at times, but the music is never bland or clinical. The trend for such slickness in recording was pronounced in much West Coast rock of the time, but these guys did not lose their soul, at least on this record. They managed to conjure up an appetizing stew by allying their existing strengths to new influences and directions. And fear not, acoustic guitars do not totally disappear!

The centrepiece of the album for many people is the majestic "On Your Way Down", written by Allen Toussaint. Dripping with style, panache and even menace, this is a song with some social commentary, which was unusual for a Little Feat recording. The understated but propulsive rhythm blends with the intertwining guitars, and Bill Payne's atmospheric piano and organ work to create a compelling whole.

When I first heard "Dixie Chicken", it didn't immediately bowl me over. I was at the time very much immersed in my "West Coast" rock phase, and at the time the band's first two albums were more in keeping with my requirements in that respect . It did not take long, however, for my resistance to melt away, and by general consensus this is viewed as their best studio creation. The overall ambience is engrossing but also mildly disconcerting, perhaps subconsciously illustrating the social climate of those times.

Little Feat's music was often irresistible, with a tendency to get under the skin of the listener, in a benevolent way.  They recorded no finer or more rounded example of this than "Dixie Chicken".

Little Feat

People often ask me who my favourite recording artists are.  I usually answer that my tastes are so varied and diverse that it is difficult to single out one in particular.  However, for many years I have reserved a soft spot for Little Feat, more specifically the era (1971-79) when the late, great Lowell George was at the helm.

Analysing the appeal of Little Feat is tricky, and it is a truism that the most worthwhile works of art defy conventional and straightforward analysis.  Suffice to say that once people listen to vintage Little Feat, they invariably become confirmed fans for life.

I gravitated towards Little Feat through my interest in country-rock and folk-rock of the late 1960s and early 1970s.  Little Feat were loosely affiliated with that "movement", although they never really fell into any easy or convenient categories or pigeon-holes.  When properly checking out their music for the first time, I was immediately impressed and attracted by the humour, the technical prowess of the musicians, and the absence of pretension.

Although the style and emphasis of Little Feat's music evolved throughout the 1970s, one can always detect a certain ambience and spirit, which permeates their work of that period.  One of the things which contributed to their uniqueness was the background of the musicians, having feet in both the Frank Zappa/Captain Beefheart camp and the then thriving roots-rock genre.  It has been opined that the resultant quirkiness was one of the things which deprived them of major commercial success, but then again without this amalgam of personae Little Feat would have been just another band.

In the eyes of the casual listener, it is easy to see Little Feat as a vehicle for the talent and charisma of Lowell George, but I would interject that this is an inaccurate summary.  Yes, Lowell's distinctive guitar playing, singing and songwriting was a central plank, but they were so much more than a one-man show.  The other members, and particularly Bill Payne and Richie Hayward, helped to conjure up the irresistible funkiness and groove which characterised Feat in their pomp. The "subsidiary" members contributed more than is commonly appreciated.

Little Feat's first two albums, the eponymous 1971 debut and 1972's Sailin' Shoes, dripped with blues-rock and country influences, all infused with the trademark off-beat humour and general weirdness. Little Feat contains more than a token nod to the psychedelic and California rock idioms, with more introspection and mellowness than would become customary later in the decade.  One of the most telling aspects of the debut LP is the clarity with which Bill Payne's piano work is captured, more so than on future albums.

Lowell George's taste for zany and unusual lyrical themes is exhibited to the full on "Strawberry Flats" and "Crack In Your Door".  Indeed, with its consistent quality and clear production values, Little Feat has a charm all its own, and tends to be unjustly overlooked when Feat's body of work is evaluated.

Sailin' Shoes reveals Little Feat forging ahead, with occasional glimpses of the musical direction in which they would soon move, especially on the tracks which closed the album.  The songwriting also was more focussed and hard-edged, and the sound overall was richer and diverse. However, this would be the last "hurrah" for the original Feat sound.

Changes were instituted for 1973's Dixie Chicken, with the recruitment of a new bass player, and the addition of a second guitarist (Paul Barrere) and a percussionist.  The groundwork was being laid for the new incarnation of Little Feat, which would take them to the end of the 1970s.

Dixie Chicken saw Little Feat encroaching into newer territory, and nurturing a slinkier, more supple and sensuous sound, owing much to funky New Orleans R&B.  The expanded group line-up was clearly created with this deviation in mind.  Despite the changes, the familiar Little Feat humour and approach were still very conspicuous, and if anything the individual proficiency of the players was given greater prominence within the revised framework.

The new sound emitted enormous self-confidence and tasteful restraint, and the track listing of Dixie Chicken features some of the undoubted high points of the band's career, including the title track, "Two Trains", "Fat Man In The Bathtub" and "Roll Um Easy".  The production is quite lush, but this ideally complements the mood of the songs.

With hindsight, it is clear that on Dixie Chicken Little Feat reached their own apogee.  The subsequent four albums contained many gems, such as "Rock n Roll Doctor", "Long Distance Love", and "All That You Dream".  They continued to be a formidable live act, and indeed if anything Lowell George's songwriting became more mature and incisive, but some of the unity and spark had receded.

The gradual eclipse of Lowell George by his bandmates coloured the course of events, with a more keyboard, jazz rock-orientated dynamic taking hold.  Well-crafted, but somehow missing that essential Feat je ne sais quoi.

With Lowell George's death in 1979, an era ended.  However, we are left with the legacy, the music of one of the period's most talented, but hard to define, groups.

The Allman Brothers Band

For the past fifteen years or so, I have been much taken by North American music of a more rootsy nature, the musical sub-genre which appeared in the late 60s, and continued to flourish for part of the following decade. Into this category I placed the late-period Byrds, The Band, Little Feat, Creedence Clearwater Revival and others.

One outfit which had escaped my closer attention was The Allman Brothers Band. Because they were habitually categorized as "Southern Rock", I lazily assumed that they were of the same ilk as Lynyrd Skynyrd and its imitators. Only much later was I resoundingly disabused of this notion...

When I refer to "The Allman Brothers Band" here I am speaking specifically about the period in which Duane Allman was part of the group, prior to his tragic death in 1971. To all intents and purposes, this encompasses the first three studio albums, plus the masterly Live At Fillmore East.

In the early 1970s, there was a surfeit of groups offering a "stew" of various forms of American roots music (Little Feat, Stephen Stills' Manassas to name but two), but the Allman Brothers Band were ahead of the game in several departments. By employing two drummers, they instilled a funkiness and rhythmic depth to their sound, which set them apart from their contemporaries for a while.

The sheer breadth and scope of their influences is also sometimes overlooked.  Although the blues and country appeared to predominate, especially on the first two studio albums, if one listens closely it is easy to detect traces of jazz, Latin and even gospel. Sometimes one or more style was superimposed on top of others within the same song, to startling effect. "Whipping Post" is arguably a case in point.

Another strength of the Allman Brothers Band was the tendency for lengthy and outlandish jams to co-exist happily with more accessible and catchy material.  There were perhaps signs on the studio cuts on Eat A Peach of a shift towards more concise musical statements, but many of the trademarks remained, notably the contrasting guitar sounds of Duane Allman and Dickey Betts.  This, along with the keyboards of Gregg Allman, gave the group's music a texture lacking in that of most of their peers.

Although the original "classic" line-up was in place for a comparatively brief period, its legacy remains formidable.  The track "Stand Back", from Eat A Peach, encapsulates in three-and-a-quarter minutes all that was instantly infectious and compelling about the band, while the various live renditions of "Whipping Post" showcase their penchant for improvisation and extemporisation.


In their sphere, the Allman Brothers Band were unusual in offering a heady brew of gritty immediacy, technical virtuosity and often ethereal soundscapes. They are an essential reference point for anyone tracing the development of rock music in the early Seventies.