Five Leaves Left - Nick Drake (1969) - album review

The body of work released by Nick Drake during his lifetime, consisting of three studio albums, is intriguing for so many reasons, not least in that each record has its own distinctive character .  In view of these differences, it is a little awkward to single out "favourites" as such, but I will admit that Five Leaves Left, his 1969 debut release, is the one which I return to most frequently.

There is a stripped down tenor to much of the album, with pleasant and tasteful instrumental and melodic flourishes. It possesses a deceptive depth, whilst also retaining an earthy and uncomplicated quality . The opening number, "Time Has Told Me"  has a simplicity of melody, and lyrical sentiments which are profound but universal, a hallmark of the artist's work. Richard Thompson supplies some nice embellishments on electric guitar.

Drake's voice is to me very natural and comforting, if unusual. Expressive if not exactly mournful, sturdily fragile, and well suited to this genre of music, to the nature of the material being performed. The essence of his acoustic guitar technique is very well captured throughout the record. .

"River Man" is a highly evocative and haunting piece, and the singer's voice is used to good effect to accentuate these traits, almost as a separate instrument in itself. This is one of those tracks which employs strings, and they are judiciously used, although they are a feature of the Drake palette which, I find, occasionally divides opinion in some minds.

"Three Hours" is next, and is another instance of different instruments being utilized to add subtle texture;in this case the double bass and the congas.  Drake's guitar style is nicely showcased on this number, too.  This song is quite lengthy, clocking in at over six minutes, but that is no bad thing. More of a genuine mood piece than what surrounds it?

"Way to Blue" adds some variety, the intense strings evoking a "baroque pop" ambience. People who approach Nick Drake's music anew are often surprised to find things like this in his repertoire, having been led to expect more traditional "singer-songwriter" fare.

"Day Is Done" is the shortest item on the listing, in terms of duration, but for me it is the most impactful and emotionally resonant song on the whole record. More delicate guitar is here, and the tune is richly melodic . A day as a metaphor for life as a whole, or an examination of life as a ongoing cycle?

I am not sure whether "Thoughts of Mary Jane" is about what we are led to expect it to be by the title. I guess that one's interpretation of lyrics can be stretched to accommodate anything. In any event, the recorder part (?) is a clever and enticing addition, and the lyrics are suitably enigmatic and poetic, and the overall effect is quite ethereal.

"Man In A Shed" is on the surface an odd song, whimsical even. I find it amusing, although on closer inspection its themes are not altogether different from the other songs featured here. The sprightly and dextrous piano playing adds much to the mixture, and the melody swings rather nicely.

"Fruit Tree" is for many listeners perhaps the quintessential Nick Drake song, both sonically, and lyrically. The poignancy of the melody and the imagery contained in the words complement each other beautifully. "Saturday Sun" is the perfect closer to the set. The vibraphone could have been incongruous, but in practice it is absolutely ideal. An inspired addition, in keeping with the apparent trend on this album for instruments to be selected on a "horses for courses" basis, according to how they could convey or augment a mood or an atmosphere.

In many places this LP is low-key in tone, almost apologetic, but that is a large part of its charm and quality.  It pleads with the listener to pay attention to the lyrics. When taken on these terms, it is a cerebral, exploratory experience. The subsequent Nick Drake albums are more experimental and even more diverse, but they do not quite embody his vision with the clarity which is found on Five Leaves Left.

In Search Of The Lost Chord - The Moody Blues - album review

It is fair to say that some of the albums from the psychedelic era have not aged well. However, one of the musical artefacts from that time which warrants attention is the the 1968 record "In Search Of The Lost Chord" by The Moody Blues. In some ways, it is the quintessential psychedelic album, and one is left marveling at how far these guys had traveled from their early days as a cuddly "British Invasion" combo.

The main reason why it stands out from many of its contemporaries is the way in which it encompasses both the whimsical "childlike" flavour of British psychedelia and the more "philosophical" school of the genre which existed on the West Coast of America. In addition, there is some truly beautiful, haunting and affecting music on the record...

Yes, this album does sound "dated", in its production values and to some degree the subject matter, but these are no bad things to my ears. It is an absorbing listening experience, a feast for the senses. After the opening vignette "Departure" comes "Ride My See-Saw", arguably the most famous song on the record.  With a driving and energetic core, and its grandiose and dramatic production, this number ideally and compactly sets up the fare which follows.

"Dr. Livingstone, I Presume" is a kind of hybrid song, incorporating two persuasions of psychedelic rock, with its cute verses and more "profound" choruses, both of which essentially explore the same themes. Ray Thomas' lead vocal is most endearing and likeable.As the title of the LP implies, much of the material concerns broad issues of spiritual and personal exploration and development.

Next comes "House Of Four Doors". Musically complex, and featuring some great "door" sound effects.  The nice flourishes on mellotron, harpsichord and flute add vital texture, and the chorus vocals are beautiful if decidedly "sixties". This track, and its shorter "reprise" could be said to constitute the heart of "In Search Of The Lost Chord".

"Legend Of A Mind", a paean to Timothy Leary, is also an important building block in making this album so good, and also serves as a reminder of the importance and input of Ray Thomas to the project. He wrote this song, sang the lead vocals, and performed the haunting flute solo.

Another of the album's best known compositions, "Voices In The Sky", although a good tune, feels a touch lightweight in the context of some of the other items. "The Best Way To Travel" sounds more like other British psychedelia which was around in 1967/68.

The piece de resistance of the album in my opinion is the beguiling "Visions Of Paradise". Melodically seductive, and drenched in the luxuriant flute of Ray Thomas, it is a simple but effective song which for me epitomizes the appeal of the record as a whole. The sitar is a pleasant touch too. A song to lose oneself in....

"The Actor" has some similar virtues and qualities to the song which precedes it, if in less "esoteric" clothing. Some expressive and evocative singing by Justin Hayward, and containing the same order of instrumental finesse which pervades much of the album.

After another brief interlude, "The Word", we find the closing number "Om". An Indian-influenced piece, and dare I say it, much more appealing and convincing than similar things released by certain other British groups of the period. The vocal harmonies are sumptuous, and the "exotic" instruments are employed here again with considerable aplomb.

"In Search Of The Lost Chord" is an enjoyable and absorbing album to listen to. Even people who are not particular fans of The Moody Blues or the psychedelic/progressive music of the era should find it enjoyable, because it is a beautiful and coherent artistic statement, possessing real impact and charm.

Desire - Bob Dylan - album review

Conventional wisdom has it that "Desire" was Bob Dylan's last record before his career entered another creative dip, lasting the best part of two decades. This may indeed be true, but the album merits examination, as one of the most enigmatic and intriguing of the great man's career.

One difficulty which some new listeners may encounter with "Desire" is that of "accessibility". The record is cloaked in an intangible shroud of mystery and vague nebulousness.  It is only when one sees through this cloud that the confidence and substance of the record can be fully savoured.

It is a more eclectic and varied album, lyrically at least, than "Blood On The Tracks", with the songs addressing a range of topics, from social injustice and relationships to travel and spirituality. Amid the diversity, some cohesion is supplied by the violin and the vocals of Emmylou Harris. These elements lend a pleasingly melodic and exotic texture to proceedings. It is surprising to note how little guitar work features here.

The mournful and reflective nature of some of the compositions, and the outward impression of sonic ennui and melancholy, are deceptive. I detect a real freedom about the work here, of a singer-songwriter warming to his task, bolstered by the presence of new collaborators and a sense of liberation from any straitjackets. The songs are perhaps less immediately engaging emotionally, but the subject matter is challenging, provocative and fresh. The songwriting tie-up with Jacques Levy doubtless contributed to the impetus and creative vigour. In places even Dylan's singing exhibits a certain exuberance.

"Hurricane" is the imposing and relentless opener, one of the most notable protest songs ever recorded. Unlike many protest numbers, this one stands up musically in its own right, and the melody and backing also ideally complement the message. If anyone doubted Dylan's capacity to still turn out music of power and relevance in the mid-1970s, this was their answer. Still as potent and resonant almost four decades later.

Serving as the other "bookend" of "Desire" is "Sara", one of  Dylan's most nakedly personal and candid songs, harking back to "Blood On The Tracks" in some ways. The presence at either end of the album of emphatic social commentary and frank confession is proof that all the bases of singer-songwriterdom were comfortably mastered, although Dylan stood, consciously or otherwise, outside any particular movement or "scene" by 1976.

Of the songs in between, "Isis" is to me the most affecting, combining lyrically the flavour of Dylan's mid-60s work with his less cryptic and oblique later style.

If there is a theme to this album, one could argue that it is preoccupied with drifters, outlaws and outcasts, if one also notes the presence of such songs as "One More Cup Of Coffee", "Joey" and "Romance In Durango". Whether this direction was itself a commentary on the times, or on anyone's state of mind, is open to question.

On first listen, "Desire" can seem like some of the jaded and listless American singer-songwriter fare being released circa 1976. However, it has much more vibrancy, focus and depth than that, and stands as possibly Dylan's last truly important record.

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.

Pet Sounds - The Beach Boys - album review

Such an aura surrounds this album that on initial listenings the primary reaction can be one of disappointment or anti-climax. However, this is an album which demands repeated attention before the melodies and messages seep into the psyche. The process took a little while for me. I, like countless millions of others, was raised on the Beach Boys' naive but infectious hits of the earlier years. Undeveloped or immature musical antennae were ill-equipped to discern the musical signposts which pointed the way towards the glories of "Pet Sounds".

As time passes, the thing which occurs more and more to me about "Pet Sounds" is its overall cohesiveness, in musical and spiritual terms. This sets it apart from the Beach Boys' previous output, and that of many other people for that matter. The backing does not sound like it was created using conventional musical instruments, but by some otherworldly implements. This factor, and the conceptual unity of the subject matter, permit the songs to blend together seamlessly and naturally. The only blemish in this happy scenario is "Sloop John B", which comes perilously close to marring the whole effect....

Was this a Brian Wilson solo project in all but name? Well, he had been exerting greater artistic pre-eminence and control for a couple of years prior to these sessions, and it is fair to say that most of the other Beach Boys were almost reduced to cameo roles, Carl Wilson's glorious vocal on "God Only Knows" being one of these. Brian appears to have handled much of the singing on the album himself, and block harmonies are not as abundant as elsewhere in the Beach Boys canon. As had been the trend, top session musicians provided the bulk of the instrumental prowess.  In this respect, the approach was quite uncompromising, although the end result would seem to justify the thoroughness and care lavished on the production.

"Pet Sounds" shines like a beacon because of its distinctive character and sound when set against the other trend-setting and groundbreaking rock and pop releases of that period, including those by the Beatles and Bob Dylan. "Pet Sounds" almost existed in isolation, on the surface not influenced by its immediate contemporaries and "rivals". Conversely, it served as a shock or wake-up call to others, notably Paul McCartney.

It is possible to contend that "Pet Sounds" was an alternative way of viewing what was "going on" in the mid-Sixties, or maybe a slightly different way of interpreting or channeling the spirit of the era. Others had hinted at similar preoccupations, but this was presented as a fully-formed creation.

"Pet Sounds" has the same kind of immersiveness and all-encompassing engagement more normally associated with classical music. It appeals to the senses in a manner more subtle and surreptitious than most "rock" music. For all that, it is still replete with hooks and pop sensibility. In a sense, the voices and instruments are indivisible and indistinguishable from each other, all equally important in setting and expressing the emotions . One greater "mood piece", and a concept album before such a notion was fashionable.

The journey commences with something adhering to the concept, but which is also accessible - "Wouldn't It Be Nice".  The work is anchored and signposted with such gems as "God Only Knows" and "Caroline, No". For me though the tracks which most acutely exemplify the spirit of the album are the eerie instrumental "Let's Go Away for Awhile" and "Dont Talk (Put Your Head On My Shoulder).

Lest anyone form the idea that this is all sentimental candyfloss , there is also much angst and soul-searching in there ("I Just Wasn't Made For These Times", "I Know There's An Answer").  Brian Wilson famously dubbed "Pet Sounds" a "teenage symphony to God", and the record does depict and explore a range of emotions encountered by young people, but not exclusively by young people;the themes are universal.

Even allowing for its mystique and reputation, I imagine that "Pet Sounds" still confuses people when they first hear it, because it is so distinctive. If it wasn't as socially significant as other records of its time, then as an artistic achievement it still stands up today.  In a strange way, it both operates as a monument to its time, and exists outside the strait-jacket of being categorized as "sixties", because of its dreamy and ethereal flavour and its sonic composition. Even the sleeve photograph, which has come in for much ridicule, somehow adds to the effect. By 1966, artists were expected to come up with outlandish or esoteric cover art. On "Pet Sounds", the words and music say all that needs to be said....

Some Girls - The Rolling Stones - album review

Much misty-eyed mythology surrounds the recordings which the Rolling Stones made during the period 1968-72, and indeed those prior to that, and it is commonly asserted that much of the band's existence since then has been spent living off past glories, and that their albums have often been made on auto-pilot. However, the 1978 record "Some Girls" emphatically gives the lie to this view, and stands comparison in its own way with anything in the Stones' catalogue.

There were numerous reasons for this sudden re-invigoration.  Personal problems, creative inertia and a changing musical landscape appeared to be conspiring against the Stones as the Seventies moved towards their conclusion. People were asking whether the Stones were still relevant,and if they had run out of steam artistically.  This tight and zestful set was an resounding response to such misgivings.

Being perceived as having their backs to the wall, the defiance shines through on "Some Girls", as if they were simultaneously putting a metaphorical two fingers up to the world, and revelling in the refuge and escape offered by music. It has often been said that this was the point where Mick Jagger began to stake a claim to de facto leadership of the band, but the sentiments were collective.

The focus, energy and strength of purpose could not present a starker contrast with the relative lethargy and nebulousness of the previous three studio albums. Yes, the emergence of punk and disco did contribute to the album's mood and content, but not to the extent that the Stones simply wrote and recorded "punk and disco songs". They absorbed the ethos and vitality of those two genres, and the consequences revealed themselves naturally within a broadly familiar framework. This is still very much a "Rolling Stones album".

One of the most startling features of "Some Girls" is the dearth of instrumental padding and decoration. Many of the songs are performed at a hefty rate of knots, reflecting perhaps a mixture of anger, frustration and even liberation from the directionless and torpor of the years which went before. The modern Stones sound is taking shape, seen in the guitar interplay and the nature of the riffs.

The resolve possessed by the band is amply displayed on the album's opener, "Miss You". Much has been made of its "disco" leanings, but I would also argue that it is part of the broader trend of rock bands in the Seventies to embrace more rhythmic and funky patterns (Little Feat, Steely Dan). The sleazy electric piano and guitars, and punchy rhythm section, allied with a sneering Jagger vocal, give it its potency

The breathless immediacy which pervades most of "Some Girls" really kicks in on the second number, "When The Whip Comes Down". Freshness in abundance.

The pace is maintained with the cover "Just My Imagination (Running Away with Me)". This is not a straight cover version, and the Stones' rendering shows a strong power pop/new wave sensibility.  It has a spontaneity to it, as if it was being performed at a sound check a few hours prior to a gig. This is not a criticism, and a lack of the over-reach and artifice often associated with cover versions is a joy to behold.

Moving on to the title track, and leaving aside the controversial lyrics, this son typifies the approach and mood on the album. Very bluesy and raw, accentuated by the harmonica and the ragged vocal harmonies. The Stones' "bad boy" image and notoriety was kept flickering by songs like this. The melody is simple and straightforward, but powerfully delivered.

"Lies" is stripped down, frenetic, almost minimalist.  "Meat and potatoes" one could say, but a statement of intent, and far from dull or pretentious. "Respectable" is similar in character, but is marginally more tuneful, and lyrically more decipherable, if not containing much in the way of emotional or psychological depth!

Of all the Stones' excursions into the domain of country music, "Far Away Eyes" is one of the most authentic and sincere, but equally one of the least entertaining or memorable. Some relief is introduced by "Before They Make Me Run", forming the usual Keith-on-lead-vocals slot, with what appear to be semi-autobiographical lyrics.

"Beast of Burden" is one of the most durable of Rolling Stones songs. High quality pop/rock which has stood the test of time. This one contains more intricate guitar work, and a more considered and complex melody. The album closes with "Shattered", another quick and sparse rocker, exhibiting a vaguely 50s flavour, and redolent of some of the New Wave sounds which would appear in the years ahead. A slightly odd choice to conclude the album?

So there we have it, "Some Girls" by the Rolling Stones. No-nonsense rock n roll, packing a considerable punch, and exuding the restless vigour of the those times. After this, the Stones enjoyed a new lease of life, and it was both a symptom and a cause of their continuing strength. Above all, it is an enjoyable and important collection of songs.

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".