Little Feat, a band synonymous with exceptional American rock & roll, often flew under the radar in terms of mainstream chart success. If your exposure to their music begins and ends with “Dixie Chicken,” you’re in for a treat. Consider this your invitation to delve deeper into their rich catalog and discover a treasure trove of remarkable songs.
For seasoned fans, welcome back! This exploration is also for you, offering a fresh perspective and perhaps sparking some friendly debate – especially when we get to discussing albums like Down on the Farm. There’s room for every level of Little Feat appreciation here.
The story of Little Feat began in 1969, the brainchild of guitarist, singer, and creative force Lowell George, alongside bassist Roy Estrada. Both musicians honed their skills as members of Frank Zappa’s Mothers of Invention. (Lowell George’s musical journey extends even further back, and for a more detailed biography, a quick search on Wikipedia will fill in the blanks.) Regardless of whether Frank Zappa dismissed George for his drug-themed song “Willin'” or, conversely, encouraged him to pursue his solo ambitions recognizing his immense talent, the outcome remains the same: Zappa inadvertently gifted the world with Little Feat.
Lowell George was a truly exceptional and unique musical talent. His natural musicality allowed him to master numerous instruments, and his unconventional, fearless approach infused both his songwriting and guitar playing with an extraordinary quality. It may sound like excessive praise, but Lowell George’s talent was genuinely that remarkable.
Little Feat (1971)
Like many debut albums, Little Feat provides a glimpse into the band’s nascent sound, not fully representative of their later, more diverse style. While Little Feat, under George’s direction, would eventually weave together a rich tapestry of musical genres, their beginnings were firmly rooted in the blues. This isn’t to say their debut is purely blues – tracks like “Brides of Jesus,” with its country and gospel influences, demonstrate early experimentation – but Lowell’s distinctive blues interpretation, characterized by his soulful vocals and gritty slide guitar, undeniably took center stage.
George and Estrada, joined by drummer Richie Hayward and keyboardist Billy Payne – both pivotal figures in the Little Feat saga – created eleven wonderfully raw and unjustly overlooked tracks. Choosing just a couple to highlight is a challenge, but “Hamburger Midnight” and “I’ve Been the One,” a poignant rock & roll elegy for lost dreams, are essential listens. However, that leaves out gems like “Snakes on Everything,” “Strawberry Flats,” and the blues medley, essentially the entire album, which is highly recommended for any fan of early 70s rock.
Despite its quality, the album didn’t achieve commercial success, prompting the band to quickly evolve their sound. While subsequent releases would find greater commercial appeal and explore broader musical territories, one can’t help but wonder what heights this lineup could have reached had they remained focused on their blues foundation.
Then again, expecting Lowell George to stay on any predetermined path was always a long shot.
Sailin’ Shoes (1972)
Sailin’ Shoes represents a partial reinvention, which, given the inherent quality of their debut, was arguably a positive step. The album still delivers a healthy dose of George’s signature blues, exemplified by the opening track “Cold Cold Cold.”
This song, a true classic, encapsulates the essence of Little Feat’s brilliance. Lowell George’s voice was perfectly suited for electric blues, a blend of grit and warmth. His slide guitar playing was exceptionally sharp, and he possessed a remarkable ability to manipulate melody against rhythm. “Cold Cold Cold” is a song that can evoke joy, make you move, and even bring a tear to your eye, all at once. It’s a quintessential example of great Little Feat Songs.
The remainder of the album is equally compelling. While maintaining a blues core, Sailin’ Shoes expands Little Feat’s sonic palette, incorporating elements of pop and country. More upbeat, accessible tracks like “Easy to Slip,” which arguably deserved to be a hit, and a reworked version of “Willin'” emerge alongside uniquely George and Feat creations like the title track and the beautifully melancholic “Trouble”. These songs showcase the band’s growing versatility and songwriting depth.
Despite the album’s artistic merit, commercial success remained elusive, leading to a temporary disbandment. When Little Feat reformed, Roy Estrada had departed and was replaced by Kenny Gradney. The lineup also expanded to include a second guitarist, Paul Barrére, and percussionist Sam Clayton, marking a significant shift in the band’s dynamic.
Dixie Chicken (1973)
Dixie Chicken marks the genesis of what many consider Little Feat’s signature sound: a Southern-infused take on New Orleans rhythm & blues, incorporating elements from their previous explorations. The sound is notably mellower, lacking some of the raw edge of their earlier work, but what they sacrificed in grit, they more than compensated for in nuanced flavor. The album’s title track became their breakthrough hit. “Dixie Chicken” has evolved into a jam band staple during live performances and a recognizable FM radio classic. You’ve likely heard it countless times, a testament to its enduring appeal. It’s one of the most recognizable Little Feat songs.
However, the album’s depth extends far beyond its famous title track. Tracks like George’s “Two Trains” and “Roll Um Easy” exemplify the two sides of Little Feat’s evolving sound, demonstrating Lowell George’s ability to create both infectious grooves and emotionally resonant ballads. While his songwriting remained distinctive, Dixie Chicken signifies a point where his efforts to incorporate more mainstream elements began to yield tangible results, broadening their appeal without compromising their artistic integrity.
Dixie Chicken may not be Little Feat’s most profound album, but it features many of George’s finest compositions. It stands as a quintessential ’70s classic, finally capturing wider attention for the band’s intelligent songwriting and tight musicianship.
Feats Don’t Fail Me Now (1974)
Feats Don’t Fail Me Now is another solid addition to the Little Feat discography, but subtle cracks were beginning to appear. Lowell George’s reduced involvement at this stage inadvertently provided a platform for the exceptional talents of Bill Payne (“Oh Atlanta”) and Paul Barrére (“Skin it Back”). Looking back, however, the album hints at underlying tensions. Whether the friction that ultimately consumed the band stemmed from George’s lifestyle or Payne and Barrére’s growing inclination towards fusion rock is debatable – and perhaps ultimately irrelevant.
Nevertheless, Little Feat, at this juncture, was still a band at the zenith of its powers. Feats Don’t Fail Me Now retains some of Dixie Chicken‘s relaxed charm but injects a renewed energy into their sound, somewhat masking the fact that the album comprises only eight original songs (one being a medley of “Cold Cold Cold” and “Tripe Face Boogie”). Feats Don’t Fail Me Now is also significant as it marks the emergence of the jam band element that Little Feat is still known for today.
Consequently, this album arguably marks a divergence point for Little Feat enthusiasts. Some believe the band remained forever in Lowell George’s shadow, while others argue they were equally, if not more, compelling without his dominant presence.
The Last Record Album (1975)
Up to this point, this overview might seem like a Lowell George tribute, emphasizing his songwriting and playing as Little Feat’s core components and allowing other band members to recede into the background. This is partly intentional – the other members will have their moment to shine – but also reflects a degree of personal admiration for George’s contributions.
This perspective makes it particularly important to acknowledge Lowell George’s shortcomings by the time The Last Record Album was released. Beyond his well-documented personal struggles impacting his music, there was also a shift in the band’s geographic and musical focus. Despite their music’s deep Southern influences, Little Feat remained rooted in Los Angeles throughout the 70s. This was partly due to their increasing demand as session musicians, but it also arguably diluted George’s artistic vision.
In simpler terms, George’s production on The Last Record Album is noticeably weak. While it’s difficult to completely diminish the power of Little Feat, he manages to significantly soften their edge on this record. There are still standout tracks, particularly Barrére and Payne’s “All That You Dream” and George’s “Long Distance Love,” but overall, the performances feel surprisingly uninspired.
The situation wasn’t dire; this isn’t a bad album. In fact, had Little Feat not set such a high standard with their previous work, The Last Record Album would be considered more than satisfactory. However, for a band whose brilliance always resided in that extra spark of originality and energy, it was undeniably a disappointment.
Time Loves a Hero (1977)
Time Loves a Hero, depending on your viewpoint, represents either Lowell George’s final creative flourish with Little Feat or the true emergence of Paul Barrére and Billy Payne as dominant creative forces. Regardless, it’s evident that the band was experiencing significant internal friction. While Time Loves a Hero contains several commendable songs, notably the title track and “Old Folks’ Boogie,” the album’s overall lack of cohesion and focus is concerning, especially considering this was the same band that had revolutionized musical boundaries just a few years prior.
Illustrative of the band’s internal discord is the album’s fourth track, the instrumental “Day at the Dog Races,” clocking in at over six minutes. Even as Lowell George had relinquished some creative control, he still held strong opinions about Little Feat’s musical direction. A particularly vocal opinion was his aversion to the band’s gradual shift towards jazz-rock fusion. Fusion, popular at the time, can be enjoyable when executed well (which is rare). “Day at the Dog Races” is fusion, but not particularly compelling fusion. While the rest of the band embraced it, George likened it to Weather Report, a comparison that rings true. The track isn’t terrible; the musicianship is undeniable. It’s simply boring – a quality previously foreign to Little Feat’s music.
Waiting for Columbus (1978)
Listening to Waiting for Columbus, Little Feat’s iconic live album, you’d never suspect the band was nearing its end, which perhaps explains why it became their best-selling release and a frequent inclusion in “Best Live Albums Ever” discussions among rock music aficionados. It’s a definitive collection of Little Feat songs performed live.
Waiting for Columbus merits all the accolades and sales. It showcases extraordinary levels of musical prowess and interplay, especially considering the band was past its initial peak. Virtually every live rendition surpasses its studio counterpart. While a definitive Little Feat “best-of” compilation may not exist, Waiting for Columbus comprehensively and convincingly captures the Lowell George era, rendering further compilations almost unnecessary. It’s the ultimate testament to Little Feat songs in a live setting.
A band this exceptional should have continued indefinitely, unchanged. Its members deserved platinum success and global recognition. Yet, in many ways, this album marks the culmination of Little Feat’s second chapter.
Enough said. Instead of reading more about it, immerse yourself in the live versions of “Fat Man in the Bathtub,” “Dixie Chicken,” and “Spanish Moon” from Waiting for Columbus. These live Little Feat songs are essential listening.
Down on the Farm (1979)
Some critics might argue that Down on the Farm isn’t Little Feat’s weakest album, suggesting 1991’s Shake Me Up holds that unfortunate distinction. They are mistaken. Down on the Farm represents a low point in the Little Feat song catalog.
Following Time Loves a Hero, the band began working on a follow-up, largely without Lowell George, who was reportedly either struggling with health issues or deeply involved in creating his solo debut (or both). That solo album, Thanks I’ll Eat it Here, preceded the completion of Down on the Farm. George then announced Little Feat’s disbandment, embarked on a tour to support Thanks, and tragically suffered a fatal heart attack on June 29, 1979, following a performance the previous night.
Lowell George, undeniably, was not the best steward of his own immense talent. While he created a wealth of exceptional music, he was capable of even more. He possessed the potential to rebound from his creative dip – Thanks I’ll Eat it Here showed promising signs – and equal or surpass his earlier creative triumphs. For fans of Little Feat’s early work, George’s untimely death feels like a profound loss of potential.
This context makes Down on the Farm, containing his final recordings with the band, a particularly difficult listen. It is a somber conclusion to the Lowell George era of Little Feat songs.
There are few positive aspects to highlight on Down on the Farm. The production is weak, the songs are generally mediocre, and the performances lack the spark one would expect from such a disjointed project. The band completed the album after George’s death, undoubtedly contributing to its fragmented feel. However, even if he had lived, it’s difficult to imagine Down on the Farm being significantly better. With Time Loves a Hero, Little Feat had already moved towards a more mainstream sound, occasionally resembling a Doobie Brothers cover band – and even that might have been preferable to the material on Down on the Farm.
Selecting highlights is challenging, but the title track and “Straight from the Heart” are arguably the most listenable.
This would be a disheartening endpoint to Little Feat’s story. Fortunately, in the next chapter, we’ll explore how, nearly a decade after George’s passing, the band reformed without him and began creating new music. This decision wasn’t universally welcomed, but that’s a discussion for Part Two…
