Weed, Whites, And Wine

I’m “Willin'” to admit that Little Feat’s “Sailin’ Shoes” just might be my favorite album of all time.

I’ve written elsewhere about the life changing moment I received “Looney Toons And Merrie Melodies” (1970), a Warner’s Loss Leader’s 3 record set I sent away for.
“Strawberry Flats” was the third song on side one, after Faces “Had Me A Real Good Time”, and Black Sabbath’s “Paranoid”, and before Fleetwood Mac’s “Tell me All The Things You Do” from “Kiln House”.
I liked the other songs, and I bought all those albums too, but “Strawberry Flats” stood out. So many ideas packed into a little over 2 minutes.

I didn’t know what a record store was. All I knew was the local Target equivalent. They didn’t have “Little Feat”, so I settled for “Sailin’ Shoes” with it’s bizzarre cover art.
From the chiming opener, “Easy To Slip” I liked it. A lot.

I’ve come to recognize it as a perfect encapsulation of it’s time and place. Southern California in the early ’70’s. I hear elements of Country Rock, CSNY, The Eagles, Flying Burrito Brothers, Warren Zevon, Captain Beefheart, and of course, The Mother’s Of Invention.

I’m on my third vinyl copy and have the cd.

This compilation is a tribute to Lowell George, founder and guiding light. He was a tremendously gifted guitar player, singer, songwriter, producer, and bandleader. It recreates the order I first heard them. “Strawberry Flats” followed by “Sailin’ Shoes” in it’s entirety, and then highlights from “Little Feat” and “Dixie Chicken”.

Lowell George met Bill Payne when he was a member of Frank Zappa’s Mothers of Invention.
Payne auditioned for the Mothers, but didn’t join. They formed Little Feat along with former Mothers bassist Roy Estrada and drummer Richie Hayward from George’s previous band, The Factory. Hayward had also been a member of the Fraternity of Man whose claim to fame was the inclusion of their “Don’t Bogart Me” on the million-selling Easy Rider film soundtrack.
The name Little Feat came from a comment made by Mothers’ drummer Jimmy Carl Black (The Indian of the group) about Lowell’s “little feet”. The spelling of “feat” was an homage to the Beatles.

There are three stories about the genesis of Little Feat.
One has it that George showed Zappa his song “Willin’,” and that Zappa fired him because he was too talented to be a sideman, and he should form his own band.
The second version has Zappa firing him for playing a 15-minute guitar solo with his amplifier off. The third version says he was fired because “Willin'” contains drug references.
On October 18, 1975 at the Auditorium Theater in Rochester New York while introducing the song, George commented that he was asked to leave the band for “writing a song about dope”.

In any version, Zappa was instrumental in getting George and his new band a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. When it came time to record “Willin’,” George had hurt his hand in an accident with a model airplane, so Ry Cooder sat in and played the song’s slide part.
“Willin'” was re-recorded for “Sailin’ Shoes”, this time with guest Burrito “Sneaky Pete” on pedal steel. It’s the the first Little Feat album to feature cover art by Neon Park, the artist responsible for Zappa’s “Weasels Ripped My Flesh” (On which Lowell is a member of The Mothers).

Despite good reviews, lack of success led to the band splitting up, with Estrada leaving to join Captain Beefheart’s Magic Band (And even more lack of success).

In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. Also added was second guitarist Paul Barrere, a friend of Lowell’s from Hollywood High, and percussionist Sam Clayton (brother of session singer Merry Clayton). As a result the band was expanded from a quartet to a sextet.

I was so excited when “Dixie Chicken” came out, until I played it. They had 3 new people in the band and it tilted towards New Orleans, and lite funk, which was not what I was looking for.
However, the title is a classic and “Fat Man In The Bathtub” is one of their finest moments.
I didn’t hate the album.
Then came “Feats Don’t Fail Me Now”. Another Neon Parks cover, and a reworking of two songs from “Sailin” Shoes” played as a medley. Which I now understand was made to better reflect their live shows at the time, for which they were getting quite a reputation, but to my ears was a travesty.
I didn’t buy any more of their albums after that.

George continued to produce the albums, but his songwriting contribution diminished as the group moved into jazz fusion, a style in which he had little interest. In August 1977, Little Feat recorded a live album from gigs at the Rainbow Theatre in London and Lisner Auditorium in Washington, DC. “Waiting for Columbus” is considered by many to be one of the best live albums of all time, despite the fact that significant portions of George’s vocals and slide work were over-dubbed later in the studio. It was released in 1978, by which time it had become apparent that Lowell George’s interest in the band was waning, as was his health.

In an interview with Bill Flanagan (for the book Written in My Soul) conducted eleven days before his death, George made it clear that he felt the demise of Little Feat was due to his having allowed the band to be run democratically, with the result that Payne and, to a lesser extent, Barrere, had a presence as songwriters and in production which was disproportionate to their abilities.

Nowhere on the wikipedia page I reworked for some of this does it mention that Lowell’s drug use was a contributing factor to his abdication of leadership in the band. Or that Zappa fired him for smoking dope.

His only solo album, “Thanks, I’ll Eat It Here” (1979) is mostly covers. I’ve never heard it.

Too bad there isn’t more of this.

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There and Back Again

Going (Down The Road Feeling) Good

Here is a mix of quirky, atmospheric, and mostly upbeat instrumentals for barreling down the highway and enjoying the open road.

And get home safe

http://www34.zippyshare.com/v/99593151/file.html

Number Two

The Playlist


As mentioned in the profile, and other previous posts, the original now that’s what I call bullshit, was thrown together really quickly, but had a great flow and energy. If you make a lot of mix cd’s, then you know some turn out better than others. A good one will stand up to repeated listenings. Some assemble easily and others don’t. Number one was effortless and encouraged me to make another. Number Two had a lot to live up to. It took all week to assemble, with a couple failed prototypes along the way. This time the effort paid off. The result was a lot more variety, and a couple real real sleepers.
Things start off fine with memorable tunes by The Mermen, BRMC, Love Story In Blood Red, but really begin to go places with Ed Harcourt’s “Hanging With The Wrong Crowd”, followed by the aptly titled, “Nightmare”. Duncan Browne is a reminder that being a singer song writer is not alway a bad thing. “Babe Rainbow” is beautifully rendered. Magic Sam’s “Funky G Street” is a hair raising instrumental, Junior Kimbrough is transcendent, and Mattafix provides a conscious multi-culti international take on classic soul with “Big City Life”.

Here’s something I found about Nancy Boy:

Led by the progenies of two ’60s rockers, hippy-dippy Donovan and blue-hatted Monkee Mike Nesmith, pomo new wavers Nancy Boy definitely rebelled against their musical pedigree, emphasizing fashion and style over traditional substance. Model Donovan Leitch and Jason Nesmith threw Bowie, Suede, Duran Duran, and Blur in a blender and served up their self-titled full-length debut in 1996, competing with the post-grunge, Creed-infested landscape of alternative music. With their skinny ties and eyeliner, they didn’t stand a chance.

Anyway this is one of the better mixes, so I thought I’d share it. now that’s what I call bullshit 2 was assembled during the first week of June, 2006. I listened to this the whole summer I spent down in South Jersey as a surf bum.
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The Original artifact

Stone Artifacts

 
 
 
 

Some Girls

Some Girls

Here are a couple outtakes from Beggar’s Banquet. “Pay Your Dues” is “Street Fighting Man” with different words and a different mix. The inaudible violin is by Ric Grech, and extra vocals are by Jim King, and Roger Chapman, members of Family.
“Sweet Lucy” is a Bill Wyman composition recorded in 1968 which turned up on Metamorphosis (1975). I’ve never heard it but I’ve read Bill sings lead and this is obviously Mick.
“Still A Fool” is a 10 minute version of a Muddy Waters song. I’m not surprised it didn’t make it onto one of the best albums by anyone, ever, but it’s worth giving a spin. They manage to maintain the vibe all the way through.
“Memo From Turner” is not probably an outtake, but was recorded the at the same time (March 1968) as “Pay Your Dues”, and comes from the soundtrack to Performance and features Ry Cooder, who Keef apparently didn’t get on with. They may have been trying him out as a possible replacement for Brian Jones. It’s a great tune. It’s great not to buy the whole soundtrack. It’s a cool movie I once watched on a double bill with A Clockwork Orange tripping out of my skull.

Pay Your Dues
Sweet Lucy
Still A Fool
Memo From Turner

Thanks DV for the file.

Thanks DV for the file.