Dixie Chicken - Little Feat
Despite long being the darling of both critics and other musicians, the Lowell George-fronted Little Feat remain one of the most underrated bands to emerge from the 1970s. George, supposedly encouraged to start his own band after a stint in the Mothers of Invention due to his composition “Willin’,” formed the band with keyboardist Billy Payne, bassist Roy Estrada and drummer Richie Hayward in 1970 and released their eponymous debut in 1971. Along with their sophomore effort, “Sailin’ Shoes,” the band was off to a fantastic start, receiving universal acclaim through classic songs such as the aforementioned “Willin’,” “Strawberry Flats,” “Easy to Slip,” “Sailin’ Shoes,” and “Cold, Cold, Cold/Tripe Face Boogie.” Both albums are worthy of your time and should be considered essential.
But change was in the air, and with Estrada departing for Captain Beefheart, the band was enhanced by the additions of Kenny Gradney to replace him along with another excellent guitarist in Paul Barrere and percussionist Sam Clayton (brother of singer Merry Clayton, best known as the female vocalist on the Stones’ classic “Gimme Shelter.”) These additions, coupled with George’s interest in New Orleans music resulted in the band’s signature sound, song and album, the wonderful “Dixie Chicken.”
Simply put, if you don’t have “Dixie Chicken” and you don’t have it in your regular listening rotation, you are robbing yourself of an incredible set of songs played with superb ability and sly groove. Along with the distinct Big Easy flavor, the record oozes with gospel overtones, humor, stellar playing and sheer joy.
[As a side note and following Lowell George’s death, when Little Feat reformed in 1988 with the same lineup, augmented by Fred Tackett on guitar, who often played with them anyway, and with Pure Prairie League’s Craig Fuller in place as a vocalist, they picked up right where they left off. Certainly I understand those who feel it isn’t really Little Feat without Lowell George, but the three albums this reformed lineup did (“Let it Roll,” “Representing the Mambo,” and to a lesser extent, “Shake Me Up,”) are really good and contain many excellent songs in the Little Feat spirit, and I was pleased to have that version of the band in my formative high school years. It was only following Fuller’s departure that my interest began to wane, though there are some solid tunes on 1995’s “Ain’t Had Enough Fun.” It was the 2010 death of Hayward however, the real driving force behind the band’s sound, that truly marked the end of a functioning Little Feat, though remaining members continue to play from time to time.]
But change was in the air, and with Estrada departing for Captain Beefheart, the band was enhanced by the additions of Kenny Gradney to replace him along with another excellent guitarist in Paul Barrere and percussionist Sam Clayton (brother of singer Merry Clayton, best known as the female vocalist on the Stones’ classic “Gimme Shelter.”) These additions, coupled with George’s interest in New Orleans music resulted in the band’s signature sound, song and album, the wonderful “Dixie Chicken.”
Simply put, if you don’t have “Dixie Chicken” and you don’t have it in your regular listening rotation, you are robbing yourself of an incredible set of songs played with superb ability and sly groove. Along with the distinct Big Easy flavor, the record oozes with gospel overtones, humor, stellar playing and sheer joy.
[As a side note and following Lowell George’s death, when Little Feat reformed in 1988 with the same lineup, augmented by Fred Tackett on guitar, who often played with them anyway, and with Pure Prairie League’s Craig Fuller in place as a vocalist, they picked up right where they left off. Certainly I understand those who feel it isn’t really Little Feat without Lowell George, but the three albums this reformed lineup did (“Let it Roll,” “Representing the Mambo,” and to a lesser extent, “Shake Me Up,”) are really good and contain many excellent songs in the Little Feat spirit, and I was pleased to have that version of the band in my formative high school years. It was only following Fuller’s departure that my interest began to wane, though there are some solid tunes on 1995’s “Ain’t Had Enough Fun.” It was the 2010 death of Hayward however, the real driving force behind the band’s sound, that truly marked the end of a functioning Little Feat, though remaining members continue to play from time to time.]
To truly get a feel for what the band was all about in its heyday, look no further than this 1973 release. Things kick off with a swampy groove on the classic “Dixie Chicken.” A story-song about a girl who gets around as told by a clueless narrator who blows everything he has to keep her, only to end up in a bar with a bunch of other guys who failed just as miserably, it is funny and funky and virtually impossible not to sing along to. By the time “all the boys there at the bar” begin to sing along, the listener is right there with them – just try to sit still and keep quiet. It’s impossible.
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Following the title track you’ll find one of my favorite Little Feat numbers, the excellent “Two Trains.” A song with which Lowell George never seemed to be satisfied, there are at least three distinct versions: this one, a stripped down take on the odds and ends collection “Hoy-Hoy!” and a total rework on his solo album “Thanks I’ll Eat Here.” The take on this album remains the best, however, and the infectious, driving playing of the band makes it an absolute joy to listen to. It is perhaps the most underrated song in the band’s catalog.
Check out this live version of the song (audio only) to get a true sense of how well this collection of musicians played together. Mind-blowingly phenomenal. Few bands have ever been this fully locked in. |
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The exquisite “Roll Um Easy” comes next, with Lowell’s singing and playing front and center. A great, soulful sound with a strong lyric, the song is worth the price of admission for its opening lines alone:
Oh I am just a vagabond
A drifter on the run
And eloquent profanity
It rolls right off my tongue
As a bonus, check out one of my current artist favorites Jackie Green covering this number here. So, so great. And you may as well enjoy the brothers Robinson (of Black Crows fame) doing the same. Proof that a great song is a great song, and both of these interpretations keep it simple and let the song be the star.
Oh I am just a vagabond
A drifter on the run
And eloquent profanity
It rolls right off my tongue
As a bonus, check out one of my current artist favorites Jackie Green covering this number here. So, so great. And you may as well enjoy the brothers Robinson (of Black Crows fame) doing the same. Proof that a great song is a great song, and both of these interpretations keep it simple and let the song be the star.
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Not to belabor the point, but here are two more fine interpretations of this wonderful song. Check out Oklahoma's Great Divide and the legendary Linda Ronstadt doing their versions. Man, I love music.
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If their interest in the New Orleans sound wasn’t fully evident, the band next covers the Crescent City's own legend Allen Toussaint, delivering an outstanding version of “On Your Way Down.” The nice slow groove, again augmented skillfully with female backing vocals and expert piano flairs from Bill Payne, builds through to the title line repeatedly throughout the song before the warning of the lyrics fade with the music. Among the few non-originals recorded by the band, this one certainly should be considered the best, and it is one of the strongest songs on an album filled with them.
The haunting “Kiss it Off” closes side one. George’s singing is the focus here, with the jazzier influences of future work by the band surrounding it subtly (more on that later). “Ain’t no velvet glove!”
Side two begins with another of my favorite Feat tracks, the wonderful “Fool Yourself.” The acoustic guitar drives the song from the beginning, and as things build, the listener is in for a real treat. Written by future full member and frequent contributor Fred Tackett, “Fool Yourself” features wonderful playing by the band and a great vocal performance from George. It reaches a fevered pitch in the final verse:
See how bad you need to cry
But no matter how you try
It's the same old story once again
You always have number one who calls you friend
I call you friend
When Lowell cries out, “I call you friend!” it is pure magic. One of their most underrated tracks.
Bonnie Raitt did a most respectable version of "Fool Yourself" too, and she is fully qualified to do so. Her backing vocals are featured all across this entire album.
The Barrere-penned “Walkin’ All Night” follows, the first of many future slide-guitar-filled funky tracks from the guitarist. It doesn’t reach the level of his some of his later compositions (he improves the formula on the band’s next release with “Skin it Back,” but it fits nicely here and is worthy of inclusion. The song sows the seeds of where the second incarnation of the band would eventually land.
The haunting “Kiss it Off” closes side one. George’s singing is the focus here, with the jazzier influences of future work by the band surrounding it subtly (more on that later). “Ain’t no velvet glove!”
Side two begins with another of my favorite Feat tracks, the wonderful “Fool Yourself.” The acoustic guitar drives the song from the beginning, and as things build, the listener is in for a real treat. Written by future full member and frequent contributor Fred Tackett, “Fool Yourself” features wonderful playing by the band and a great vocal performance from George. It reaches a fevered pitch in the final verse:
See how bad you need to cry
But no matter how you try
It's the same old story once again
You always have number one who calls you friend
I call you friend
When Lowell cries out, “I call you friend!” it is pure magic. One of their most underrated tracks.
Bonnie Raitt did a most respectable version of "Fool Yourself" too, and she is fully qualified to do so. Her backing vocals are featured all across this entire album.
The Barrere-penned “Walkin’ All Night” follows, the first of many future slide-guitar-filled funky tracks from the guitarist. It doesn’t reach the level of his some of his later compositions (he improves the formula on the band’s next release with “Skin it Back,” but it fits nicely here and is worthy of inclusion. The song sows the seeds of where the second incarnation of the band would eventually land.
One of their most beloved and famous songs, the great “Fat Man in the Bathtub” starts up with plenty of cowbell and settles into one of the funkiest grooves ever laid down on vinyl. I am not about to try to decipher what these lyrics mean, though drugs and prostitution are likely interpretations. There are convincing arguments to be made for far more explicit meanings in the lyrics, but the fact is the words are entirely irrelevant. It’s a fantastic track – one of their best. Just enjoy it.
Here's a fantastic live version for your viewing and listening pleasure. |
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“Juliette” starts to wind down the album, a soulful number that includes a flute playing a counter melody throughout. There’s something in the lyric about lost or unrequited love, but it is the music that really shines here. Oddly enough, the style of the song, and the way Barrere and Payne would later stretch out the same type of fusion-based playing into lengthy extemporaneous compositions, are exactly what eventually alienated George from the band. Regardless, here it works very well and should be considered another hidden gem.
We close with the instrumental “Lafayette Railroad,” which very much serves as the post-concert play out. If “Juliette” is the closing song, this one is what is playing after the band has left the stage while the crowd files out. It’s a tasty dessert following a most satisfying dinner.
Little Feat would follow “Dixie Chicken” with the marvelous “Feats Don’t Fail Me Now,” which as an album is almost as strong and contains a number of stand-out tracks. Eventually they would release one of rock’s few truly essential live albums, “Waiting for Columbus.” But they would never really reach the same heights as “Dixie Chicken” again. It is quite simply one of the finest records anyone ever made, and unquestionably sits in my personal top five favorite albums ever. Play it loud and just try to sit still. It simply cannot be done.
Long live Little Feat, the band most that perfectly exemplifies what it means to lay down a groove.
We close with the instrumental “Lafayette Railroad,” which very much serves as the post-concert play out. If “Juliette” is the closing song, this one is what is playing after the band has left the stage while the crowd files out. It’s a tasty dessert following a most satisfying dinner.
Little Feat would follow “Dixie Chicken” with the marvelous “Feats Don’t Fail Me Now,” which as an album is almost as strong and contains a number of stand-out tracks. Eventually they would release one of rock’s few truly essential live albums, “Waiting for Columbus.” But they would never really reach the same heights as “Dixie Chicken” again. It is quite simply one of the finest records anyone ever made, and unquestionably sits in my personal top five favorite albums ever. Play it loud and just try to sit still. It simply cannot be done.
Long live Little Feat, the band most that perfectly exemplifies what it means to lay down a groove.
“After silence, that which comes nearest to expressing the inexpressible is music.”
Aldous Huxley
Aldous Huxley
©2015-2020 Joshua V. Best
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