Little Feat
The compact rock ‘n’ roll funk displayed by Little Feat put them out of step with atypical, early '70s, Californian rock bands. By combining elements of country, folk, blues, soul and boogie they unwittingly created a sound that became their own, and has to date never been replicated or bettered. The band comprised Lowell George (b. 13 April 1945, Hollywood, California, USA, d. 29 June 1979) who had already found experience with the earthy garage band the Standells and with the Mothers Of Invention, plus, Roy Estrada (b. Santa Ana, California, USA; bass), Bill Payne (b. 12 March 1949, Waco, Texas, USA; keyboards) and Richie Haywood (drums). Although they signed to the mighty Warner Brothers in 1970, no promotional push was given to the band until their second album in 1972. The public later latched on to the debut, LITTLE FEAT. It remains a mystery why the band were given such a low profile. George had already been noticed as potentially a major songwriter; two of his songs were taken by the Byrds, Truck Stop Girl and Willin'. 
The debut sold poorly, and quite inexplicably, so did their second and third albums. The band were understandably depressed and began to fragment. Lowell began writing songs with John Sebastian amid rumours of a planned supergroup adding Phil Everly. Fortunately, their record company made a further advance to finance FEATS DON'T FAIL ME NOW; the revised band was now Paul Barrere (b. 3 July 1948, Burbank, California, USA; guitar), Kenny Gradney (b. New Orleans, Louisiana, USA; bass) and Sam Clayton (b. New Orleans, Louisiana, USA; percussion). Deservedly, they made the album charts in the USA, although the excellent material was no better than their three previous albums. FEATS DON'T FAIL ME NOW marked the growth of other members as credible songwriters and George's role began to diminish. The European critics were unanimous in praising the band in 1975 on the "Warner Brothers Music Show". This impressive package tour contained Graham Central Station, Bonaroo, Tower Of Power, Montrose, Little Feat and the headliners, the Doobie Brothers, who were then enjoying unprecedented acclaim and success. Without exaggeration, Little Feat blew everyone off the stage with a series of outstanding concerts, and from that moment on they could do no wrong. THE LAST RECORD ALBUM in 1975 contained Lowell's finest (albeit short), winsome love song, Long Distance Love; the sparseness of the guitar playing and the superb change of tempo with drum and bass, created a song that courted melancholy and tenderness. The opening question and answer line ‘Ah Hello, give me missing persons, tell me what is it that you need, I said oh, I need her so, you've got to stop your teasing’, is full of emotional pleading. 
George meanwhile was over indulging with drugs and his contribution to TIME LOVES A HERO was minimal. Once again they delivered a great album, featuring the by now familiar and distinctive cover artwork by Neon Park. Following the double live WAITING FOR COLUMBUS, the band disintegrated and George started work on his solo album, THANKS, I'LL EAT IT HERE, (which sounded like a Little Feat album); two notable tracks were Missing You, and 20 Million Things To Do. During a solo concert tour George had a heart attack and died; years of abuse had taken their toll. The remaining band reformed for a benefit concert for his widow and at the end of a turbulent year the barrel was scraped to release DOWN ON THE FARM. The record became a considerable success, as did the compilation HOY-HOY!. 
In 1988, almost a decade after they broke up, the band re-formed and LET IT ROLL became their biggest album by far. The band had ex-Pure Prairie League Craig Fuller taking Lowell's place, and the musical direction was guided by the faultless keyboard playing of Bill Payne. A second set from the re-formed band came in 1990, and although it disappointed many, it added fuel to the theory that this time they intended to stay together. SHAKE ME UP finally buried the ghost of George, as the critics accepted that the band are a credible force once again and can claim rightful ownership of both its name and history, without forgetting Lowell George's gigantic contribution.