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jean-claudeTOP 500 COMMENTATEURSVOIX VINE le 7 juillet 2010
Malgré deux albums splendides (Little Fet et Sailin' Shoes), la formation américaine ne parvient toujours pas à décoller sur un plan commercial, les ventes étant toujours au plus bas. C'est une raison suffisante pour Roy Estrada, bassiste, de se faire la malle durant la tournée de promotion du dernier LP. Kenny Gradney prend sa place, Paul Barrère, guitariste, Sam Clayton, percussionniste, complètent le line-up du moment, toujours articulé autour des anciens Lowell George, Bill Payne et Richie Hayward. Ce turn-over au sein de Little Feat amène un changement notable (au niveau du son surtout, lequel tend à s'épaissir) avec ce à quoi nous étions alors habitués (leur registre était jusqu'alors country-rock). La palette artistique s'élargit. Les influences New-Orleans et R&B sont également particulièrement intéressantes. Dixie Chicken, permet à Lowell George d'atteindre un sommet (je pense plus jamais atteint par la suite) au niveau vocal. Les morceaux sonnent parfaitement bien, les compositions sont soignées. Seuls trois titres ne sont pas de Lowell George (On Your Way Down, Walkin' All Night et Foot Yourself). Les siens sont ce qu'il a écrit de mieux. Une fois de plus, Little Feat nous refait le coup du grand disque raffiné et attachant. Plein d'audace et d'ingéniosité, ce groupe a loupé tous les trains. Parfois en avance sur son temps, souvent passé à côté de l'impact qu'aurait pu avoir les passages en radio de ses merveilleux titres, Little Feat, en explorant au mauvais moment les univers musicaux d'alors, a plongé dans l'oubli et n'a jamais touché du doigt la reconnaissance escomptée. Leur histoire n'aura pas été banale.Lire la suite ›
CHRONIQUE DE CLAUDE PUPIN MAGAZINE ROCK&FOLK SEPTEMBRE 1979 N°152 Page 146 3° Album 1973 33T Réf : Warner Bros 2686 us Malgré quelques bouleversements, le départ de Roy Estrada pour le Magic Band de Beefheart et l'arrivée d'un percussionniste, Sam Clayton, d'un guitariste supplémentaire et enfin, d'un nouveau bassiste Kenny Gradner. Little Feat nous dépose son troisième album au début de l'année 73. Neon Park, dans un flash de bon goût (?) réussit une chouette couverture. Bien que le succès boude le groupe, les fans de Little Feat s'entendent pour reconnaître "Dixie Chicken" comme l'album de la maturité. Le genre de disque que toute discothèque digne de ce nom se doit de posséder. Le beat, d'un modèle du genre encore inimité, combine souverainement rock et funk, alchimie géniale que l'adjonction d'un percussionniste et d'un bassiste noir a rendue possible. La guitare rythmique de Paul Barrere laisse aux entrelacs étincelantes de la slide de Lowell toute liberté de zébrer l'espace sonore. Bill Payne, quant à lui, arrange cette atmosphère "Honky-New-Orléans" et donne à l'ensemble un cachet laidback qui estompe l'extraordinaire sophistication dont dispose désormais le groupe.
Très bon album blues rock,swamp,funk,etc de Little Feat sortit en '73 et vraie bonne découverte aussi..on ressent bien la maîtrise de jeu et le niveau exceptionnel des musiciens et surtout la forme et le fun des types qui s'éclatent à mélanger toutes leur influences parfaitement maîtrisé et plutot dans un registre laid back !..tous l'album est très bien et son prix modique devrait vous inciter à écouter ce grand groupe Americain .excellent !
Little Feat, Groupe Californien de Rock-Blues avec le leader guitariste Lowell George, sort "Dixie Chicken" son 3e Album en 1973, reconnu trés tardivement et devenu album référence dans le genre avec titres devenus classiques: -Dixie Chicken (méga Hit) -On Your Way Down (de Allen Toussaint) -Fat Man In The Bathtub (super) -Roll Um Easy (coool!) -Fool Yourself
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Music doesn't get any better than this16 septembre 2004
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It would be accurate to describe Little Feat in its original configuration as a very good band fronted by a genius, but it doesn't adequately acknowledge just how very, very good the other members of the band were. Lowell George was on a totally different level than the other members, but they weren't dispensable for all that. Although both LITTLE FEAT and SAILIN' SHOES, their first two albums, are exceedingly close to being as fine as the masterful DIXIE CHICKEN, what separates the latter for the previous two is the astonishingly accomplished playing of the other band members. George remains the focal point of the group, writing an exceptional set of songs and providing powerful lead vocals, but far more than the earlier two albums, the rest of the band holds its own. Stylistically, this one shows a deep influence by New Orleans music, and even features an Allen Toussaint tune.
Although they went on to release a couple of more decent albums before their break up in the late 1970s, as well as an exceptional live album WAITING FOR COLUMBUS, this represents Little Feat's supreme studio achievement. Absolutely everything clicks on this album, and the eclectic nature of all the songs seems utterly natural. The band manages throughout the album to sound simultaneously restrained and impassioned. Unlike many bands who work in a variety of styles, they never sound like they are doing a parody of any genre.
Despite the improvements in the band as a whole, this is still Lowell George's outfit. George undoubtedly belongs to a short list of musicians whose premature death (of a heart attack at age 34) deprived us of a significant body of work. I have been amazed at how many of my musically astute friend are not aware of George. I'm uncertain whether I most appreciate Lowell George the songwriter or Lowell George the singer. There is no question he was a master crafter of first rate songs, but he was every bit as good as a singer, with a full, round lower register capable of sliding into a marvelous upper range.
For those new to Little Feat, I strongly recommend four albums to the would-be collector. In addition to this stellar album, one should get both LITTLE FEAT and SAILIN' SHOES, both of them featuring one of the finest songs written in the past 30 years, George's spectacular "Willin'." I never saw Little Feat live, I'm sorry to say, but they had a reputation for being one of the best live bands around, and their WAITING FOR COLUMBUS has to rank as one of the better live albums ever cut. Little Feat broke up in the late seventies and reformed in the late 1980s, but without George they were merely a good band instead of a great one. These four albums will give most fans all the Little Feat that they would ever desire.
27 internautes sur 28 ont trouvé ce commentaire utile
Feat Phase Two's first masterpiece29 mars 2001
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It was quite a complement to bassist Roy Estrada that when he left Little Feat to rejoin the Mothers, he should be replaced by no fewer than three musicians: a bassist, another guitarist and another percussionist. SAILIN' SHOES had been well-regarded but commercially unsuccessful (until its CD re-release). Lowell George continued to write songs about his drugs habit, which was getting worse: going from 'cocaine trees' to the 'Fat Man in the Bathtub'. Paul Barrere auditioned on bass and failed. Thankfully George gave him a second chance -- this time, on guitar. Barrere's guitar noodles are vital to the Feat sound. What overpowers me about this album is the barrage of excessively good tracks: no sooner have you got over the perfection of 'Dixie Chicken', than you have the intricate rhythms and guitar work of 'Two Trains' to handle. And then the acoustic marvel that is 'Roll Um Easy'. Outstanding tracks keep coming, and they still haven't reached either of my two favourites, the keyboards-led 'Kiss It Off' and the gorgeous love-song, 'Juliette'. The keyboards are excellent throughout this album. Malcolm Cecil, who introduced Stevie Wonder to the synthesizer prior to MUSIC OF MY MIND, provides the dominant instrumental contribution to 'Kiss It Off' (as he did on the Doobie Brothers' CAPTAIN & ME). The album is a masterpiece, but commercially it dived, at least initially. Maybe it was something as crazy as the cover, which is one of Neon Park's plainest and least surreal, which failed to attract enough buyers. Warner Brothers didn't know what to do with the LP, later re-issuing it as a very cheap double LP with SAILIN' SHOES. By the time that THE LAST RECORD ALBUM was released, people began to appreciate DIXIE CHICKEN's classic status. Lowell George could do no wrong -- at least on record -- and everyone seemed to want him on their album, including Robert Palmer, the McGarrigle sisters and Jackson Browne. It is simply a brilliant album, with a huge variety of styles, all smouldering within an undefinable New Orleans genre.
14 internautes sur 14 ont trouvé ce commentaire utile
Their best next to Sailin' Shoes10 avril 2006
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Dixie Chicken is Little Feat's third album and is regarded among longtime fans as their best work. Like their previous albums, Little Feat and Sailin' Shoes, Dixie Chicken would garner much critical acclaim but slow sales. The album also showed a change in direction in their music. While Sailin' Shoes was steeped in country, blues, and boogie music, Dixie Chicken is laid back and funkier. This would also be the album to debut longtime Feat members Paul Barrere, Sam Clayton, and Kenny Gradney. Barrere, in particular, would play a pivotal role in the band, gradually writing more songs with their later releases and would be the major voice of the band when they regrouped in 1988.
But Lowell George was still the star of the show on Dixie Chicken, writing most of the songs and adding those gruff distinctive lead vocals to every track. As for the songs, they're all very good although I believe the tracks on Sailin' Shoes are slightly better overall. The title track is to this day the band's best and most memorable song, featuring clever wordplay and slide guitar from George and a memorable piano hook from Bill Payne. Country superstar Garth Brooks would later do a respectable cover of this in the `90s, in effect introducing the greatness of Little Feat to a whole new audience. "Fat Man in the Bathtub", another one of George's great story songs, is arguably their second best track with Richie Hayward lending the opening hook with his busy drum line. While the rest of the tracks aren't as widely known, they're all very strong. Songs like the funky "Two Trains", the rollicking "Walkin' All Night", and the dark blues of "On Your Way Down" show George in all of his glory with some of the sweetest slide playing you'll ever hear and the female backing vocals, performed by future superstar Bonnie Raitt among others, providing a nice touch. Another great track is "Fool Yourself", which was written by Fred Tackett, who would later join Little Feat when they reunited for the Let It Roll album and continues to play a major role in the band. "Lafayette Railroad" is a cool instrumental that the band continues to play live while "Juliette", with its arrangement and solemn flute line, recalls a livelier version of Traffic. "Roll Um Easy" and "Kiss It Off" are both very laid back tunes with George's vocals providing the perfect accompaniment. All told, Dixie Chicken is one of the best works from one of the finest American rock bands. Highly recommended.
7 internautes sur 7 ont trouvé ce commentaire utile
Thirty Six Minutes of Pleasure24 avril 2005
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Back in the day albums came on two sides and had artwork that rivaled the best contemporary art. In those days an Album was a work of art, not a product to be shifted. If you have not yet heard this CD, get out that credit card and choose overnight shipping. You will thank me.
I came across Little Feat a few years ago by way of trading Grateful Dead, Phish and Dave Matthews Band bootlegs. I downloaded a complete show from 1973 from sharingthegroove.org. Well the RIAA took down Sharingthegrove with a lawsuit (guess they want everyone to pay for the groove), but I still have that bootleg. And one week later I owned ever official recorded piece of music Lowell George and company produced. Take that Hillary Rosen!
You may have heard "Dixie Chicken" by way of Garth Brooks. Get that version out of your mind right now. He didn't get it. This isn't country music, it's immersed in the blues --Lowell George's language. Fried in the blues may be more accurate-- blues infatuated with New Orleans R&B and mellow jamming. Get this first and go forwards and then backwards though the little feat catalog. And think, where else can you find over a half hour of bliss for less than 10.99?
6 internautes sur 6 ont trouvé ce commentaire utile
potent and spicy mix30 août 2000
Jerry P. Eliason
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It's great to see that the Feats still maintain an audience after many of their 70's rock bretheren have become pitchmen for new golf hardware or mutual funds. Just don't call them a "Southern Rock" band and please don't compare them to the Dead; their sound transcends both. Just as New Orleans as a city has a complexity of cultural influences and a cosmopolitan feel that make it more interesting than, say, Atlanta, Little Feat managed to create a workable hybrid using rythmic, lyric, and textural subtlety that put them in a category all their own. With the possible exception of Steely Dan they represented the pinnacle of American rock in the seventies. From the first bars of "Dixie Chicken" you know this is a potent and spicy mix of Big-Easy funk and blues-rock cooked up with the right amount of LA studio sheen. With their third album they found the right combination of personnel and their sound crystallized to a degree not found before or after. Even the inevitable, borderline "throw-away" songs (there's always a couple on any rock album, I won't mention which ones they are on this one) have enough musical interest that you won't lift the needle or hit the skip button. Strong throughout, this is a virtuoso band caught at the height of their powers; it's worth it just for "Fat Man in the Bathtub" alone. By the way, as someone who saw both Little Feat and the Grateful Dead perform live in the mid-seventies, I can say without question that the Feats actually had a sense of meter and structure and could really play their instruments (enough about that).