Little Feat

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In his preface to Little Feat’s recent retrospective compilations—’02’s Raw Tomatos and Ripe Tomatos—the band’s Paul Barrere wrote, “It’s almost 33 years ago exactly since Mr. [Lowell] George came to the front door of the Laurel Canyon house I was livin’ in, with that beautiful white “p” bass in hand, and asked if I wanted to try out as bass player for his new band. As most who know the story’s end can tell you, as a bassist I make an excellent guitarist, and 3 years later—when I finally began my stint in Little Feat—I would never have guessed that I would be here writing these liner notes to yet another chapter in the now storied life of a band that has been my life, and a true labor of love.”

Truth is, there really is no story’s end yet, and Little Feat have indeed led a storied life ever since they formed in 1969. From then on, their unconventional signature of earthy, organic appeal and polished, first-rate musicianship wrapped around eclectic and memorable songs—clearly delivered as an authentic labor of love—has been a lasting fixture on the musical landscape. As American as apple pie—and rock ‘n roll itself—Feat’s music transcends boundaries, a freewheeling fusion of California rock and Dixie-inflected funk-boogie. In the mix as well are strains of folk, blues, rockabilly, country and jazz, inventing a hybrid sound that is truly Little Feat’s own.

Easily one of the hardest working bands in show biz, today’s Little Feat is a seven-member powerhouse that ably carries on the group’s tradition in both the recording and touring arenas. In fact, they have a brand new studio album—their first since 2000’s Chinese Work Songs—titled Kickin’ It At The Barn, produced by Feat-ers Paul Barrere, Bill Payne and Fred Tackett. It’s named after the place it was recorded throughout 2003, Tackett’s barn-come-studio in Topanga Canyon, which Bill Payne has called “Little Feat’s version of The Band’s ‘Big Pink’,” and which lent an invaluable ambience to Feat’s latest undertaking. In his liner notes, faithful Feat scribe Paul Barrere writes, “If music is a conversation between the players, then we are talking like never before