Well hot diggity. Let’s talk about one of my favorite albums of all time! But first those dang ol’ news!

News

A new outtake from late Queen frontman Freddie Mercury called “Time Waits For No One” has been released along with a video. I’ve only heard the song once, it’s an okay piano ballad with a killer vocal by Freddie. But it is a remainder that Freddie lives on in some fashion, just like the great man I am about to review which reminds me……

Sailin Shoes is the second studio album by Little Feat, released May 1, 1972 on Warner Bros Records . Produced by Ted Templeman, the band changed their direction after the commercial failure of their previous album (which I previously reviewed), hence Templeman’s involvement. This album is also the last to feature ex-Mother Roy Estrada on bass who would depart for Captain Beefheart and The Magic Band. In addition, the album also introduces the artwork of Neon Park to the band, who was inspired to create this cover by The Swing, an 18th century oil painting by Jean-Honoré Fragonard. It also features Mick Jagger as “The Blue Boy”. And I will say this: this is one of the greatest album covers EVER. No contest.

Now let’s kick off this record, starting with…

1. “Easy To Slip” (Lowell George/Fred Martin):

https://m.youtube.com/watch?v=w4fcITCQh9I

“Easy To Slip”, which came about when the record company decided that nothing on the record was commercially viable so they asked the band to write a potential single. This came about with the help of Martin Kibbee, who played bass in The Factory with Lowell and Richie Hayward, going under the alias “Fred Martin”. Kibbee had the original idea for the song while Lowell built upon it. Milt Holland also plays percussion on this song as well

And while this didn’t become the big hit the suits were hoping for, we still got a fantastic tune out of it. From the ringing acoustic guitars to the organ and drums, this is a pure singer-songwriter gem. It’s easily one of the most commercial songs on here yet still has that hazy Feat touch to it. And a pretty cool solo from Mr. Lowell George himself as well. This is very much the early 70s LA scene in a nutshell where it has the more mellow vibe and structure and yet still having the traces of the psychedelic years to it, as though written in a haze.

Damn shame this didn’t take off, because it’s a great song, and yet not one of my favorites on the album.

2. “Cold Cold Cold” (George):

https://m.youtube.com/watch?v=o5IFfp7cST8

“Cold Cold Cold”, featuring Lowell not only on lead vocals and guitars but also the little drum machine at the beginning as well as harmonica and baritone saxophone. Also featured is Debbie Lindsey on background vocals.

First you have the faint, rattling drum machine that somehow fits so perfectly into the song, and I kind of get the picture of some just barely functional piece of machinery at this ratty motel. And for the longest time I didn’t realize Lowell was singing about a prostitute. But he is indeed talking about a hooker.

This song is pure Lowell George with him taking a bluesy track and bending it into this surreal piece. It’s kind of like if John Lennon on a good day took a Stones tune and made it his own style, and then added some Americanisms to it. That’s “Cold, Cold, Cold”. So many guys would play a bluesy track completely straight but this takes it in a new direction, totally making it its own in the process.

Let’s also talk about the fantastic slide work on here. If there’s anything Lowell is known for besides his writing, it would be his slide work. Again, the dude had such an original style as a slide player, never playing into all the slide guitar cliches but having its own weird little idiosyncratic thing going on. Add to it, you have the harmonica and baritone sax blended together to make this really cool sound; fun fact: the harmonica was the first instrument he learned to play, and he and his brother formed a musical duo that played on Ted Mack’s Original Amateur Hour, where Lowell first met Zappa, who was putting on a puppet show (both lost to a girl who tap danced). The more you know.

“Cold Cold Cold” is another all time classic Feat track.

3. “Trouble” (George):

https://m.youtube.com/watch?v=MIE4FIwq70w

Now we move onto “Trouble”, once again featuring Milt Holland on percussion along with Bill playing the accordion.

This is a more sedate tune, very minimal drumming on this track. All this while Lowell recalls the daily trials and tribulations that everyone has had to deal with at some point. Even just little things that can build upon bigger problems.

I can certainly say I’ve had days where I just felt beaten down and wanted to cry. Add the Asperger’s to it, and I end up feeling like a barely operational machine trying and failing to meet demand, all while seeing everything and everyone else seemingly handling it so smoothly. And I have had too many days like this to count properly.

There’s also a really awesome version with Lowell’s daughter Inara on vocals that I highly recommend.

Another great song that I love.

4. “Tripe Face Boogie” (Bill Payne/Richie Hayward):

https://m.youtube.com/watch?v=spTdZrnx7XY

Oh hell yes! We come to the epic “Tripe Face Boogie”, written by Bill Payne and Richie Hayward, the latter contributing lyrics. This marked the only time that Richie would write lyrics for the band, even through the rest of the first run with Lowell or after the remaining members reformed.

First off it’s really cool the way the instruments are mixed, with Bill moved towards the left channel while Roy is largely on the right channel, while Lowell’s guitar and Richie are more or less center-right, with Lowell’s vocals dead center. It just gives it this cool live feel to it. And holy shit everybody is so cool on here. First off you got Richie who besides writing some cool ass lyrics-seriously, Richie should have written more lyrics-he also delivers this quirky little funk shuffle, which works perfectly in the context of this song but isn’t a straight boogie beat by any means.

And fuck man, that little bass run is pretty kick ass, and really Roy’s bass playing is pretty goddamn stellar throughout this album. And the fact that he can do all this great shit while singing and daydreaming of little girls, you have to admit that is pretty damn impressive. Adding to that you have some really great electric piano by Bill which plays off the bass so well, and finally Lowell’s slide and vocal as icing on the cake.

By far, by fucking far, one of my Top Three off the entire album.

5. “Willin'” (George):

https://m.youtube.com/watch?v=Il9VFC6-Inw

“Willin'”, which previously appeared on the first album, and again, check out my first album review for background on the song. Anyway, Lowell wasn’t happy with the original so he decided to re-record the song for this album. For this version we have the great “Sneaky Pete” Kleinow on pedal steel guitar.

This is the perfect song. The acoustic guitar, the atmospheric lap steel, the gorgeous piano work, the restraint within the bass and drums. And vocally, Lowell sings like a man who has lived. And he did live. He lived the lives of ten men, all by the age of 34. This is a guy who gigged with the Mothers Of Invention, Robert Palmer, John Cale, and Robert Palmer, was friends with pretty much everybody in the LA scene, bullshit his way into a session with Sinatra, appeared on television (twice!), and lived the live of a traveling rock’n’roller. And this song, while there might be a tiny bit of overplay, it’s a masterpiece. And no cover has ever come close to capturing the spark of this version.

6. “A Apolitical Blues” (George):

https://m.youtube.com/watch?v=oOyV4kugyfM

“A Apolitical Blues”, Lowell’s blues about being disinterested in politics. I should note, Ron Elliott of The Beau Brummels plays rhythm guitar on here.

It’s much more straightforward by Little Feat standards, played on the 1-4-5 blues progression. The band plays a mean, dirty groove on here but ultimately it’s the attitude that sells it, and Lowell delivers these lyrics with that cheeky little wink. And of course the live version on Columbus with Mick Taylor is godly. Fun Fact: That’s how I discovered this band. What isn’t godly is that putrid Van Hagar cover, Jesus Christ, that was fucking awful. But then again it’s Sammy Hagar, it’s kind of a given that it will be fucking awful.

I love this song, even though it’s not one of my favorites on here. But this album is so good, there is no “worst song” on here.

7. “Sailin’ Shoes” (George):

https://m.youtube.com/watch?v=sns9kKLRQv4

And now we arrive at the title track, and Debbie Lindsey once again contributing backing vocals.

For me, the music is good and strong here but the highlight is easily Lowell’s lyrics. Seriously, the dude wrote some really killer lyrics. I don’t even know what the fuck a cocaine tree is but it just sounds so cool and the song gives me the feeling of just taking the jump and letting go of any inhibitions.

Here’s the record beyond broken, I love this song, it’s another winner for the album.

8. “Teenage Nervous Breakdown” (George):

https://m.youtube.com/watch?v=sns9kKLRQv4

And now We get a crackin’ rocker that comes from the Factory days and can be heard on the album Lightning Rod Man.

And oh boy this is a good one. Everybody is just shit hot on this track-Richie is just slaying on the backbeat, Roy gives that certain oomph on the bass, Bill just pounding on the piano, and Lowell topping it all off with a gutsy vocal and slide. This right here is prime rock and roll. I love a lot of prog, a lot of fusion, basically I do love some more virtuosic music, but that’s not rock and roll. Rock and Roll is from the gut, it’s from the heart, you’ve got to feel it and mean it. And these guys totally mean it and feel it.

This manages to pack so much in so little time, just like all the Feat albums with Lowell, none of which ever cracked the forty minute mark. It’s kind of like a Van Halen record (who were also produced by Ted Templeman). And ya know what? Doesn’t bother me a bit. Give me all killer shit, and this is all killer shit.

9. “Got No Shadow” (Bill Payne):

https://m.youtube.com/watch?v=mTn0S21CxYI

Mmmmmmmm, “Got No Shadow”, a Bill Payne penned tune as sung by Lowell.

First you have Bill Payne just kicking off on the electric piano with Roy and Richie laying such a mean groove, and finally you have Lowell giving such a relaxed vocal yet such a fierce slide. By far the highlight is the slide solo that slow cooks while we get that really tasty bass run underneath. All jokes about his thing for underage girls aside, Roy Estrada was an awesome bass player. And this album was his peak as far as I’m concerned.

And then you have the solo by Bill which is great, and Richie also lays down such a great little groove. Gabe Ford is a great drummer, but man, there is no replacing the great Richie Hayward, just a one of a kind drummer.

“Got No Shadow”, another winner winner for this album.

10. “Cat Fever” (Payne):

https://m.youtube.com/watch?v=6m2lBOGlRpQ

And now Bill finally takes the mic, and we get back into the bluesy mode.

First off you have some stellar piano work and vocals by Bill, Lowell contributing some excellent slide work to compliment the song. And Richie and Roy lay such a good pocket, man.

Richie Hayward man, he’s the star here. And that’s a tough one because again, everybody is just so good on here.

11. “Texas Rose Cafe” (George):

https://m.youtube.com/watch?v=hKF7i-J2k1A

“Texas Rose Cafe”; this one was written about a cafe that the band went to on the road and Lowell decided that he would write a song about the place. In fact you can find part of a live show from before this album came out where they’re playing this song as well as “Cat Fever” and even an early version of “The Fan”.

Man, this is just the perfect song. Absolutely love Lowell’s vocals on here put up against Bill’s piano work and then you back with a tasty bassline and equally stellar drum work, and it is just pure goodness. And yet it doesn’t stop there. It takes all these cool twists and turns, giving us a surreal organ solo followed by a spectacular slide solo and man Richie Hayward just slays all throughout this song as well before it all comes crashing down and Lowell is back in that little cafe just enjoying his beer.

I get the feeling of this total dream world where the guy is just taken into this mythical club and becomes the star of the show, with the little middle section representing the passion of him and a lady friend and everything coming together to becoming the ultimate fantasy.

This is hands down my favorite song from their entire discography. Just…man, this is a perfect fucking song, one of the absolute greatest ever. And it’s always the one I point to in order to show the band’s excellence.

FINAL VERDICT

Goddamn this is a perfect fucking album. Everything is so spot on-Ted Templeman’s production is so pristine without being sterile, perfectly highlighting every instrument in the mix and everybody being able to show what they have. The musicianship and instrumentation-top notch, all four players so perfectly in tune with each other and at the height of their powers. The writing, so rich and well crafted, teetering between heartfelt, surreal wit, and passion and nailing each and everyone of them.

Sadly we are coming right up on the 40th Anniversary of Lowell’s death. With him, we lost a truly one of a kind musician, writer, and artist. And someone who’s songs spoke to me in a way that few others did.

And that is Sailin Shoes by Little Feat. Rest well Lowell, and thank you for the music wherever you are.