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Little Feat: Waiting for Columbus [Expanded]

Track List

>Join the Band
>Fat Man in the Bathtub
>All That You Dream
>Oh, Atlanta
>Old Folks' Boogie
>Dixie Chicken
>Tripe Face Boogie
>Rocket in My Pocket
>Time Loves a Hero
>Day or Night
>Mercenary Territory
>Spanish Moon
>Don't Bogart That Joint
>Apolitical Blues, A
>Sailin' Shoes
>Feats Don't Fail Me Now
>One Love Stand - (previously unreleased)
>Rock & Roll Doctor - (previously unreleased)
>Skin It Back - (previously unreleased)
>On Your Way Down - (previously unreleased)
>Walkin All Night - (previously unreleased)
>Cold, Cold, Cold - (previously unreleased)
>Day at the Dog Races - (previously unreleased)
>Skin It Back
>Red Streamliner
>Teenage Nervous Breakdown

Album Remarks & Appraisals:

All About Jazz - C. Michael Bailey
..."He's got two degrees in Bebop, a Ph.D in Swing, he's the master of rhythm, he's a rock and roll king?"

Where Duane Allman had a muscular, precise slide guitar style, Lowell George had a sinewy finesse in his. George's crowning glory was the Little Feat of the late 1970s, a band with a scary eclecticism (sometimes ill defined as a Southern blues band) driven by an equally scary talent. However, Little Feat did not start out as some errant Southern-fried knock off. George had a long musical career before his stint with The Mothers that included his appearing as an oboe and baritone saxophonist on several Frank Sinatra recording sessions. Talk about a long strange trip.

Lowell George formed the folk-rock group the Factory with drummer Richie Hayward in the mid-1960s, recording for the Uni label. After the Factory's demise, George joined the Mothers of Invention where he met Feat's future first bassist, Roy Estrada. Zappa encourage George to form his own band after hearing George's ballad "Willin.'" With all of the stars in alignment, George and Estrada left the Mothers and formed Little Feat with drummer Hayward and Keyboardist Bill Payne in 1969. This union resulted in the eponymous first album and Sailing Shoes. These original releases meeting with great critical but little commercial recognition, Estrada left the band as was replaced by New Orleans native Kenny Gradney. When guitarist Paul Barrere and percussionist Sam Clayton committed, the classic Little Feat sextet was born. The first release by these personnel turned out to be their finest studio hour Dixie Chicken. During this period and after, the members of Little Feat found themselves in demand as session musicians, supporting many notable recordings. But, as it turned out, the studio is not where the collective Little Feat would shine. It would be on the stage. ... read more...

Album Reviews:

Mojo (Publisher) (6/02, p.126) - "...This is a corker..."

Album Notes

Little Feat: Lowell George, Kenny Gradney, Bill Payne, Sam Clayton, Richie Hayward and Paul Barrere.

Documents the live show of a true "concert band," Little Feat's reputation

rested on its live performances, which were particularly popular in the South. This was the most successful album for Little Feat, reaching number 18 on the album charts.

2 LPs on 1 CD, with 2 songs, "Don't Bogart That Joint" and "Apolitical Blues" omitted. These 2 songs can be found as extra tracks on the CD THE LAST RECORD ALBUM.

WAITING FOR COLUMBUS: DELUXE EDITION contains WAITING FOR COLUMBUS as well as ten tracks recorded during the same tour that were not included in the original album. It also contains previously unreleased outtakes.

Little Feat includes: Lowell George (vocals, guitar, maracas, cowbell);

Paul Barrere (vocals, guitar); Bill Payne (vocals, piano, electric piano, organ, synthesizer); Kenny Gradney (bass); Richie Hayward (drums, percussion, background vocals); Sam Clayton (congas, percussion, background vocals).

Additional personnel includes: Mick Taylor (guitar); Tower Of Power (horns); Michael McDonald, Patrick Simmons (background vocals).

Producers include: Lowell George, Bill Payne, George Massenburg, Paul Barrere.

Compilation producers: Gary Peterson, Bill Payne, Paul Barrere.

Engineers include: George Massenburg, Warren Dewey, Andy Bloch.

Recorded live at the Rainbow Theatre, London, England; The Lisner Auditorium,

Washington, D.C. in August 1977. Includes liner notes by Bud Scoppa.

All tracks have been digitally remastered.

Personnel: Lowell George (vocals, guitar, cowbells, maracas); Paul Barrére (vocals, guitar); Bill Payne (vocals, piano, electric piano, organ, synthesizer); Richie Hayward (vocals, drums, percussion); Sam Clayton (vocals, congas, percussion); Mick Taylor (guitar); Lenny Pickett (clarinet, alto saxophone, tenor saxophone); Emilio Castillo (tenor saxophone); Stephen "Doc" Kupka (baritone saxophone); Mic Gillette (trumpet, trombone); Greg Adams (trumpet); Tower of Power Horns (horns); Michael McDonald , Patrick Simmons (background vocals).

Audio Mixers: George Massenburg; Warren Dewey; Bill Inglot; Brian Kehew.

Audio Remasterers: Daniel Hersch; Bill Inglot.

Liner Note Author: Bud Scoppa.

Recording information: Lisner Auditorium, George Washington University, Washin (08/01/1977-08/10/1977); The Rainbow Theatre, London, England (08/01/1977-08/10/1977).

Photographers: Richard D. Young; Robert Matheu.

Arranger: Lowell George.

The original CD release of Little Feat's 1977 live album WAITING FOR COLUMBUS, like so many catalogue releases in the early days of the CD format, was truncated by two songs, "Don't Bogart That Joint" and "A Apolitical Blues." The 2002 expanded edition of the disc replaces those songs by placing side four of the original vinyl onto disc two, and follows it up with ten more live tracks, three of which had previously appeared on the 1981 rarities album HOY HOY. Recorded towards the end of Little Feat's original incarnation, WAITING FOR COLUMBUS has the boogie-oriented country and blues-rock tinges of the group's early sound, expanded into the lengthier, fusion-oriented jams that were their later focus. Yet Little Feat were always a tightly disciplined unit, and even the lengthiest songs here, like the nine-minute take on their signature song "Dixie Chicken," keep from sliding into mere aimless jamming. Although some of the bonus tracks are a little more shambolic, hard-rocking gems like the smoking "Teenage Nervous Breakdown" more than make up for them.


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