Review: Little Feat ‘Strike Up the Band’

Review: Little Feat ‘Strike Up the Band’

By Hal Horowitz

Nobody, including the members of Little Feat, expected the band to still be an active entity 55 years after releasing their 1970 debut. But through the decades and with more ups, downs and personnel changes than Fleetwood Mac, they have persevered in one form or another.

Over the past few years Feat have been as productive on the road as in their mid-70s Lowell George/Paul Barrere/Richie Hayward (all since passed), heyday. Two recent studio releases— adding to 16 previous ones (there are also 10 live discs)—likewise display renewed vigor.

‘Strike Up the Band,’ the second of those, follows the GRAMMY nominated ‘Sam’s Place,’ last year’s vibrant exploration of blues covers sung by longtime percussionist Sam Clayton.

Formidable keyboardist Bill Payne is the sole original, but bassist Kenny Gradney and Clayton remain from the expanded 70s lineup. They are joined by veteran sideman Fred Tackett, now a full-time member, along with recent additions Scott Sharrard (guitar), and Tony Leone (drums/percussion).

This 13 cut, hour-long collection of new material, all penned or co-written by the current roster, generally adheres to the funky, rootsy, country and blues that has remained Little Feat’s style. Some songs such as Leone’s swampy “Running Out of Time With the Blues,” Sharrard’s rump-shaking horn-driven “Midnight Flight” and especially the slide guitar curving through the New Orleans’ whiffs of “Bayou Mama” (a co-write between Payne and Blackberry Smoke’s Charlie Starr) hit that sweet spot established Feat enthusiasts recognize and love.

The band is taut, the rhythms as supple as the Neville Brothers on a hot night and the vocals, while not as gruff and distinctive as either George or Barrere, successfully carry the tunes. There’s a hint of Feat’s ominous edge evident in prime-era classics such as “Spanish Moon” and “Skin It Back” in the subtle snaking rhythms of “When Hearts Fall.”

The Larkin Poe sisters appear as backing singers on the subtle, soulful title track. It skirts the political edge by urging us to strike up the band, with references to “the summer of ’68” as a mandolin plunks away and Sharrard’s slide references memories of George’s work. That mandolin returns on Payne’s “Dance a Little,” another mid-tempo offering with ghostly female singers.

Contemporary roots guitarist, the award winning Molly Tuttle appears on “Bluegrass Pines.” But between the militaristic drums and supporting vocals from Larry Campbell and wife Teresa Williams, her contributions are difficult to discern.

Clayton appears for his only vocal on the growling chorus to the humorous “Too High to Cut My Hair,” a fun, funky addition featuring a full horn section reminiscent of Feat’s work with the Tower of Power brass. It’s the band’s first album of originals in thirteen years and the one before arrived a decade earlier. So, it’s likely these tunes were simmering for a while and there are times where too much is going on. A few weaker tracks could have been cut making the resulting set tighter and more powerful.

Regardless, plenty on ‘Strike Up the Band’ will get Little Feat fans’ hearts thumping and feet pounding. The playing is consistently pulsating, the upbeat selections display the outfit’s distinctive gutsy approach and it’s clear from the overall effervescence that these guys are enjoying themselves even this far down the line. Better still, these new compositions will slot in seamlessly with Feat classics that always dominate their shows, and which they play with conviction, respect and reverence for their departed comrades.

Watch “Too High To Cut My Hair”