Blending elements of rock, blues, country, funk and jazz, Little Feat created a sound that was entirely their own. Driven by the unique song-writing skills of Lowell George and a band both technically excellent and infectiously grooving, they were—and are—a favourite outfit of those who love their American rock somewhere West of the freeway. Yet despite numbering Bonnie Raitt, Jimmy Page, and Robert Palmer amongst their fans Little Feat never achieved the level of fame they deserved.

In the mid-70s they toured frequently and built a very solid following of fans who knew exactly what the Feat were capable of. For those who missed them at the time or have not encountered them since, the live album Waiting For Columbus is a fabulous place to start.

Recorded in August 1977 at London’s Rainbow Theatre and the George Washington University (in D.C., of course) and released six months later, this is an album to convince the skeptical that live albums can be involving and exciting. There is energy, there are solos, there are fresh workouts on familiar songs. It’s a classic live set. 

Waiting For Columbus features many of Little Feat’s most beloved songs, including several Lowell George gems: “Dixie Chicken”, “Willin'” and “Fat Man in the Bathtub” are all performed with earthy enthusiasm. The album also includes covers of songs by Allen Toussaint and The Drifters, as well as a guest appearance by Bonnie Raitt on “Sailing Shoes” and “Two Trains.” Rolling Stones guitarist Mick Taylor also drops in to add slide to “A Apolitical Blues”.

As well as the classic Lowell George songs mentioned above there are also outstanding contributions from the other writers in the band, including “All That You Dream” (Barrère, Payne) and “Tripe Face Boogie” (Hayward, Payne). It is that depth of songwriting skill that enabled Little Feat to continue after George’s tragic demise.

One of the defining features of Waiting for Columbus is the dynamic interplay between the band members. Little Feat was known for their outstanding musicianship and this album showcases their ability to riff off each other in real-time, creating a cohesive and dynamic sound. The performances are tight and polished, but also loose and spontaneous; each band member has room to shine.

The album was produced by Lowell George, the band’s founder and leader, who died just a year after its release; it is his last appearance on a Little Feat album. George’s production work on the album is masterful, capturing the energy and excitement of live performance while still maintaining a high level of audio quality.

Waiting for Columbus was a critical and commercial success upon release and has since become a beloved classic among Little Feat fans and music enthusiasts alike. Its influence can be heard in the work of artists who followed in Little Feat’s footsteps, and it remains a testament to the band’s musical legacy.

A final note on the package. Inside the classic Neon Park cover—an alluring tomato-lady reclining in a hammock—are a pair of bright red vinyl discs. This 2022 RSD version of Waiting For Columbus both looks and sounds great, and is a timely reminder of how good some RSD releases are!

(First published at Discrepancy Records, April 2023. Reprinted with kind permission.)

For a late-blooming Little Feat fan, a fascinating side-journey to the ‘official’ live album has been a 2 LP bootleg from the STN Collection*. Although the sound quality is not great, it’s certainly good enough to enjoy some rare Little Feat tracks and hear them stretch out and jam, something they did enthusiastically in concert. Waiting For Columbus covers the well-known songs brilliantly, so deep cuts such as “One Love Stand”, “Cold Cold Cold” and “Eldorado Slim” spice things up nicely. Bootlegs, let’s be honest, are generally the province of the obsessive fan, but if you know an artist well they can be quite thrilling. It’s almost like your acceptance of low fidelity grants you entrance into an exclusive club. “Hey man, what about that intro to “Apolitical Blues”? George telling the story of how Lightnin’ Hopkins told him to fuck off.” “Yeah man, real cool.”

Chinese Bejeezus is real cool too.

The STN Collection refers to albums owned by my friend Steven. Immersed in finding new homes for several thousand records (LPs,  12″s, singles) it is inevitable that a number will hit the turntable. A large number. Oddly, a percentage of those appear to be migrating to the Vinyl Connection collection. Just what an Oompa Loompa with a taste for sweets needs; to be working in the Chocolate Factory.

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