Little Feat return with Strike Up The Band; thirteen songs that have the heart and soul of every band member poured into them.

Released: 9th May 2025

Label: Hot Tomato

Format: CD / Vinyl / Digital

A LEGENDARY BAND

Little Feat are a legendary band. Their run of classic albums in the 1970’s firmly put them on the map and cemented them as one of America’s greats (even if they still feel under appreciated).

Strike Up The Band features thirteen compositions that contain the bands’ signature genre busting blend of music. There is blues, country, classic rock, funk, salsa rhythms, blazing guitar solos, hypnotic horns and more thrown into the melting pot.

Those that have followed the band since they reconvened for 1988’s Let It Roll, will undoubtedly lap up Strike Up The Band. There are plenty of call backs to the ‘classic’ period of Little Feat as well as an eye on the future in the sound.

4 Days Of Heaven, 3 Days Of Work opens the album. There is a little hint of Led Zeppelin’s Kashmir in the immediate melody line. The horn section fly out of the blocks before some fiendish slide guitar gives way to a typically ‘Feat’ rhythm canters along.

BAYOU MAMA

Bayou Mama flows perfectly with a misty eyed desire to go dancing and finding love at Mardi Gras. The honky tonk piano that adorns the closing strains of the song is wonderful. It is just one of many cuts here that will get the original Little Feat fans excited.

Scott Sharrard’s slide guitar work is one of the biggest features of Strike Up The Band. Bayou Mama bristles with that slide sound. Midnight Flight, one of the albums lead tracks closes out with a blazing slide solo. Shipwrecks also heavily features the slide sound with a solo to die for.

Bluegrass Pines contains a salsa rhythm with plenty of Latin sound front and centre. On the song, Bill Payne comments, “Robert Hunter graced this song with his lyrics of vision and substance, ranging from glimpses of bullfrogs crooning to Lash LaRue. Molly Tuttle’s acoustic guitar was played and realized with skilful precision, fitting in perfectly with Scott’s guitar. Fred Tackett’s mandolin weaves throughout. It is a fearless song that is pulled in many directions. The vocals that accompany me are from my dear friends Larry Campbell and Teresa Williams. The blend with them is a dream. That blend, which was established years ago, gave me reason to believe I could actually sing. In the studio, on this song and every song I sang or played, Vance Powell’s steady demeanour made it enjoyable. Vance is a great partner.”

STRIKE UP THE BAND

The title track of the album features the beautiful harmonies of Larkin Poe. If ever there were two bands that should record together, these two go hand in glove. As a band that have seen their sound and identity become more raucous over the years, Larkin Poe are very subtle in their contribution. Great little mandolin lines move around the pleasant backbone of the song. Building up, the chorus is catchy and the lyrics are lovely. There is a real feel of crescendo as the song reaches its conclusion.

Too High To Cut My Hair is at the other end of the spectrum. According to Scott Sharrard, it was mostly cut live after the demoing process. The horns are delicious and the funky groove is truly irresistible. This is Little Feat in full flow, and there is a little of the Sam Clayton growl in the chorus. The guitar solo that adorns the track is an absolute ripper; there is the fire that Prince used to bring to his solos in there; it is exceptional. Too High To Cut My Hair is one of the definite high points of the album. It is a lot of fun, and is a piece that cannot fail to get the smile growing on your face.

EVERGREEN MASTERS

Another highlight is Dance A Little. ‘Take a little time, to watch the setting sun,’ is the opening line. It is a simple idea but sets the tone for the song. There is a real sense of hope and peace in the song. It is clear to hear that the song is full of love from all members of the band; everyone plays brilliantly and there is plenty to digest once you’ve got past the emotional heft of the lyrics. Kristen Rogers’ vocal harmonies really elevate the song too.

Little Feat are evergreen masters of the game. With tracks like Running Out Of Time With The Blues and New Orleans Cries When She Sings, the band nail that classic Little Feat feel. ‘New Orleans…’ closes the album and again boasts a killer rhythm. Everything just bubbles perfectly; like a set of professors just perfecting their concoction. “The middle section, following the solo, opened up an opportunity to have a street band interlude. Marc Fletcher, Art Edmaiston, and Fred Tackett did the honours. Kristen Rogers’ choir backgrounds, shouts, and such were heart-stopping;” it’s hard to argue with Bill Payne’s summation. It is a perfect end to a brilliantly crafted album.

Check out Too High To Cut My Hair below.

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