I remember the first time I went into


his apartment, and I guess a person's home can tell you a lot about them. I do some writ- ing myself too, Michael. I write for a Japanese magazine called Player. I told them that when I drove out the first time to see Lowell, he was living in a little wooden framed home,


the time, 'You can't do that.' And he would tell them, well, 'I am doing it.' Like people telling him he couldn't do home recordings and put them out on album, they had to go into the studio. Well, now everybody's doing home recordings. So, he led the wave in that. He was a real interesting fellow in terms of draw- ing lines of connections between things. Which I loved about him, because I kind of thought in the same patterns. Which made our music so eclectic. Like putting a song like "Truck Stop Girl" on the same record with a cartoon song like "Gunboat Willie." On this new album. It's a very eclectic


nestled between two trees, and the door was wide open. There's this very pretty little blonde sitting on the floor reading, and there's some eclectic music playing. She says come on in, he'll be back in a while. So I'm looking at his books, and he's got poetry books by Carl Sandburg, and Ginsberg. And his record collection included Songs of the South...in fact we later lifted a song from the album to use on Waiting for Columbus,called "Join the Band." It was an old chain-gang tune. He had an amazing array of books and records. But Lowell was the kind of guy who, as the drug culture took over, it distorted the weaker parts of his personality. But there was always this beautiful guy shining through all of that stuff. A very giving person. He was one of the first people that I knew of, on the pub- lishing side of things that said, look, how many people do we have in the band? Four or five? We're going to divide the publishing that many ways. Even though not everybody was writing, they were all contributing to the sound of the band. So he was always aware of that kind of thing. People were telling him at


record. It's a little more energetic a record than we've had in a while. There's a lot more playing and instrumental excursions. And there's just a real good energy on the record. When people think of Little Feat, whether they think of Lowell George first, or the rhythm section, or these quirky lyrics, or all of the above, mainly I think what people gravi- tate toward when they think of Little Feat is a good time. Great music that you can have a good time with.


How was the Volunteer Jam Tour 2000 for you? Did you get to jam with The Charlie Daniels Band? We never did. They asked us to in Nashville, but we couldn't. We had had a pretty good run at that point. We were in New Orleans the night before, and were heading up to Detroit. And Paul and I were heading right into re- hearsals with Phil. But time demands made it hard. We were a little burned out, to be quite honest. That aside. Everyone, from The Char- lie Daniels Band, to the crew, to Charlie him- self and Hank Williams people were so, so nice to our band. They made it so comfort- able. And admittedly, our set is not a country style set, so we were a little bit the odd man out on the tour, in terms of the audience that came in to see the CDB and Hank. I think some people were pleasantly surprised, but there were a lot of people out there who didn't


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48