Though they had all the trappings of a Southern-fried blues band, Little Feat were hardly conventional. Led by songwriter/guitarist Lowell George, Little Feat was a wildly eclectic band, bringing together strains of blues, R&B, country, and rock & roll. The bandmembers were exceptionally gifted technically and their polished professionalism sat... [+] Read More

Though they had all the trappings of a Southern-fried blues band, Little Feat were hardly conventional. Led by songwriter/guitarist Lowell George, Little Feat was a wildly eclectic band, bringing together strains of blues, R&B, country, and rock & roll. The bandmembers were exceptionally gifted technically and their polished professionalism sat well with the slick sounds coming out of southern California during the '70s. However, Little Feat were hardly slick -- they had a surreal sensibility, as evidenced by George's idiosyncratic songwriting, which helped the band earn a cult following among critics and musicians. Though the band earned some success on album-oriented radio, the group was derailed after George's death in 1979. Little Feat re-formed in the late '80s, and while they were playing as well as ever, they lacked the skewed sensibility that made them cult favorites. Nevertheless, their albums and tours were successful, especially among American blues-rock fans.

However, Little Feat wasn't conceived as a straight-ahead blues-rock group. Its founding members, Lowell George (vocals, guitar, slide guitar) and Roy Estrada (bass), were veterans of Frank Zappa's Mothers of Invention. George had a long musical career before joining the Mothers. As a child, he and his brother Hampton performed a harmonica duet on television's Ted Mack's Original Amateur Hour. During high school, he learned how to play flute, which led to him appearing as an oboist and baritone saxophonist on several Frank Sinatra recording sessions. He formed the folk-rock group the Factory with drummer Richard Hayward in 1965. Before disbanding, the Factory made some recordings for Uni Records, but the tapes sat unreleased until the 1990s. Following the group's demise, George joined the Mothers of Invention, where he met Estrada. Zappa convinced George to form his own band after hearing "Willin'," but the guitarist was reluctant to begin a band until he participated in a brief Standells reunion.

George and Estrada formed Little Feat in 1969 with Hayward and keyboardist Billy Payne. Neither its eponymous first album in 1971 nor 1972's Sailin' Shoes were commercial successes, despite strong reviews. As a result, the group temporarily disbanded, with Estrada leaving music to become a computer programmer. When the group reconvened later in 1972, he was replaced by New Orleans musician Kenny Gradney. In its second incarnation, Little Feat also featured guitarist Paul Barrére and percussionist Sam Clayton, who gave the music a funkier feeling, as demonstrated by 1973's Dixie Chicken. The band toured heavily behind the record, building a strong following in the South and on the East Coast. Nevertheless, the group remained centered in Los Angeles, since the members did a lot of session work on the side.

Though the band was earning a cult following, several members of the group were growing frustrated by George's erratic behavior and increasing drug use. Following 1974's Feats Don't Fail Me Now, Barrére and Payne became the band's primary songwriters and they were primarily responsible for the jazzy fusions of 1975's The Last Record Album. Little Feat continued in that direction on Time Loves a Hero (1977), the double-live album Waiting for Columbus (1978), and Down on the Farm (1979). Frustrated with the band's increasingly improvisational and jazzy nature, George recorded a solo album, Thanks I'll Eat It Here, which was released in 1979. Following its release, George announced that Little Feat had broken up, and he embarked on a solo tour. Partway through the tour, he died of an apparent heart attack. Down on the Farm was released after his death, as was the rarities collection Hoy-Hoy! (1981).

After spending seven years as sidemen, Payne, Barrére, Hayward, Gradney, and Clayton re-formed Little Feat in 1988, adding vocalist/guitarist Craig Fuller and guitarist Fred Tackett. The heavily anticipated Let It Roll was released in 1988 to mixed reviews, but it went gold. Each of the group's subsequent reunion albums -- Representing the Mambo (1989), Shake Me Up (1991), and Ain't Had Enough Fun (1995) -- sold progressively less, but the band remained a popular concert attraction. On the latter album, the band traded the strongly Lowell George-esque voice of Fuller for female singer Shaun Murphy; this lineup went on to release Under the Radar in 1998 and Chinese Work Songs in 2000. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Foghat specialized in a simple, hard-rocking blues-rock, releasing a series of best-selling albums in the mid-'70s. While the group never deviated from their basic boogie, they retained a large audience until 1978, selling out concerts across America and earning five gold albums, as well as two platinum. Once punk and disco came along, the... [+] Read More

Foghat specialized in a simple, hard-rocking blues-rock, releasing a series of best-selling albums in the mid-'70s. While the group never deviated from their basic boogie, they retained a large audience until 1978, selling out concerts across America and earning five gold albums, as well as two platinum. Once punk and disco came along, the band's audience dipped dramatically, yet the group continued performing until 1980.

With its straight-ahead, three-chord romps, the band's sound was American in origin, yet the members were all natives of England. Guitarist/vocalist "Lonesome" Dave Peverett, bassist Tony Stevens, and drummer Roger Earl were members of the British blues band Savoy Brown, who all left the group in the early '70s. Upon their departure, they formed Foghat with guitarist Rod Price. Foghat moved to the United States, signing a record contract with Bearsville Records, a new label run by Albert Grossman. Their first album, Foghat, was released in the summer of 1972 and it became an album rock hit; a cover of Willie Dixon's "I Just Want to Make Love to You" even made it to the lower regions of the singles charts. For their next album, the group didn't change their formula at all -- in fact, they didn't even change the title of the album. Like the first record, the second was called Foghat; it was distinguished by a picture of a rock and a roll on the front cover. Foghat's second album was their first gold record, and it established them as a popular arena rock act. Their next six albums -- Energized (1974), Rock and Roll Outlaws (1974), Fool for the City (1975), Night Shift (1976), Foghat Live (1977), Stone Blue (1978) -- all were best-sellers and all went at least gold. "Slow Ride," taken from Fool for the City, was their biggest single, peaking at number 20. Foghat Live was their biggest album, selling over two million copies. After 1975, the band went through a series of bass players; Price left the band in 1981 and was replaced by Erik Cartwright.

In the early '80s, Foghat's commercial fortunes declined rapidly, with their last album, 1983's Zig-Zag Walk, barely making the album charts. The group broke up shortly afterward, although they reunited for various tours in the late '80s and early '90s, releasing Road Cases in 1998. Peverett died of cancer on February 7, 2000. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the 1970s' most successful hard rock bands in spite of critical pans and somewhat reluctant radio airplay (at first), Grand Funk Railroad built a devoted fan base with constant touring, a loud, simple take on the blues-rock power trio sound, and strong working-class appeal. The band was formed by Flint, MI, guitarist/songwriter Mark... [+] Read More

One of the 1970s' most successful hard rock bands in spite of critical pans and somewhat reluctant radio airplay (at first), Grand Funk Railroad built a devoted fan base with constant touring, a loud, simple take on the blues-rock power trio sound, and strong working-class appeal. The band was formed by Flint, MI, guitarist/songwriter Mark Farner and drummer Don Brewer, both former members of a local band called Terry Knight & the Pack. They recruited former ? & the Mysterians bassist Mel Schacher in 1968, and Knight retired from performing to become their manager, naming the group after Michigan's well-known Grand Trunk Railroad.

They performed for free at the 1969 Atlanta Pop Festival, and their energetic, if not technically proficient, show led Capitol Records to sign them at once. While radio shied away from Grand Funk Railroad, the group's strong work ethic and commitment to touring produced a series of big-selling albums over the next few years; five of their eight releases from 1969 to 1972 went platinum, and the others all went gold. Meanwhile, Knight promoted the band aggressively, going so far as to rent a Times Square billboard to advertise Closer to Home, which turned out to be the band's first multi-platinum album in spite of a backlash from the rock press. However, Grand Funk Railroad fired Knight in March of 1972, who promptly sued; the band spent most of the year in a court battle that ended when they bought Knight out.

Keyboardist Craig Frost joined the group for the Phoenix LP at the end of 1972. Following that album, the band's name was officially shortened to Grand Funk, and the group finally scored a big hit single (number one, in fact) with the title track of the Todd Rundgren-produced We're an American Band. The follow-up, Shinin' On, contained another number one hit in a remake of Little Eva's "The Loco-Motion." However, following Grand Funk's next album, All the Girls in the World Beware!!, interest in the group began to wane. Reverting back to Grand Funk Railroad, they remained together in 1976 solely to work with producer Frank Zappa on Good Singin', Good Playin'. Farner left for a solo career, and the remainder of the band released an album as Flint with guitarist Billy Elworthy.

Grand Funk Railroad re-formed in 1981 with Dennis Bellinger on bass and released two albums; only Grand Funk Lives even managed to scrape the bottom of the charts. The group disbanded again, with Brewer and Frost joining Bob Seger's Silver Bullet Band and Farner embarking on a new career as a CCM artist; his "Isn't It Amazing" was a number two gospel hit in 1988. In 1997, Grand Funk Railroad reunited once again to record a benefit album titled Bosnia; two years later, Capitol issued a three-disc box set retrospective, Thirty Years of Funk: 1969-1999. ~ Steve Huey, All Music Guide [-] Hide

A showcase for former Small Faces' frontman Steve Marriott and one-time Herd guitar virtuoso Peter Frampton, the hard rock outfit Humble Pie formed in Essex, England in 1969. Also featuring ex-Spooky Tooth bassist Greg Ridley along with drummer Jerry Shirley, the fledgling group spent the first several months of its existence locked away in... [+] Read More

A showcase for former Small Faces' frontman Steve Marriott and one-time Herd guitar virtuoso Peter Frampton, the hard rock outfit Humble Pie formed in Essex, England in 1969. Also featuring ex-Spooky Tooth bassist Greg Ridley along with drummer Jerry Shirley, the fledgling group spent the first several months of its existence locked away in Marriott's Essex cottage, maintaining a relentless practice schedule. Signed to the Immediate label, Humble Pie soon issued their debut single "Natural Born Boogie," which hit the British Top Ten and paved the way for the group's premiere LP, As Safe as Yesterday Is.

After touring the U.S. in support of 1969's Town and Country, Humble Pie returned home only to discover that Immediate had declared bankruptcy. The band recruited a new manager, Dee Anthony, who helped land them a new deal with A&M; behind closed doors, Anthony encouraged Marriott to direct the group towards a harder-edged, grittier sound far removed from the acoustic melodies favored by Frampton. As Marriott's raw blues shouting began to dominate subsequent LPs like 1970's eponymous effort and 1971's Rock On, Frampton's role in the band he co-founded gradually diminished; finally, after a highly charged U.S. tour which yielded 1971's commercial breakthrough Performance: Rockin' the Fillmore, Frampton exited Humble Pie to embark on a solo career.

After enlisting former Colosseum guitarist Dave "Clem" Clempson to fill the void, Humble Pie grew even heavier for 1972's Smokin', their most successful album to date. However, while 1973's ambitious double studio/live set Eat It fell just shy of the Top Ten, its 1974 follow-up Thunderbox failed to crack the Top 40. After 1975's Street Rats reached only number 100 before disappearing from the charts, Humble Pie disbanded; while Shirley formed Natural Gas with Badfinger alum Joey Molland, and Clempson and Ridley teamed with Cozy Powell in Strange Brew, Marriott led Steve Marriott's All-Stars before joining a reunited Small Faces in 1977.

In 1980, Marriott and Shirley re-formed Humble Pie with ex-Jeff Beck Group vocalist Bobby Tench and bassist Anthony Jones. After a pair of LPs, 1980's On to Victory and the following year's Go for the Throat, the group mounted a troubled tour of America: after one injury-related interruption brought on when Marriott mangled his hand in a hotel door, the schedule was again derailed when the frontman fell victim to an ulcer. Soon, Humble Pie again dissolved; while Shirley joined Fastway, Marriott went into seclusion. At the dawn of the 1990s, he and Frampton made tentative plans to begin working together once more, but on April 20, 1991, Marriott died in the fire which destroyed his 16th century Arkesden cottage. He was 44 years old. ~ Jason Ankeny, All Music Guide [-] Hide

Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their... [+] Read More

Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their music remained firmly entrenched in blues, rock, and country. For many, Lynyrd Skynyrd's redneck image tended to obscure the songwriting skills of their leader, Ronnie Van Zant. Throughout the band's early records, Van Zant demonstrated a knack for lyrical detail and a down-to-earth honesty that had more in common with country than rock & roll. During the height of Skynyrd's popularity in the mid-'70s, however, Van Zant's talents were overshadowed by the group's gritty, greasy blues-rock. Sadly, it wasn't until he was killed in a tragic plane crash in 1977 along with two other bandmembers that many listeners began to realize his talents. Skynyrd split up after the plane crash, but they reunited a decade later, becoming a popular concert act during the early '90s.

While in high school in Jacksonville, FL, Ronnie Van Zant (vocals), Allen Collins (guitar), and Gary Rossington (guitar) formed My Backyard. Within a few months, the group added bassist Leon Wilkeson and keyboardist Billy Powell, and changed their name to Lynyrd Skynyrd, a mocking tribute to their gym teacher Leonard Skinner, who was notorious for punishing students with long hair. With drummer Bob Burns, Lynyrd Skynyrd began playing throughout the South. For the first few years, the group had little success, but producer Al Kooper signed the band to MCA after seeing them play at an Atlanta club called Funocchio's in 1972. Kooper produced the group's 1973 debut, Pronounced Leh-Nerd Skin-Nerd, which was recorded after former Strawberry Alarm Clock guitarist Ed King joined the band. The group became notorious for their triple-guitar attack, which was showcased on "Free Bird," a tribute to the recently deceased Duane Allman. "Free Bird" earned Lynyrd Skynyrd their first national exposure and it became one of the staples of album rock radio, still receiving airplay decades after its release.

"Free Bird" and an opening slot on the Who's 1973 Quadrophenia tour gave Lynyrd Skynyrd a devoted following, which helped their second album, 1974's Second Helping, become its breakthrough hit. Featuring the hit single "Sweet Home Alabama" -- a response to Neil Young's "Southern Man" -- Second Helping reached number 12 and went multi-platinum. At the end of the year, Artimus Pyle replaced drummer Burns and King left the band shortly afterward. The new sextet released Nuthin' Fancy in 1975, and it became the band's first Top Ten hit. The record was followed by the Tom Dowd-produced Gimme Back My Bullets in 1976, which failed to match the success of its two predecessors. However, the band retained their following through constant touring, which was documented on the double live album One More from the Road. Released in late 1976, the album featured the band's new guitarist, Steve Gaines, and a trio of female backup singers, and it became Skynyrd's second Top Ten album.

Lynyrd Skynyrd released their sixth album, Street Survivors, on October 17, 1977. Three days later, a privately chartered plane carrying the band between shows in Greenville, SC, and Baton Rouge, LA, crashed outside of Gillsburg, MS. Ronnie Van Zant, Steve Gaines, and his sister Cassie, one of the group's backing vocalists, died in the crash; the remaining members were injured. (The cause of the crash was either fuel shortage or a fault with the plane's mechanics.) The cover for Street Survivors had pictured the band surrounded in flames; after the crash, the cover was changed. In the wake of the tragedy, the album became one of the band's biggest hits. Lynyrd Skynyrd broke up after the crash, releasing a collection of early demos called Skynyrd's First and...Last in 1978; it had been scheduled for release before the crash. The double-album compilation Gold & Platinum was released in 1980.

Later in 1980, Rossington and Collins formed a new band that featured four surviving members. Two years later, Pyle formed the Artimus Pyle Band. Collins suffered a car crash in 1986 that killed his girlfriend and left him paralyzed; four years later, he died of respiratory failure. In 1987, Rossington, Powell, King, and Wilkeson reunited Lynyrd Skynyrd, adding vocalist Johnny Van Zant and guitarist Randall Hall. The band embarked on a reunion tour, which was captured on the 1988 double live album Southern by the Grace of God/Lynyrd Skynyrd Tribute Tour -- 1987. The re-formed Skynyrd began recording in 1991, and for the remainder of the decade, the band toured frequently, putting out albums occasionally. The reunited Skynyrd frequently switched drummers, but it had little effect on their sound.

During the '90s, Lynyrd Skynyrd were made honorary colonels in the Alabama State Militia, due to their classic rock staple "Sweet Home Alabama." During the mid-'90s, Van Zant, Rossington, Wilkeson, and Powell regrouped by adding two Southern rock veterans to Skynyrd's guitar stable: former Blackfoot frontman Rickey Medlocke and ex-Outlaw Hughie Thomasson. With ex-Damn Yankee Michael Cartellone bringing stability to the drum chair, the reconstituted band signed to CMC International for the 1997 album Twenty. This lineup went on to release Lyve from Steeltown in 1998, followed a year later by Edge of Forever. The seasonal effort Christmas Time Again was released in fall 2000. Although Wilkeson died one year later, Lynyrd Skynyrd regrouped and recorded Vicious Cycle for a 2003 release. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

It was only fitting that the ultimate Southern rock institution, Lynyrd Skynyrd -- certainly one of the more tragic stories in rock & roll history -- should be one of the first bands to benefit from a comprehensive box set. Following the format of the highly successful Led Zeppelin box set, this three-disc, 47-song anthology provides a... [+] Read More

It was only fitting that the ultimate Southern rock institution, Lynyrd Skynyrd -- certainly one of the more tragic stories in rock & roll history -- should be one of the first bands to benefit from a comprehensive box set. Following the format of the highly successful Led Zeppelin box set, this three-disc, 47-song anthology provides a near-perfect career retrospective, complete with a carefully researched booklet with meticulous historical essays and rare photos for the new and rabid fan alike. The latter will probably be most interested in disc one, which features a number of early demos dating back as early as 1970 and not featured in prior collections, as well as an embryonic demo of "Freebird" minus its extended-jam coda. The nine-minute version from the band's milestone debut, Pronounced is also featured here, of course, as is most of the material from the group's next album, Second Helping, generally regarded as their career peak. Disc two alone could serve as a greatest-hits set, as classic after classic is rattled off in mind-blowing succession. And even when the creative fires finally begin to wane somewhat as the set approaches the Nuthin' Fancy and Gimme Back My Bullets material (recorded at a time when the band was plagued by overwork and escalating drug abuse), the set wisely offers alternate versions and live renditions to keep things interesting. The first half of disc three alternates never-before-heard concert performances with other, equally inspired live versions. Its second half is dominated by the unintentional swan song Street Survivors. Released only three days before the fateful plane crash, the album saw a re-energized Skynyrd achieving a new level of maturity, power, and purpose. Although most box sets tend to be a bit too much for the casual fan to swallow, this one feels just right. ~ Ed Rivadavia, All Music Guide [-] Hide

The best studio album in the group's history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs, including "Midnight Rider," "Revival," "Don't Keep Me Wonderin'," and "In Memory of Elizabeth Reed" in its embryonic studio version, which is pretty impressive even at a mere six minutes... [+] Read More

The best studio album in the group's history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs, including "Midnight Rider," "Revival," "Don't Keep Me Wonderin'," and "In Memory of Elizabeth Reed" in its embryonic studio version, which is pretty impressive even at a mere six minutes and change. They also do the best white cover of Willie Dixon's "Hoochie Coochie Man" anyone's ever likely to hear. ~ Bruce Eder, All Music Guide [-] Hide

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that... [+] Read More

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they'd ever have to the table. On the surface, there's nothing really special about the record, since it's just a driving blues-rock album from a Texas bar band, but that's what's special about it. It has a filthy groove and an infectious feel, thanks to Billy Gibbons' growling guitars and the steady propulsion of Dusty Hill and Frank Beard's rhythm section. They get the blend of bluesy shuffles, gut-bucket rocking, and off-beat humor just right. ZZ Top's very identity comes from this earthy sound and songs as utterly infectious as "Waitin' for the Bus," "Jesus Just Left Chicago," "Move Me on Down the Line," and the John Lee Hooker boogie "La Grange." In a sense, they kept trying to remake this record from this point on -- what is Eliminator if not Tres Hombres with sequencers and synthesizers? -- but they never got it better than they did here. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

ZZ Top returned after an extended layoff in late 1979 with Degüello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much -- hell, their sound never really changed during their entire career -- but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began... [+] Read More

ZZ Top returned after an extended layoff in late 1979 with Degüello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much -- hell, their sound never really changed during their entire career -- but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began to dominate, as "Cheap Sunglasses" and "Fool for Your Stockings" illustrate. Ironically, this, their wildest album lyrically, doesn't have the unhinged rawness of their early blooze rockers, but the streamlined production makes it feel sleazier all the same, since its slickness lets the perversity slide forth. And, forget not, the trio is in fine shape here, knocking out a great set of rockers and sounding stylish all the time. Undoubtedly one of their strong suits. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect.... [+] Read More

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard It on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts -- and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound -- and Fandango! remains one of their better albums, but it's hard not to think that it could have been even better. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide