I hadn't heard much of Joni Mitchell's music. Just the 1971 hit Big Yellow Taxi and her version of Woodstock, which she wrote. Neither of which I was particularly enamoured of, but people raved about her, so I figured there must be something going on. Maybe there is, but I didn't find it with this album. Its formless and whimsical, like she's just piss-farting about. Don't get me wrong - whimsy can produce really good music. Just not in this case.And yet, Blue was an almost instant critical and commercial success, peaking in the top 20 in the Billboard Album Charts in September 1971 and also getting to 3 in the British charts.
What I do understand about Joni Mitchell is that it might well be a case of some people getting her and some people not, with me firmly in the latter category. What I hear as shapeless, meandering quasi-melodies with what seems like two octave shifts in every line, others undoubtedly hear as well crafted, tantalizingly-structured, not easily accessible songwriting and unique singing from deep inside a beautiful soul.But put it this way: if I was in charge of security at my local shopping mall and had to find a way to stop teenagers from hanging around, I'd be piping this album through the PA.
Sailin' Shoes - Little Feat:
So many people I admired sang the praises of this outfit that I probably had unrealistic expectations. I thought maybe they might sound a bit like the Allman Brothers, or Atlanta Rhythm Section, or maybe Lynyrd Skynyrd. Or possibly even the Rolling Stones.Little Feat recorded this album at Sunset Sound Recorders in Los Angeles, where the Stones' Exile On Main Street was being finalized in 1972, and apparently the two bands got along like a house on fire and traded a few licks during whatever down time the Stones' had. It was even rumoured that listening to Little Feat had influenced the songs on the "country side" of the Stones' double album, but this is very much unconfirmed.
What Sailin' Shoes sounds like to me is like an album of sub-standard outtakes from the Grateful Dead's country-rock period in 1969-70. I can't think of a single song that stands out as a really good track. The songs are lacklustre and unmemorable. Neither the country nor the rock really works and they certainly don't blend very well on this album.
But there's one thing about Little Feat that makes me not want to give up on them completely: the guitar playing of Lowell George. He is one of the greats of the slide guitar with a uniquely fluent, bluesy style. It's difficult to understand why he wasn't given more prominence on Sailin' Shoes. It might have made a few songs passable. His playing on a 1979 cover version of I Can't Stand The Rain from Thanks, I'll Eat It Here, his only solo album, is terrific. And on a cover of a disco song, for fuck's sake!
A great many players have cited George as an influence, particularly Mick Taylor, who started using a heavy spark-plug spanner after he saw Lowell playing slide with one.I don't normally use this expression, but for Sailin' Shoes, it's the most apt description I can think of:
meh
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