ELIMINATE ME DRIVE OVER MY FACE

Because streamlining your blues rock and bringing out a record more mechanical, futuristic, cold, driving, and grandiose than your blues rock contemporaries and heavy metal rivals should be the stupidest fucking idea in the world (Trans), but it was the best decision the beards and the non-bearded Beard ever made, not just commercially, but to my ear too. Then again, I'm a fan of Trans.

A+

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Lowell George - Thanks, I’ll Eat It Here (1979)

Thanks, I’ll Eat It Here is Lowell George’s response to both Little Feat’s progressively complex fusion direction, and critics’ expectations of the solo record as the artist’s visionary statement. Stripping back his band’s pretensions, he gives the listener a set of originals and covers daringly organic and humble. He lets Toussaint have his What Do You Want the Girl to Do?, and refuses to compete with Ann Peebles on Can’t Stand the Rain. Warmly personal rather than visionary, his record pays tribute to the influences he lovingly aped on Dixie Chicken, and plays like a best-of as it so succinctly showcases his charm and simple genius

A

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Little Feat - Dixie Chicken (1973)

It bums me out that I like this Little Feat record the most 'cause Sailin' Shoes, The Last Record Album, and Waiting For Columbus have even cooler album artwork

I like Little Feat a lot 'cause I like Lowell George's voice and also his taste in music. After playing country/blues really well for a while, Little Feat started bringing in more New Orleans R&B influences and writing better choruses, and that's Dixie Chicken.

A

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Night Moves (1976)

I came to the conclusion today that I like Bob Seger more than Aerosmith. I KNOW RIGHT, CRAZY

You don't care! Neither do I, really! Rocks is still great. Seger was always the whore I visited on my way back from a Springsteen binge. But now I'm starting to like him a lot. Probably not marriage material 'cause I don't wanna break up w Bruce, but I'm REALLY liking this record. Or at least I'm starting to see it for its own merits. It's safe, potentially boringly so. But his band can ROCK when they want to, albeit safely, and things never turn out boring. And Seger's lyrical introspection/nostalgia/blue-collar-heroism/realism: Worrying about your credit rating--now that's what I call rock and roll realism (Robert Christgau) repeatedly brings to mind Springsteen, but I guess he never put a copyright on every-man rock and roll and Seger's sincerity sells it to me any way.

B