paul barrere, 1941-2019

Paul Barrere. Photo by Hank Randall.

I came to the music of Little Feat somewhat late in the game. The band’s reputation as a kind of hipster/hippie rock troupe from the West Coast, matching often whimsical narratives to rock melodies full of rough, rootsy authority, was already in place thanks to its first five albums. Two were cut as an initial quartet, the rest as a made-over, more richly orchestrated sextet that placed the vocals and guitarwork, each as sly and electric as the other, of Lowell George front and center.

Strict attention to the band, for me, took place after seeing it live for the first time in the spring of 1977, which roughly coincided with the release of its sixth album, “Time Loves a Hero.” Having appeared disconnected and, frankly, ill at the ’77 show at the University of Kentucky’s Memorial Coliseum, George was letting his hold on the Little Feat sound slip. The “Times Loves a Hero” music was slicker, jazzier and more open to the voices that would become de facto leaders of the band from that point on – guitarist Paul Barrere and keyboardist Bill Payne.

Barrere didn’t so such change the George approach as modify it. A wicked slide guitarist, as was George, he smoothed out the creases in the Little Feat sound. The album was still full of George-level wit in songs like “Old Folks Boogie” (which Barrere wrote) and “Keeping Up with the Joneses” (which he co-composed with George). Similarly, Barrere’s vocals were more relaxed, yet full of swampy, Southern-fried comfort – a curiosity given his California roots.

George died in 1979 with Little Feat disbanding shortly thereafter. It reformed in 1988, with Craig Fuller, followed by Shaun Murphy, handling George’s vocal duties before they were eventually assimilated by Barrere. And so Little Feat has remained until today. While few of its post-George recordings caught lasting fire with fans (the 1988 comeback album “Let It Roll” being an exception), their live shows remained thrilling – a product of fusion-esque band dynamics, vintage rock and soul smarts and a performance stamina that remained undiminished until the years began taking their toll.

Drummer Richie Hayward died of liver cancer in 2010. Barrere was diagnosed with the same disease in 2015 following battles with Hepatitis C that began over two decades earlier. Barrere remained with Little Feat through this year, but opted out of a fall tour (that included a date at the Louisville Palace two weeks ago) to recover from medical treatments. He died yesterday at the age of 71.

My favored memory of Barrere was not the 1977 show. It was instead a 1990 appearance at the now demolished Cardinal Stadium in Louisville where Little Feat was opening for, of all people, Jimmy Buffett. I had zero interest in seeing Buffett but was thrilled to experience the reactivated Feat for the first time since George’s death. The sound was night and day when compared to the ’77 concert. Despite the vast outdoor setting, the band’s ensemble groove was dense but razor sharp during “Rock and Roll Doctor,” undeniably funky during a New Orleans-style makeover of “Fat Man in the Bathtub” and beautifully joyous throughout “Let It Roll” and “Rad Gumbo,” the latter two being among the most rhythmically infectious works of the post-George era.

Looking for a record of Barrere at his best? Then head right for the definitive Little Feat album, the 1978 concert chronicle “Waiting for Columbus,” which had George and Barrere in fine performance form and the already buoyant band sound bolstered by the Tower of Power horns.

So farewell, Mr. Barrere. Thanks for letting it roll so gloriously all these years.

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