Revered by many, heard by relatively few, faded from existence until an unexpected reunion late last year, the FEELIES were always destined for little more than cult status. The Hoboken band practically defined “jangle pop” – except they didn’t, with its ringing guitars and tuneful melodies offset by tension-filled arrangements and unsweetened vocals. It’s hard to separate the Feelies from a mini-genre much beloved by underground rock fanatics, yet a fresh listen reveals a band as much apart from any classifications as part of them.
Not that their potential audience has had much of a chance to hear for themselves, as the band’s first two albums have been out of print for almost two decades. Until now, that is. At long last re-released with remastered sound and bonus tracks (the latter available only as downloads, so as not to interrupt the original albums’ intended flow), 1980’s Crazy Rhythms and 1986’s The Good Earth get the chance to reacquaint their old audience with their glories and introduce a new audience to their charms.
At first, second and third blush, Crazy Rhythms deserves every accolade ever heaped upon it. Like R.E.M. around the same time, the Feelies take inspiration from both the BYRDS and the VELVET UNDERGROUND, especially the latter’s self-titled third album. But to this template the band adds a tense, nervous drive derived from late 70s postpunk; the 60s folk rock melodies and guitar chimes are echoes in the mix more than actual sounds. Frontperson GLENN MERCER makes his stiff voice ring with passion and his guitar leads feel thick as ropes, while his and BILL MILLION‘s rhythm work vibrates like the amps are full of caffeine. ANTON FIER‘s drumming nails the beat to the wall, accented by extraneous stick rattles that add to the jumpy atmosphere. With excellent songs like “Original Love,” “Moscow Nights” and “The Boy With the Perpetual Nervousness” (the Feelies anthem), the sound is jittery and frantic, yet never loses melody in its frantic rush to get itself across. A cover of the BEATLES‘ “Everybody’s Got Something to Hide Except Me and My Monkey” races to the finish line like a child being chased by a starving wolf – the jangle applies to nerve endings as much as guitar strings. As the launching pad for thousands of indie rock bands to come, Crazy Rhythms is a milestone. As a piece of music for listening, it’s simply a great guitar pop record. The bonus cuts are mostly fiery demos that may be even more frenzied than the later versions, as well as live versions of album tracks and a concert take on key influence the MODERN LOVERS‘ “I Wanna Sleep in Your Arms.”
The Good Earth followed after nearly six years of side projects and infrequent concert performances. Joined by a new rhythm section (bassist BRENDA SAUTER, drummers/percussionists STANLEY DEMESKI and DAVE WECKERMAN, all of whom stayed for the duration), Mercer and Million persevered with new maturity, taking time to put down the coffee cups and pull up chairs. “On the Roof,” “Let’s Go” and the title track prominently feature acoustic guitars and folky melodies, while “Slow Down” builds to epic status so gently you’ll have the lighters out before you realize the climax never quite comes. Mercer relaxes his singing, burying it in the mix like another instrument. It’s a logical evolution for a band like this – sustaining the hyperactive energy level of the first record would take its toll on anyone. Which isn’t to say the old buzz is gone – “Two Rooms” and “The Last Roundup” shiver and shake as in days of yore. It’s the contrast between warmth and tension that makes this record as compelling as the debut, and it’s embodied in “Tomorrow Today” and “Slipping (Into Something),” the evolution of which from acoustic folk rock to psychedelic freakout mirrors the journey of the band itself. The Good Earth isn’t as innovative as Crazy Rhythms, but it expands the Feelies’ horizons without abandoning its original strengths. The bonus cuts include another Beatles cover (“She Said, She Said”), a version of NEIL YOUNG‘s “Sedan Delivery” that would’ve fit on the first record and a magnificent live take of “Slipping.”
If, like me, you’re a Feelies fan who missed out on the band’s opening and follow-up statements, you can rejoice that these albums are back in circulation. If you know only the legend of the Feelies and not the reality, pick up Crazy Rhythms and The Good Earth and you’re in for an ear-opening treat.
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