Old flames are rekindled on Rewind, as The Feelies reunite with lost loves on a collection of squirrelly, punched-up covers remade in their image over the course of the New Jersey indie-rock icons’ glorious history. Recorded at various session stops along the way, these playful, seemingly off-the-cuff revisions – undoubtedly banged out quickly, without overthinking anything – let their obvious fondness for these classics shine through. Their aim has always been true.
And it certainly is on Rewind, its release prompted by a desire to dive right into Patti Smith’s witchy wonder “Dancing Barefoot” and speed it up, to whip it into shape as more of a vigorously strummed, jangle-pop romp – snappy and crisp, as is their way. Appropriately, it leads off Rewind, with Brenda Sauter’s low-flying vocals helping retain the original’s air of mystery, tambourine shaking violently and a winding, tortured guitar lead briefly exploring unchartered territory.
Similarly, Neil Young’s “Barstool Blues” is sharpened and refined, and yet it sounds as wild, impassioned, and raw as Young’s first reading, roughly rendered with searing, righteously mangled fretwork. While giving The Rolling Stones’ “Paint it Black” a garage-y psych workout, The Feelies cleanly race across The Modern Lovers’ “I Wanna Sleep in Your Arms” like punk marauders, later assuming the same role in spiking Young’s “Sedan Delivery” with manic energy.
Eight of the nine songs on Rewind were fashioned for immediate gratification by the classic Feelies lineup, featuring Sauter on vocals and bass, Glenn Mercer on lead vocals and guitar, Bill Million on backing vocals and guitar, and Stan Demeski on drums, with Dave Weckerman and his assortment of percussive tricks at the ready. The exception: a lively, frenetic run through The Beatles’ “Everybody’s Got Something to Hide (Except Me and My Monkey),” with drummer Anton Fier and bassist Keith DiNunzio joining the fray.
Speaking of The Fab Four, Rewind also boasts a swift take on “She Said She Said” that feels tighter and catchier than The Beatles’ more languid and lysergic version. The Feelies’ cover also picks up the tempo, gathering even greater momentum the deeper in they go. Rewind is that rare covers album that could be considered essential, at least to Feelies followers. It comes on the heels of their acclaimed worship hymnal of Velvet Underground remakes, Some Kinda Love: Performing the Music of the Velvet Underground. The Feelies seem to have a knack for this sort of thing.
