The Feelies – The Good Earth

What I Think of When I Think of This Artist (part 2)

Six years separated the first two Feelies albums. Anton Fier and Keith DeNunzio both left the band and Bill Million and Glenn Mercer basically fucked around New York for a few years, making music in various guises. In 1985, they reformed with Dave Weckerman back in the fold and new members Brenda Sauter on bass and Stanley Demeski on drums. This five piece has been the Feelies ever since. This was the last of the core Feelies albums I bought, waiting for the 2009 reissue (the original had been released on the small Coyote Records imprint and it was impossible to find).

What I Think of This Album

Liberated from any momentum generated by Crazy Rhythms, and with a new perspective after years of exploring different approaches via their various side projects (some with new members Brenda Sauter and Stanley Demeski and returning original compatriot Dave Weckerman), the Feelies returned with the more sedate The Good Earth, a title that itself gives off bucolic vibes.

While some have attributed the change in sound to producer Peter Buck’s (REM) presence, he has denied playing much of any role beyond cheerleader. And it’s difficult to believe that Mercer and Million were somehow cajoled into doing something they didn’t want to. There are similarities to the driving sound of the debut, even if this album is much calmer. 

That said, this isn’t slowcore. There are plenty of electric guitars and Mercer still plays biting leads – check out the solo on “On the Roof.” If anything, there is a greater sense of steady propulsion and thrumming hypnotism on The Good Earth. Whereas the band communicated unease and tension on the debut, here they sound confident and determined.

Every track is excellent, but Demeski does a particularly impressive job on tracks like “The Last Roundup,” “Two Rooms,” and “Tomorrow Today.” “Let’s Go” is an invitation no one with a heart(beat) could turn down. The jangle of “The High Road” is immensely appealing. The twin guitar work on “Two Rooms” is fascinating. Closer “Slow Down” is a masterpiece of mood and tautness.

“Slipping (Into Something)” is an enjoyable slab of Velvet Underground homage while also being perhaps the least interesting song on the album. The atmospherics of “When Company Comes” sound like Ennio Morricone got his hands on, well, I guess the Velvet Underground. It is a lovely lovely lovely and meticulously crafted song – listen for the dog barking at roughly :40.

Note:  the reissue comes in a cardboard sleeve of non-standard size, which annoys me. It also comes with a little business card that allows you to download extra tracks (two covers (Beatles and Neil Young) and a live version of “Slipping”) – apparently the band wanted the actual album to stand alone. I have not downloaded the tracks, only because I don’t like “owning” music in purely digital form. I need a physical medium.

The Best Thing About This Album

Stanley Demeski is the absolute MVP on this.

Release Date

1986

The Cover Art

While I don’t feel strongly about it, I agree that this is probably the perfect image (with coloring) to accompany this album.

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