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The Feelies Time For A Witness Rar: Stream or Download the Full Album for Free



Even 28 years later, this combination of Weckerman and kit drummer Stan Demeski continues to distinguish the Feelies from the jingle-jangle velvet rockers they'd influenced via R.E.M.. Stripping extraneous cymbal crashes and replacing them with any number of other colorations, sometimes not immediately obvious, the two make inventive frames for chief songwriter Glenn Mercer's increasingly monosyllabic rumination and fat-toned lead guitar. The band's obsessive percussive roots can be heard most clearly on *Only Life'*s "The Undertow": Beginning with a drum/woodblock polyrhythm and a slow guitar fade-in, the insistent layers turn together like jittering clockwork, a meticulously arranged through-line to the band's pepped-up Crazy Rhythms-era minimalism featuring former Pere Ubu drummer Anton Fier. The effect is cathartic, neuroses drowned in motion.




The Feelies Time For A Witness Rar



"I don't talk much 'cause it gets in the way, don't let it get in the way," Mercer sang quite articulately on "Crazy Rhythms," an early signature song. By the time of Time For A Witness, Mercer's songwriting persona spoke less and less, too, chiseling his lyrics down to phrases that traded between terse, profound, and nearly generic recombinations drawn from rock's lingua franca. Sometimes, it serves the band well, as on "Doin' It Again," perhaps the closest they ever veered to pop. With only one couplet about a party on a lawn, Mercer transforms the otherwise-vague lyrics of "Invitation" into a specific memory of a long-ago evening. But in many other places, the songs feel less like individual expressions and more like convenient platform for the Feelies to lock into their now-signature groove.


OK, I stumbled into this a year after you wrote it, but I feel the need to add a few recent Feelies facts:* After a 20-year hiatus, they released their fifth album, "Here Before" in 2011.* Their sixth album ("In Between") comes out tomorrow!* One of the commenters mentioned that Bill Million moved to Florida... he did, and I don't know where he's living now, but he's back with the band.* They still play live, a few times a year, on the East Coast, but have stopped touring because a few of them have hearing issues. Tour dates can be found at thefeeliesweb.com .Also they've been one of my favorite recorded bands for years, and have been at the top of my "Want to see Live!" list for awhile. Last year I got to see them three times. Some of the best shows I've ever been to. If anyone has to chance to see them live, don't miss it!


Miracle Legion, like Polaris after them, spun sugar-sweet melodies tinged with reckless, youthful abandon and married them with lyrics of deep wonder and longing--the sonic equivalent of a last, wistful summer with a partner or a fun if emotionally panged, idle flip through an old yearbook. With Mulcahy gamely playing the role of mystic frontman--punctuating his lyrics with unpredictable onstage jigs or blasts of harmonica while singing in a clear tone that time has not aged--and co-pilot Neal precisely picking his way through the gorgeous melodies he often co-wrote, I've found Miracle Legion shows to be a transformative experience, and will mourn their end (though not without the enjoyment of a live album, Annulment, culled in part from the Bell House show I was lucky to witness).


The early '90s were a one-step-forward, one-step-back time for Miracle Legion. They added a rhythm section (McCaffrey and Boutier) but lost a label (Rough Trade declared bankruptcy in 1991), then gained a label (Morgan Creek Records, offshoot of the burgeoning film production company behind the hit Robin Hood: Prince of Thieves) which endured its own financial issues that kept the band in considerable limbo (a limbo buoyed by the Polaris project for Nickelodeon). It's a shame that Drenched, produced by John Porter, didn't get a wider audience, with "So Good," "Out to Play" and the peppy "Snacks and Candy" highlights on an album full of them. Extra tracks abound, too, including covers of David Bowie and Mission of Burma plus an early version of "Homer," from the group's final studio album, heard here on the soundtrack to the college comedy A Matter of Degrees.


Yeah, saw these guys like a billion times at the Grotto and surrounding New Haven area clubs in the 80's...no big deal...I watched the Meat Puppets blow them off the stage at CBGB's ... they appeal to narcissistic, cooler-than-though types...I liked them for like 5 minutes when I was 20, and then I grew up.


Notable Nugget: The song is possibly the shortest Farrar track of all time, coming in at just one minute and 42 seconds (it gets a slightly longer arrangement on live album Stone, Steel & Bright Lights, clocking in at 2:30).


Can only echo what Scott said. Impossible job.They were such a key part of my poly life, saw them live so many times. Boat to Bolivia remains one of my fav lps but also think the boys heart a bit of a lost classic. Agree beyond the leap is the best of the collaborations. Also love the first solo lp especially Solomon


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