The Good Earth

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The Good Earth album cover
Album Information

Total Tracks: 10   Total Length: 36:26

eMusic Review 0

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Douglas Wolk

eMusic Contributor

Douglas Wolk writes about pop music and comic books for Time, the New York Times, Rolling Stone, Wired and elsewhere. He's the author of Reading Comics: How Gra...more »

09.28.09
The Feelies calm down a bit, murmuring and strumming to the skies
Label: Bar/None Records

Six years passed between the Feelies' debut and The Good Earth, during which time the band's singer/guitarists Bill Million and Glenn Mercer lost their rhythm section, drifted into a considerably mellower New Jersey band called the Trypes, and more or less absorbed them. The reconstituted Feelies, with the two-percussionist lineup that's stayed with them ever since, had the speed and rhythmic depth of their earlier incarnation, but put aside their old brittleness and tension for a new kind of pastoral calmness. Co-produced by R.E.M.'s Peter Buck, The Good Earth repurposes the frantic propulsion of Feelies heroes the Velvet Underground as a lithe, graceful celebration of their own natural strum-and-drum idiom. "Become what you are/Can't be too hard," they sing.

Not a lot of hooks jump out of the mix: as an album, it's more about flow than signposts or destinations, and most of Mercer and Million's lyrics are barely formed and barely murmured. But the simple three- and four-chord riffs that underpin everything here (even the experimental piece "When Company Comes") are the skeleton for warm, harmonious arrangements that speed forward frictionlessly. Even when the group revs all the way up, on the album's centerpiece "Slipping (Into Something)" (which the nascent… read more »

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More Feelies!!!!

61Blues

Bring 'em on....

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The Musical G-Spot

markhighwire

This is the feelies second album, but it's the first with the line up that would put out the rest of their albums. I saw them in Providence RI in 1988 and a radio DJ announced the show by saying 'they find the musical g-spot and rub, rub, rub.' I've not ever heard a better description, and it fits perfectly for The Good Earth. "Slipping (into something)" may be my favorite Feelies song of all time.

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Staying Power

Takecrew

A lot of critics can't seem to deal with post-Crazy Rhythms Feelies. But while quite different, this album has great staying power for me. Twenty-three years after first buying it on vinyl I can still listen to this with undiminished pleasure.

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Old favorite

libelle

Glad to see this here on eMusic. I lost the entire Feelies discography when my house was burglarized, and could never afford to replace it -- at one point, I saw Good Earth going for $125 on ebay! This album is simultaneously REM mellow and crazy rocking. Recommended!

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Finally!

tiffanywils

I've been wanting to replace my overly worn tape of this album, so I'm crazy psyched this is finally available. This album really maintains the jittery energy from "Crazy Rhythms," but the sound is much warmer...The epitome of jangle...

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sublime americana

EMUSIC-00FCD62E

so happy to be the first to review this. got it on cassette in 1990, and while it's one of the few from back then to stay in rotation across 20 years of new music discoveries, i always figured it would be an "overlooked" classic, never to resurface in print. like 7am sunlight spreading over a prairie...

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They Say All Music Guide

After the various side projects and explorations the band got up to for most of the early ’80s, not to mention switching some members around (with bassist Sauter and drummer Demeski now forming the rhythm section), the Feelies made a fine return with The Good Earth. With co-production from noted fan Peter Buck, the group exchanged some of the understated tense frazzle of Crazy Rhythms for a gentler propulsion without losing its trancy edge. Compared to the wispy jangle rock that passed for much of college radio at the time, the Feelies proposed a different path with the songs’ steady pace and murkier feeling. Demeski’s a more than fine replacement for Fier (his martial playing on “Tomorrow Today” is one of his many entertaining touches), Sauter’s playing emphasizes controlled understatement, and the Million/Mercer guitar duo still nails it. The brisker jauntiness of songs like “The Last Roundup,” which wears just enough of a country & western edge without seeming like a parody or half-assed, varies the calmer moods elsewhere very well. At the album’s considerable best, such as the brief but really lovely acoustic/electric blend of “When Company Comes” or the title track, with an almost epic ending, Million and Mercer sound like they inhabit the same body playing two guitars, everything’s that much in lovely sync. Their vocals ride low in the mix this time out, but thankfully the sometimes all-too-obvious hints of Lou Reed in Mercer’s style have been replaced with a more unique, stronger edge — not that the connection still isn’t there on a track like the building groove of “Slipping (Into Something).” Reed would also love its concluding guitar solo! Perhaps the only criticism is a slight sameness between a few songs, but there’s more sly variety on display to offset this gentle treasure. [The 2009 reissue of the album adds three bonus tracks available as digital downloads. These tracks are covers of the Beatles' "She Said, She Said"and Neil Young's "Sedan Delivery" plus a live version of "Slipping (Into Something)"] – Ned Raggett

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