The Feelies Honor The Velvet Underground with New Live Album

The Feelies and the Velvet Underground would seem to share a common bond. Both bands had a marked impact on the trajectory of modern rock, each in their own way.

When the Velvets originally formed in 1964, they created a decidedly dark ambiance, a stark sound and a menacing intent that had little in common with the giddy, euphoric appeal of ‘60s rock. Likewise, the Feelies offered an angular approach to their own pop precepts, making them one of the most respected modern rock bands of the late ‘70s and beyond. 

After a 17-year sabbatical that ended in 2008, the Feelies began playing assorted gigs and saw the reissue of their two seminal albums, Crazy Rhythms and The Good Earth, two efforts that marked their emergence as one of the most adventurous and acclaimed outfits of the modern era. In honor of their 40th Anniversary, their record label, Bar/None Records, re-released their third and fourth albums, Only Life and Time for a Witness, in early 2015. The band also found time to cut two new albums in the last 20 years as well in 2011’s Here Before and 2017’s In Between.

“We reformed when we were asked to play again,” Feelies co-founder Glenn Mercer explained. “We thought it over and everyone wanted to do it.”

Their latest effort, the just-released Some Kinda Love, marks their first ever live album and encompasses a set of songs originally recorded by the Velvet Underground on their four original albums beginning with “Sunday Morning,” the first song on the Velvets’ debut and closing with “Oh! Sweet Nuthin’,” the final song on their last studio album together, 1970’s Loaded.

The concert took place at a sold-out show at White Eagle Hall in Jersey City, NJ, on October 13. 2018, with the live recording produced by Mercer and fellow Feelie Bill Million. Propelling the music, as always, is the band’s mighty rhythm section of Stan Demeski (drums), Dave Weckerman (percussion) and Brenda Sauter on bass. Yet playing this show in Jersey City was not in the original plan.

“We played the special tribute show in conjunction with The Velvet Underground Experience Exhibit,” Mercer explained. “The exhibit was first held in Paris and then moved to New York City. The original idea was to play at the exhibit site. However, there was a delay in the schedule that resulted in a venue change that prevented us from performing there. We decided to stage the event at a different location.”

Naturally the band was very selective about the material they chose to perform. “We started the song selection process with the songs we’d played previously and then added more to fill out the set,” Mercer continued. “We wanted to illustrate the variety in the material and I think we did that.”

That said, the band eschewed any attempt at simply mimicking the original renditions. 

“Basically, we just played the songs the way we usually play and didn’t concern ourselves with trying to sound a particular way,” Mercer said. “I know a lot of bands consider the VU an influence, including us, but I have yet to hear a band that sounds like them, including us. The VU, to my ears, cover a wide range of styles and some bands focus on one particular style, the loud, or the softer stuff, but seldom do I hear the whole package.”

Mercer’s connection with the Velvet Underground dates back to the beginnings of the VU’s career. “I heard The Velvet Underground & Nico LP when it came out,” he recalled. “I liked a few songs on it, but generally thought it was too weird sounding compared with everything else going on at the time.”

That seems an accurate summation of its impact back then, especially given the fact that it birthed the career of the late Lou Reed, one of rock’s most decided  insurgents. On the other hand, Mercer eschews any role that the Feelies may have played unmoving the musical trajectory forward. 

“I don’t have much to say regarding the Feelies influence on other bands,” he said. “Whenever it’s pointed out to me, I can’t hear the similarities, and instead, focus more on the differences.”

As for the future, Mercer wasn’t certain what lies beyond. 

“We have a few shows coming up,” he noted. “But beyond that, it’s unclear what we’re going to do next.”

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Lee Zimmerman

Lee Zimmerman is a writer and columnist based in beautiful Maryville, Tennessee. Over the past 20 years, his work has appeared in dozens of leading music publications. He is also the author of Americana Music: Voice, Visionaries, and Pioneers of an Honest Sound, which will be published by Texas A&M University Press early next year.

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