Album: Crazy Rhythms
On their debut album, 1980’s Crazy Rhythms, The Feelies had it both ways: they looked like total nerds, what their preppy shirts, normal haircuts and not one but two guys wearing glasses.
But their music was weird and unpredictable: they often started with a couple of nicely strummed guitars, and usually ended up with a big ole rave-up with offbeat percussion instruments coloring the song throughout.
Album: Fear Fun
Because everything he does feels like it’s coated in five layers of irony and then dipped into a vat of insincerity, it’s hard for me to get a read on Father John Misty, who has now released two albums of otherwise relatively conventional Laurel Canyon rock.
But anyone who can cover the Ryan Adams cover of Taylor Swift’s “Blank Slate” with a drop-dead Lou Reed impersonation is going get extra attention from me.
Album: You’ve Come A Long Way, Baby
Heh. One thing is for sure: if you have a problem with repetition, you probably can’t stand “The Rockafeller Skank,” which repeats its only — sampled, natch, cos no actual human could sing it — verse dozens, hundreds, millions of times.
Check its Google Play lyrics page to see what I mean.
That repetition meant that half of the people who loved “The Rockafeller Skank” as a novelty song; the other half loved it as a disruptive piece of art and the third half loved it as both!
Album: Ooh La La
It must say something about Faces that their greatest song wasn’t just the last song on their last studio album, but also wasn’t even sung by Rod Stewart or Ronnie Lane, but rather Ronnie Wood.
Apparently both Rod Stewart and Ronnie Lane tried singing lead, but their producer — the incomparable Glyn Johns — suggested Ronnie Wood give it a try, and that’s the take they went with.
Album: A Nod’s As Good As a Wink… to a Blind Horse
I’ve been trying to figure out for decades why I don’t unreservedly love the Faces. I mean, there isn’t anything in their sound or style that isn’t completely up my alley.
And their influence on things that I do love unreservedly — like The Replacements — is well-documented.
So it must be as simple as the fact that Rod Stewart kept all of his best songs for his solo albums, and — with a couple of exceptions — Ronnie Lane was never his equal as a songwriter.