In 1979, they issued their debut Rough Trade single, the arty punk-pop ditty "Fa Cé-La." Barely two minutes long, the track reveals The Feelies' brilliant amalgamation of guitar-based new wave a lá Talking Heads with the avant proto-punk of The Velvet Underground. While cerebrally appealing, the track's true power lies in its wiry boogie. One year later, the group released their debut, Crazy Rhythms, on UK indie label Stiff, who'd issued early sides from Elvis Costello, Madness, and, closer to home, Richard Hell. The aptly titled Crazy Rhythms is propelled by nervous, herky-jerky grooves throughout. "Original Love" bounces frenetically along on sliced-thin rhythm guitar and clipped drums, which play against Mercer's mumbly baritone vocals about thwarted expectations.

They even apply this amphetamine-geek attack to The Beatles' "Everybody's Got Something to Hide (Except Me and My Monkey)." The LP's title cut channels this approach into a more danceable direction, while still allowing for a mid-song departure into a minimalist V.U. jam. "Moscow Nights" is comparatively open and charges straight ahead, save for a syncopated bridge. Like several of the record's cuts, The Feelies incorporate instrumental passages here that feature a guitar solo. This was decidedly uncool at a time when most bands were drawing lines in the sand between the increasingly synthesized new wave pop aesthetic and the old guard of regular rock 'n' roll. Years later, this indifference to the restrictive norms of the day is part of what makes Crazy Rhythms a timeless album.

Despite the LP gaining great press from legendary Village Voice critic Robert Christgau, The Feelies rhythm section opted to move on. For the next several years, the duo of Mercer and Million floated in and out of a mish-mash of New Jersey groups. Releasing a handful of tracks from 1984-85, The Trypes were essentially the next incarnation of The Feelies, only they didn't know it yet. Eventually, this lineup of Mercer, Million, a returning Weckerman, plus bassist/violinist Brenda Sauter and drummer Stan Demeski would reclaim the Feelies name and return to the recording studio.

Crazy Rhythms influenced a lot of bands. One group it impacted right away was R.E.M. So, when Peter Buck heard that one of his favorite acts was back together, he signed on to produce The Feelies' sophomore album. 1986's The Good Earth was released on Coyote Records, a tiny subsidiary of the small-yet-mighty Twin/Tone (who have issued The Replacements, Pere Ubu, and fellow Buck compatriot Robyn Hitchcock, among others). Marking quite a departure from the band's debut, The Good Earth reflects the maturation of its creators, as well as the mellowing of the indie and alternative music world. During the band's hiatus, the scene had transitioned from edgy post-punk to jangly college rock, and The Feelies' latest reflected this trend. The album's overall feel is considerably more relaxed. The jittery rhythms of the first LP are ironed out here into steady rock beats, while the razor-sharp guitars of yore are replaced by acoustic strumming and relaxed picking. Really, the difference in album titles says it all. The Good Earth is less "crazy" and more firmly grounded in the rootsy twinges of Americana that were beginning to surface in albums by R.E.M., Lone Justice, and even U2. Despite mellowing out, The Feelies maintained the high quality of their songwriting, along with the group's penchant for winding instrumental breaks and an underlying energy that comes from the interaction of drum set and percussion.

Two years later, the band signed to A&M, who issued their third album, Only Life. Without looking back, the LP finds a middle ground between the urgency of Crazy Rhythms and the laid-back vibe of The Good Earth, as if to supply the missing link between the two. The tempos on Only Life are brisker, the production sharper, and the vocals more insistent and up-front in the mix. "Too Much," with its melodic lead and drum fills, verges on power pop, but Mercer's casual singing remains far from strident, and the players opt for coolly chugging dynamics instead of big riffs. Another pop-leaning track, the Hitchcock-like "Away," reached #6 on Billboard's Modern Rock chart. "Higher Ground," meanwhile, recalls minor-keyed Neil Young circa Everybody Knows This Is Nowhere. Later in the album, brisk and brief cuts "The Final Word" and "Too Far Gone" return to the angsty tempos of Crazy Rhythms. The disc closes with "What Goes On," finally making explicit The Feelies' indebtedness to The Velvet Underground.

In 1991, the band released their fourth and final album, Time for a Witness. Again, The Feelies were right in step with the shifting alt-music landscape. Just as the punk-inspired strains of Pixies and Seattle's grunge scene were rising to the fore, The Feelies were coming full circle in their career, reviving the lively beats, varied rhythms, and buzzier tones of their beginnings. Time for a Witness leadoff track "Waiting" cranks up the overdrive, reinforced by pounding toms. The band's second Modern Rock hit, "Sooner or Later," reflects their place on the continuum between the V.U. and R.E.M. as art-punk meets jangle pop. Once more, The Feelies finish with a cover. This time, they pay tribute to The Stooges with their take on "Real Cool Time."

In 1992, The Feelies disbanded for good. During their fragmented dozen-year history, they bridged the gap between proto-punk and college rock, while blazing a trail for many indie rock bands of the '90s. It's hard to imagine Pavement without The Feelies, and it's hard to imagine the last two decades of music without Pavement as precedent. With The Feelies' quartet of critically lauded and enduring records, they hold a vital marker in the evolution of indie music. Over the past two years, their first three albums have been lovingly remastered and reissued. Hopefully, Time for a Witness will follow soon, allowing a new generation of music fans the opportunity to experience the full breadth of this influential and tremendously enjoyable band.