Showing posts with label The Lemonheads. Show all posts
Showing posts with label The Lemonheads. Show all posts

Saturday, 5 May 2018

The Lemonheads ‎Come On Feel The Lemonheads


The LemonheadsCome On Feel The Lemonheads

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Come On Feel the Lemonheads should have been the album that propelled the trio and Evan Dando to stardom, it's the most interesting record that the Lemonheads have released, because it finds Dando confused about everything, particularly love, both for girls and drugs, and his burgeoning fame. There are moments of self-indulgence, whether it's the aimless piano instrumental "The Jello Fund" or two versions of the drug-obsessed "Style," yet they are as essential to the album's desperate tone as the heartbreaking acoustic ballad of "Favorite T." Between those two extremes is some of the finest power pop and country-rock Dando has ever written. He still has a tendency to be too cutesy, as on the otherwise winning country-rock of "Being Around" and "Big Gay Heart," but the hooky rush of "The Great Big No," the bright "I'll Do It Anyway," and the lovely simplicity of "Into Your Arms" is irresistible. Come On Feel may not be as consistent or immediate as It's a Shame About Ray, but finding its pleasures is quite rewarding.

Wednesday, 5 April 2017

The Lemonheads The Best Of The Lemonheads The Atlantic Years



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Evan Dando -- for all intents and purposes, he is the Lemonheads -- is a sporadically brilliant songwriter. Every one of his albums contains as many flops as masterpieces, sometimes more. Hardcore fans have learned to live with this and even cherish his dopey detours, but there are many others who would prefer to have all the best bits on one disc. Which means, of course, that The Best of the Lemonheads: The Atlantic Years offered the perfect opportunity to achieve that goal. Unfortunately, it was bungled, at least in America (it was released in Europe and Japan with more tracks). With the exception of "Mrs. Robinson" (never a favorite of hardcore fans, but included for those nostalgic Gen-Xers), it's hard to argue with what's here, but it feels criminally brief at 12 tracks, especially since the songs are rarely over three minutes long. It's entertaining, to be sure, and it makes a convincing argument that Dando is a clever pop craftsman, but it leaves you wanting more -- which isn't really what best-of albums should do
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