A Few Words In Defense Of The Lemon Twigs

 

 

Back in the dark days of COVID lockdown, I wrote two extensive buyer's guides to Todd Rundgren and Utopia. I am proud of those pieces, in part because, I was unafraid to point out the bad along with the good, something most disciples and fanboys just won't do, as if the news would get back to the artist and then suddenly, no more Christmas cards from Mr. Rundgren. I love Todd with all my heart, but I also know when he either phones it in, or purposely sabotages an absolutely perfect pop song, something he's done a little too often over his almost 60 year career. 

Everyone writes shitty songs or has shitty ideas. Everyone. Bob Dylan, Paul McCartney, Ray Davies, Paul Simon, Joni Mitchell, Prince, David Bowie, Pete Townshend. EVERYONE!

I have been an avid supporter of the Lemon Twigs since that first live performance on late night TV in 2016. I have written glowing reviews of all of their releases and I have seen the reactions, ranging from "these kids are horrible" and "what's with the castrato voice" and "I don't get it," to "Oh my, this is wonderful" and "these kids are brilliant!" They are definitely doing something right.

As much as I love the D'Addario Brothers, let me be the first to say, I understand if you do not.

This is some of what I said about their 2020 release, "Songs For The General Public":

The album opens with "Hell On Wheels," and I wouldn't blame you if you packed up and went home before it ended. It's a twisted take on the Jim Steinman/Meat Loaf bombast that for me does not work and should not have opened things up. But then, I am not one of the D'Addarrio brothers, who seemingly do whatever the hell they want when they want.

If you exhibit a little patience, you will be rewarded, as the next seven or eight songs are some of the most delightful, at times beautiful, and yes, often twisted pop songs you are likely to hear this year. The Twigs cover all bases, with the Rundgren influences coming through strong on both "Fight," which sounds like a long lost Utopia single from the early 80's, and "Only A Fool," which goes back a bit earlier to Utopia's slightly proggier years.  "Moon" feels like it was pulled right out of Bruce's "Born To Run" sessions, and "Somebody Loving You," is a song that Freddie Mercury used to write in his sleep before the disco era.

Michael & Brian D'Addario are 21 and 23, respectively, and what they have created in the last 5 years is nothing short of astonishing, even if the music isn't quite as easy to swallow as you'd like it to be. Much of it makes little sense on the outside. Why the glammy album cover when there is nothing particularly glammy about anything inside? Why the silly Zappa-esque lyrics over a gorgeous pop ballad? These things might be speed bumps for some, but if it draws enough attention to what is really important, the depth of the record making, then I am all for it.

The Lemon Twigs are sure different, but most of the time, it's different in all the best ways. Personally, I don't need another power pop album that gets compared to Jellyfish or Big Star. But, I'll take one that sounds like Big Star doing Springsteen! Or Rundgren doing Zappa!

These twists and turns, for better or worse, make for a far better listening experience...for me.

A few people recently recommended an album by Ian M. Bailey and so I went in with a somewhat fresh head. I listened to it all. It didn't kill me. Honestly, it bored me with a sameness, a gentle breezy type of jangly pop, that neither rises to a crunchy level of power, nor sinks to a deep, dark, sad state of balladry that could often move me to tears. It just was, for 40 minutes, like putting a pot on simmer and letting it be while you make the bed. This is exactly how I feel about the beloved Teenage Fanclub. It's all lovely and safe, but it never shakes me up. 

For years, I thought I wasn't a fan of Robyn Hitchcock, even though The Soft Boys' two releases have been long time favorites. Then one day, as if waking up like a patient of Oliver Sacks, it hit me. I couldn't believe what I had been missing all these years. Robyn Hitchcock's records are all over the damn place! I just wasn't paying attention. He never plays it safe, thank god!

Last year, The Lemon Twigs released a masterpiece of pop music, "Everything Harmony," a record that was on top of a number of year-end lists. This was the most straightforward record yet filled with beautiful adult folk and pop, orchestrated and arranged with care, almost completely void of the insanity found on the previous three full lengths. I say almost because there are a few moments, like the out of place coda on the otherwise perfect power pop of "What Were You Doing," for example. 

Now, we have a new single, "My Golden Years," which is even getting through to some of the naysayers.

The D'Addario brothers are getting better and better. They are honing their craft right before our ears. And yes, the first three records were hit and miss, but they were never boring. 

I used to love "power pop," until it became an exercise in trying to sound as much like Big Star or Jellyfish as possible. Now, it all bores me, because it rarely smacks me hard. No one takes chances anymore. The Lemon Twigs do and that's what I think makes them a cut above the rest.