The Lemonheads’ Evan Dando: A Journey Through the Art of Covering Classics
As grunge surged to prominence in the early ’90s, bands like The Lemonheads, with their origins in the Boston punk scene, opted for a more melodic approach. “Nirvana captured what we were aiming for perfectly,” reflects Evan Dando,the band’s frontman and enduring member.
“We were blending influences from Black Sabbath and The Replacements, and when Nirvana emerged, we recognized that they were executing it flawlessly.This allowed bands like ours to thrive in that environment.” Instead of following the raw sound of their earlier work, Dando and the Robb Brothers, who produced their music, embraced a more refined style. Drawing inspiration from the country-rock of Gram Parsons rather than the hardcore punk of Hüsker Dü,they crafted their breakthrough album,1992’s It’s a Shame About Ray.
Interestingly, the album’s standout track wasn’t even penned by Dando.Their energetic rendition of Simon and Garfunkel’s 1968 classic Mrs. Robinson, added as a last-minute decision, catapulted them from the underground scene to the Billboard charts, thanks in part to its feature on MTV’s 120 Minutes. Ray eventually achieved gold certification, mirroring the success of their 1993 follow-up, Come On Feel the Lemonheads.
After a lengthy hiatus from recording, Dando returns with a fresh Lemonheads album titled Love chant, marking their first collection of original music as 2006 and their eleventh overall. This new project was made possible by Dando overcoming a long-standing battle with substance abuse, a journey he details in his recent memoir, Rumors of My Demise.
We had the opportunity to chat with Dando in Nashville,where he was busy recording an album of covers by Townes Van Zandt before embarking on a tour.
Exploring New Sounds in love Chant
Love Chant showcases a fresh dimension of your guitar work, featuring some intense sections that hint at a Greg Ginn influence.
That element has always been part of my style; you can hear some tritone action in the solo for In the Margin. It’s the kind of forbidden interval that could get you in serious trouble!
The solo was captured in one take, and we decided to keep it as is because it felt right. We didn’t layer too many guitar tracks on this album, which I believe contributes to its clarity. While I appreciate Never Mind the Bollocks,it’s packed with guitar layers. This time, we aimed for a more organic sound-something that feels real and relatable, as Keith Richards would say.
Shifting Gears: From Punk to melodic
Hearing Nirvana’s Sliver in 1990 made me realize that mainstream audiences were starting to embrace our style of music. However, on It’s a Shame About Ray, we intentionally dialed back the electric guitars. Why was that?
We were aiming for an AM radio vibe, which was quite distinct at the time. My mom even questioned my decision, saying, “Why are you changing your sound when it’s becoming popular?”
I believed it was a smart long-term strategy-unlike the Mrs. Robinson cover,which I initially thought was a misstep until Martin Scorsese featured it in The Wolf of Wall Street in 2013.My friends gave me a hard time about that song!
Collaborations and Influences
While your roots are in punk rock,you’ve had some notable shredders in The Lemonheads over the years,including Corey Loog Brennan from Bullet LaVolta and currently John Strohm from The Blake Babies.
During our European tour in ’89, we went full metal! We cranked up the volume and added extra metal riffs, especially in the intro to Luka.We had already introduced a heavier sound with (The) Door from our 1990 album lovey.
John and I co-wrote Togetherness Is All I’m After for Love Chant-it started as his song.He played a clean arpeggiated part that really brought the riff to life, while I handled the leads.
Lessons from the Road
In 1991,you opened for Fugazi during your first solo dates in Australia. What did that experience teach you about performing?
It was pure joy! I had my favorite guitar, a 1984 Gibson SG that I bought for $300, and I got to use a Gretsch Chet Atkins halfway through the tour. I don’t know if I learned anything profound, but I had an absolute blast!
I learned that Fugazi was incredibly cool.I attempted a cover of a Minor Threat song while a bit tipsy, and at the end of my set, Ian MacKaye kindly suggested I might want to stay sober for it. I appreciated that; it’s better to be guided by your idols than to simply befriend them.
“If you excel at interpreting other artists’ songs, that’s a significant talent in itself-it’s all about embracing music.”
During that tour, Tom Morgan and I collaborated on It’s a Shame About Ray. I thrive in partnerships; I often create the riffs, and if I’m stuck on lyrics, I reach out to friends for help. For Roky,nick Saloman from The Bevis Frond contributed the lyrics as a tribute to Roky Erickson. We were in Austin the day he passed away in 2019, and that riff just came to me during soundcheck.
The Love for Covers
Is that why you have such a rich history of covering songs? Beyond hits like Luka and Mrs. Robinson, you’ve released two full albums dedicated to covers.
That could certainly be a factor. I don’t see it as a lesser pursuit-being skilled at covering songs is a valid art form in itself. It’s about interpreting music and celebrating it.
Watch On
I enjoy crafting memorable musical parts and writing lyrics. As J. mascis puts it, it’s like fishing; you sit with your guitar and wait for inspiration to strike. I may not be as prolific as Robert Pollard from Guided By Voices, but I find joy in writing songs like Ride with Me, Stove, or My Drug Buddy. I also love pouring my heart into covers and collaborating with fellow musicians.
