Come On Feel the Lemonheads should have been the album that propelled the trio and Evan Dando to stardom, but instead of delivering a concise pop record in the vein of It's a Shame About Ray, they made a messy album that never quite found its focus. That's not to say that Come On Feel is without merit, because that's hardly the case. In many way...

Come On Feel the Lemonheads should have been the album that propelled the trio and Evan Dando to stardom, but instead of delivering a concise pop record in the vein of It's a Shame About Ray, they made a messy album that never quite found its focus. That's not to say that Come On Feel is without merit, because that's hardly the case. In many ways, 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. ~ Stephen Thomas Erlewine, Rovi