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Stars indicate the most critically-acclaimed albums.

No, You C'Mon
by Lambchop


8.0

based on 23 reviews
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based on 2 votes
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Recorded at the same time and released on the same day, 'Aw, C'Mon' and 'No, You C'Mon' are actually intended as separate albums, rather than two parts of a double album. The Nashville String Machine lends strings to each.

LABEL:	Merge
RELEASE DATE:	17 February 2004
DISCS:	1 disc
GENRE(S):	Indie, Rock, Alt-Country

All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...

100

Alternative Press

As is the case whenever [Kurt] Wagner's velvet croon wraps itself around a night that ends so late it's already morning... there really isn't a critic in the world who can touch him. [combined review of both discs; Mar 2003, p.94]

Entertainment Weekly

A downtrodden and droopy-eyed batch of heartsick tales. [combined review of both discs; 27 Feb 2004, p.99]

Stylus Magazine

Whilst the songs on No You C’Mon don’t flow together as smoothly as those on Aw C’Mon, a number of them are of a similar ilk; lush, concise modern country that only Lambchop can do, the sound of a band from Nashville rather than a Nashville band.

Playlouder

In truth, there's no good reason to only confine yourself to just one of these albums when both have charms to spare.

Logo

‘No You C’Mon’ is more schizophrenic but equally satisfying, ranging from dinner jazz to bursts of discordant piano boogie.

ShakingThrough.net

The charms of No, You C'mon are much more readily apparent: the songs themselves are more concrete, more dynamic.

Q Magazine

Both albums are lovely in the way that only Lambchop can be lovely. [combined review of both discs; Mar 2004, p.112]

Delusions of Adequacy

Admittedly, this two-headed beast, however benevolent, isn’t a flawless creation. There’s the inevitable White Album-style filler to bulk up the tracklist. [combined review of both discs]

PopMatters

The real fun is to be had on No You Cmon, as Lambchop gets much more adventurous and bold in their musical arrangements.

The Guardian

Wagner's knack for inviting us into his personal life then quickly vacating remains strange and lovely.

Uncut

It's not hard to work out that these two albums really do function as a double, and certainly represent the group's most complete work to date. [combined review of both discs; Feb 2004, p. 68]

All Music Guide

These two discs would have made for a fine double album, and if Lambchop have chosen to regard them as two separate entities, that just means they've released two of the finest albums of 2004 instead of just one.

Blender

Funnier, angrier, weirder. [Mar 2004, p.123]

Pitchfork

They've rediscovered their broad range and proud, sleeve-worn strangeness.

Spin

Over the course of 24 tracks, we get taut grooves set on Al Green cruise control, lots of havin'-fun-in-the-studio byplay, and the occasional spritz of rude fuzz-box gutiar to give all the gold-leaf detailing some shape. [combined review of both discs; Mar 2004, p.97]

Dot Music

Perfectly lovely to listen to, undoubtedly, but curiously difficult to digest. [combined review of both discs]

Mojo

Many of the songs... are short, some feeling cut off in their prime, others a little undeveloped. [combined review of both discs; Feb 2004, p.90]

Dusted Magazine

No You C'mon connects more quickly, but it’s the lightweight one. [combined review of both discs]

The Onion (A.V. Club)

Sounds too slight for the non-devout.

Drowned In Sound

Some of the weakest, most un-affecting songs that Kurt Wagner has ever written. [combined review of both discs]

Filter

Gone are the fun hooks of [Nixon], and the genre jumping majesty of 1999's What Another Man Spills. [combined review of both discs; #9, p.108]

Trouser Press

NoYouCmon is more eclectic and less focused, with fine moments to be found.

Tiny Mix Tapes

Lambchop show glimmers of invention, and if these were pursued more and the quality control was stricter, one very good album could be the result. [combined review of both discs]

The average user rating for this album is 8.0 (out of 10) based on 2 User Votes
Note: User votes are NOT included in the Metascore calculation.

Decepticon Pom gave it an 8:
Must admit I can't help but regard these two albums as one beautiful double player. Not normally what I would go for but an unexpected delight and my album of the year so far. Laid back, sometimes even ambient, yet rollocking in places, this was my most surprising discovery of 2004.

mark f gave it an 8:
This album came out the same day as "Aw C'mon." Lambchop has been around for awhile, and I hadn't bought any new music for months, so I thought I'd take a chance, based on what I'd heard about them. The other album I played first since based on the titles, it seemed the right thing. It was OK, but nothing I would have paid for if I'd heard it beforehand. I will agree that this is similar in many ways, but somehow, it seems more alive, both musically and lyrically. The songs have a wider range of tempos, instrumentation and vocal stylings. It also seems far more mature. Sure, I would have liked a few more uptempo pieces, but the variety does prick up your ears; they even do what almost sounds like an homage to the most fuzzed-out Yo La Tengo and some kinda jazz that seems like it should have been in an early 60's French film. The string section seems to be used to better advantage on this one too. I definitely enjoyed this album more, not so much for being visionary, but at least as a more fruitful composite of the past and the future. Does anybody else think that Kurt Wagner sounds like a "Harold and Maude"-era Cat Stevens?

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No, You C'Mon by Lambchop

No, You C'Mon
by Lambchop