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Alternative PressAs 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]
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Entertainment WeeklyA downtrodden and droopy-eyed batch of heartsick tales. [combined review of both discs; 27 Feb 2004, p.99]
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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.
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Q MagazineBoth albums are lovely in the way that only Lambchop can be lovely. [combined review of both discs; Mar 2004, p.112]
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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]
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The real fun is to be had on No You Cmon, as Lambchop gets much more adventurous and bold in their musical arrangements.
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Wagner's knack for inviting us into his personal life then quickly vacating remains strange and lovely.
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‘No You C’Mon’ is more schizophrenic but equally satisfying, ranging from dinner jazz to bursts of discordant piano boogie.
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The charms of No, You C'mon are much more readily apparent: the songs themselves are more concrete, more dynamic.
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BlenderFunnier, angrier, weirder. [Mar 2004, p.123]
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In truth, there's no good reason to only confine yourself to just one of these albums when both have charms to spare.
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UncutIt'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]
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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.
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They've rediscovered their broad range and proud, sleeve-worn strangeness.
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SpinOver 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]
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Perfectly lovely to listen to, undoubtedly, but curiously difficult to digest. [combined review of both discs]
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MojoMany 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]
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No You C'mon connects more quickly, but it’s the lightweight one. [combined review of both discs]
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Sounds too slight for the non-devout.
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Some of the weakest, most un-affecting songs that Kurt Wagner has ever written. [combined review of both discs]
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FilterGone 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]
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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]
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NoYouCmon is more eclectic and less focused, with fine moments to be found.
Awards & Rankings
User score distribution:
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Positive: 3 out of 3
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Mixed: 0 out of 3
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Negative: 0 out of 3
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DecepticonPomOct 27, 2004
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markfMar 12, 2004