Released in October 2016, this is the debut album by the Lemon Twigs. The creation of the teenage D’Addario brothers, Brian and Michael, it’s a work of quite astonishing precociousness.
Influences from the classic past of pop and rock run strongly throughout the record, but it’s not a pastiche; the inspiration is obvious but the execution is unique and creative. Possibly being so young and unhindered by any thoughts of what they should be doing, they’ve entirely indulged themselves, throwing whatever sounded right into a richly textured matrix. It’s quirky, boy is it quirky, abrupt changes of key and pace, surprising little songwriting twists that wouldn’t be allowed in any grownup record abound. Like a Monty Python sketch, where they’ve suddenly thought, “OK, this is getting boring now, let’s just stop here and do something completely different.” they transition swiftly and skillfully between radically different sections. It’s all done with such skill and poise that it’s not at all jarring, just delightful. Surprise is a key ingredient in all great music and the D’Addario brothers supply it in abundance.
The musicianship is very impressive but never deployed for its own sake, always in the service of the songs. It’s the drumming especially that really makes this record. Musical drumming, that accents the song and helps tell the story, was common in the glory days of the late 60’s, early 70’s but is now a sadly neglected art. The Lemon Twigs have resurrected it with a this-is-not-for-dancing flourish. Both brothers are excellent drummers. Michael seems to have the edge but it’s not clear who is doing what on most of the tracks. Maybe the vinyl album cover has a list of performance credits but I couldn’t find such attribution anywhere on the internet. Michael’s songs tend to be more rock-like guitar led whereas Brian’s are more keyboard-ish - composed (is that a thing?). That probably gives some idea of where the respective strengths lie.
I really really like the production on this record - or rather the lack of it - or rather the way it’s so expertly done that you don’t notice it. It’s all about the performance. Each instrument is clearly separated and discernable with its own space in the balance; no wall of sound here. But it’s not clinical either; a record to put on the headphones, close your eyes and give your full attention. At their most exuberant there can be quite a cacophony but it’s never a mush. I’ve read that it was produced by Jonathan Rado of Foxygen, and being a fan of Foxygen I can see the connection. Apparently Brian and Michael also played extensively on Hang, Foxygen’s last album, he was obviously as impressed by their musicianship as we are.
There’s no filler on Do Hollywood, but there’s definitely a high point from track four with Baby Baby followed by These Words. I love the whole vibe of Baby Baby, the introduction with guitars, a wonderful plunky bass, old-school synth lines and Michael’s flanged vocals gives a beautiful chilled groove. It’s also classic Lemon Twigs as the verse stops abruptly before the joyful wordless chorus launches itself. The middle “waiting on you” section is one of my favorite musical moments of the last few years. These Words, the first single from the album is a lesson in first class songwriting as well as a showcase for Michael’s excellent drumming. I love the dynamics in this song, from the raucous intro into the dreamy laid back verse and then to the crescendo of the last chorus. Then there’s another Lemon Twigs moment during the middle eight, a crazy ragtime instrumental that lands at the end of the song.
As I said before, there’s no filler on this record and it rewards an end-to-end listen. The last three tracks especially are a great musical rollercoaster. At times it seems that they’ve just glued together some rather disparate musical ideas but it still works. You certainly don’t get bored.
The future looks bright for the Lemon Twigs. There’s a further EP, Brother’s of Destruction, of ‘outtakes’ from Do Hollywood. It’s still a great listen, especially Night Song, which is one of my favorite songs of theirs. They also just released an excellent double-A single, Foolin’ Around / Tailor Made, that has a different early Stones/Faces vibe. I’m now waiting with much anticipation for their next album, apparently a musical about high school. Fitting considering their age.
By the way, they’re a great live band too. Check out this KEXP set: