Evan Dando On Return To The Road, ‘It’s A Shame About Ray’ At 30 And That Letterman Performance

In a decade dominated by the angst of the Seattle grunge scene, The Lemonheads’ It’s a Shame About Ray offered music fans an alternative. While the album maintained a gritty, sometimes punky edge, it also doubled down on melody and catchy hooks.

To this day, stories about The Lemonheads tend to focus on frontman Evan Dando’s looks and penchant for indulgence in extracurricular activities, overlooking the strength of the songs themselves. But, as the album, which went gold in 1992, turns 30 this month, what stands out today is the strength of Dando’s songwriting and knack for telling relatable, compelling, occasionally introspective stories.

“We’re one of those bands that makes people think, ‘I could do that!’ I used to go see The Ramones and The Replacements and it was like, ‘That looks like so much fun and I think I might be able to do that…’ So I always wanted to be a musician,” recalled Dando over the phone. “When I was 16, I quit listening to rock and roll completely for a whole year – it was just classical and jazz and that was it. Then I saw Flipper and it was like, ‘OK!’ And I was back with the rock and roll thing,” he said, referencing the uniquely erratic San Francisco punk act. “But we just really started from nothing – like all bands. We didn’t know what we were doing at all. And it’s cool to be a rudimentary example of something that somehow does something – is able to do a few shows and make records. It’s a miracle. It’s like dogs dancing: it’s not that great but it’s amazing that it happens at all.”

It’s a Shame About Ray is an album where the lyrics matter – characters are developed and plot is both established and resolved.

For Dando, the ability to spin a tale is reflective of an appreciation for the country music tradition, one often underrated for it’s masterful ability to drive forth narrative within the confines of just a three minute song.

“Just the simplicity. Break it down into as few words as you can and make them count – and sing them in exactly the right meter. Johnny Cash. It just reminds me of drumming – drumming and singing, they’re both so important,” said Dando. “I’ve traced it back. My family goes back to South Carolina – Charleston on my dad’s side. I’m related to [the writer] DuBose Heyward through my grandmother,” he said, referencing the author of the 1925 novel Porgy. “So I think that’s the natural country thing I have – like a very southern thing or something.”

It’s also indicative of an early appreciation for literature and poetry, a significant influence on Dando as a lyricist in particular.

“I was a real nerdy like James Joyce, Dylan Thomas, William Blake sort – a lot of stuff,” said the songwriter. “I think one of the most important songs is that ‘Frank Mills’ song that was in Hair. Because there’s no rhymes in it, you know? That was an important one for me, trying to break free from having to rhyme. It’s a haphazard thing but sometimes that works, not rhyming and stuff. As long as you keep it simple, sometimes it works.”

Original pressings of It’s a Shame About Ray closed with “Frank Mills,” while subsequent reissues, rushed into production to capitalize on the then 25th anniversary of coming of age film The Graduate, would find the group’s cover of Simon & Garfunkel’s “Mrs. Robinson” tacked on.

“That song was just a joke,” said Dando. “Literally, we did it and made like $10,ooo back then or something, $15,ooo? We did it one night in Berlin just like, ‘Whatever…’ Like nothing. It was also rammed down people’s throats by [Atlantic Records president] Danny Goldberg. I don’t know. The combination worked somehow. But, man, I didn’t like it.”

Now available in several formats on both CD and vinyl via Fire Records, a special 30th anniversary reissue of the album features a collector’s book and five new tracks which were not made available during previous reissues (nine tracks are now available for the first time on vinyl), including an acoustic 1992 take on “My Drug Buddy” featuring Juliana Hatfield.

Not included in the reissue is one of the band’s most infamous attempts to promote the record, appearing on NBC’s Late Night With David Letterman in 1992, a nationally televised appearance in which the late night host made a unique request of The Lemonheads.

“Alright, our next guests are The Lemonheads. And, originally, they were going to do their big hit, ‘Mrs. Robinson.’ They were all set to do that. And I said, ‘That’s great. But how about something else from the album?’ And, at the last minute, they were nice enough to change it to my suggestion, which is ‘It’s a Shame About Ray…’” said Letterman, setting up the performance. “Thanks for intervening!” Dando can be heard remarking off camera, setting off a slightly terse exchange which finds both Dando and Letterman exchanging fashion tips amidst a series of humorous barbs.

“Yes, we did!” said Dando excitedly when asked if a conversation was had with Letterman about the performance prior to the taping. “You know what, that was a personal thing between David Letterman and Paul Simon I believe. And it benefited me somehow,” he continued. “I hope they all patched it up but back then it was like they were stopping it. They didn’t want it to happen. It was awesome,” recalled Dando of the opportunity to perform a song that he wrote instead of a cover. “I basically like forced an interview which was kind of cool. Not forced, it just kind of happened. They left the mic on by mistake so I got a word in edgewise. It was funny.”

Today, a once unthinkable 35 years in, Dando is clear on both his career and what he learned about live performance following two years forced off the road amidst pandemic.

“It’s an important thing to think about, yeah,” said the songwriter when he asked if he considers his legacy. “You can only do your best, you know? And you’ve got to follow your heart. Life is difficult,” he said. “It’s humbling, remembering how magical it is to play for people. I had never not played for that long before. So it took getting back to it and it’s been really fun. As you get older, strangely, it’s more fun to play rock and roll. It’s probably a horrible thing aesthetically but it just gets more and more fun. Because you realize what it really is – it’s a special thing.”