Post by Anacrusis on Apr 10, 2022 2:45:53 GMT
Evan Griffith Dando
Years Active: 1986 - Present
Recorded Range: A1 - D5
Associated Acts: The Lemonheads, Juliana Hatfield, Angelina Jolie, Johnny Depp, Kate Moss, Liv Tyler... Coming this summer to a theater near you. Rated R for Range Planet.
Voice Placement: He’s 6’4” (1.92 m) according to IMDb. If I were directing a choir, I’d place him all the way in the back. That's his voice placement. I don’t care if he looks like a buff Kurt Cobain.
{Description}
Lana Del Rey tastes like Pepsi-Cola.
Harry Styles tastes like strawberries.
Selena Gomez tastes like ice cream.
The Starburst berries and cream lad tastes like drain cleaner.
So what?, as you’re probably wondering…
(Actually, I’m sorry if I’ve offended you. I’m not trying to say that I know what you’re wondering about or if you’re even in the process of wondering things right now. I can’t read your mind, and it’s presumptuous for me to act as if I could. I’m sorry.)
…what does Evan Dando, frontman of the alternative rock band which Dando so aptly named The Lemonheads, taste like?
WELL, SHUT UP ALREADY SO THAT I CAN TELL YOU WHAT EVAN FREAKING DANDO TASTES LIKE…
An influential though sometimes overlooked figure from the ‘90s grunge era, Evan Dando offered a stark contrast to the angstier stylings of his contemporaries through his chill, husky baritone and his comparatively mellow sound, which blended alternative rock with folk. In fact, even in The Lemonheads’ earlier, punk-focused years, Dando favored a down-to-earth delivery with maybe some rasp, but no screams or high belts.
While Dando mostly sticks to his melodies and stays inside his comfort range, there is something carefree about his delivery that expresses more than what casual belting often does. This is undeniably part of what makes The Lemonheads’ music, particularly from It’s a Shame About Ray (their first non-punk album) onward, so charming and inviting.
With tender tone and playful, sometimes irreverent lyrics, Evan Dando greets you at the door and gingerly shows you around the cozy, yet free-spirited landscape of his musical world. It’s a world that reflects our own, dark parts included, but in it, you’re not afraid of where you’re going and you have nothing to prove. Dando’s careful balance of self-confidence and lightheartedness is the key which creates this illusion out of lyrical topics like drug addiction, failed relationships, and being forgotten by the world.
Don’t be mistaken: Dando does extend his range from time to time. But most of all, he’s a singer who knows his limits and embraces them, forging a lively haven from his natural low-baritone register in which The Lemonheads’ take-it-easy brand of rock can reside.
Also, I gotta say I got a good chuckle out of Dando’s song "6ix," though I wouldn’t recommend it unless you’ve seen the movie Se7en or have had the notorious ending spoiled for you somehow.
…so there you have it, folks! That’s our conclusion. Evan Dando tastes like hopes and dreams.
Lana Del Rey tastes like Pepsi-Cola.
Harry Styles tastes like strawberries.
Selena Gomez tastes like ice cream.
The Starburst berries and cream lad tastes like drain cleaner.
So what?, as you’re probably wondering…
(Actually, I’m sorry if I’ve offended you. I’m not trying to say that I know what you’re wondering about or if you’re even in the process of wondering things right now. I can’t read your mind, and it’s presumptuous for me to act as if I could. I’m sorry.)
…what does Evan Dando, frontman of the alternative rock band which Dando so aptly named The Lemonheads, taste like?
WELL, SHUT UP ALREADY SO THAT I CAN TELL YOU WHAT EVAN FREAKING DANDO TASTES LIKE…
An influential though sometimes overlooked figure from the ‘90s grunge era, Evan Dando offered a stark contrast to the angstier stylings of his contemporaries through his chill, husky baritone and his comparatively mellow sound, which blended alternative rock with folk. In fact, even in The Lemonheads’ earlier, punk-focused years, Dando favored a down-to-earth delivery with maybe some rasp, but no screams or high belts.
While Dando mostly sticks to his melodies and stays inside his comfort range, there is something carefree about his delivery that expresses more than what casual belting often does. This is undeniably part of what makes The Lemonheads’ music, particularly from It’s a Shame About Ray (their first non-punk album) onward, so charming and inviting.
With tender tone and playful, sometimes irreverent lyrics, Evan Dando greets you at the door and gingerly shows you around the cozy, yet free-spirited landscape of his musical world. It’s a world that reflects our own, dark parts included, but in it, you’re not afraid of where you’re going and you have nothing to prove. Dando’s careful balance of self-confidence and lightheartedness is the key which creates this illusion out of lyrical topics like drug addiction, failed relationships, and being forgotten by the world.
Don’t be mistaken: Dando does extend his range from time to time. But most of all, he’s a singer who knows his limits and embraces them, forging a lively haven from his natural low-baritone register in which The Lemonheads’ take-it-easy brand of rock can reside.
Also, I gotta say I got a good chuckle out of Dando’s song "6ix," though I wouldn’t recommend it unless you’ve seen the movie Se7en or have had the notorious ending spoiled for you somehow.
…so there you have it, folks! That’s our conclusion. Evan Dando tastes like hopes and dreams.
Significant High Notes:
D5 ("Dawn Can’t Decide", "Knoxville Girl", "Plaster Caster", "Step By Step")
C5 ("Step By Step")
B4 ("Rule of Three")
A4 ("Rancho Santa Fe", "Rudy With a Flashlight", "You Can Take It With You")
G4 ("6ix", "Cazzo di Ferro", "In Passing", "Let’s Just Laugh", "No Backbone", "Pittsburgh", "Plaster Caster", "Step By Step", "Steve’s Boy")
F♯4 ("Alison’s Starting to Happen", "Ballarat", "Ceiling Fan in My Spoon", "A Circle of One", "Confetti", "December", "The Great Big No", "Into Your Arms", "Kitchen", "Li’l Seed", "Luka", "Nothing True", "One More Time", "Rest Assured", "Sneakyville", "Something’s Missing", "You Can Take It With You")
F4 ("Dawn Can’t Decide", "Half the Time", "Rabbit", "Skulls", "Step By Step", "Strange")
E4 ("Alison’s Starting to Happen", "Baby’s Home", "Ballarat", "Become the Enemy", "Belt", "Bit Part", "Black Gown", "Cazzo di Ferro", "Ceiling Fan in My Spoon", "Clang Bang Clang", "Confetti", "Dandelion Seeds", "December", "Die Right Now", "Different Drum", "Don’t Wanna", "The Door", "Down About It", "Frying Pan", "Gotta Stop", "The Great Big No", "The Green Fuz", "Half the Time", "If I Could Talk I’d Tell You", "I’ll Do It Anyway", "In Passing", "It’s About Time", "It’s All True", "It's a Shame About Ray", "Left for Dead", "Let’s Just Laugh", "Li’l Seed", "Mallo Cup" Both versions, "No Backbone", "Nothing True", "Old Man Blank", "Paint", "Pittsburgh", "Poughkeepsie", "Rabbit", "Rancho Santa Fe", "Ride With Me", "Rockin’ Stroll", "Rudderless", "Sad Girl", "Sneakyville", "Steve’s Boy", "Stop My Head", "Stove", "Tenderfoot", "Tongue Tied", "Tribute to Hank Williams", "Waking Up", "A Walk in the Woods With Lionel Richie", "Whoops", "Year of the Cat", "You Can Take It With You")
E♭4 ("C’mon Daddy", "Don’t Wanna", "Fed Up", "Frank Mills", "Frying Pan", "The Green Fuz", "Hospital", "Luka", "Mad", "My Baby’s Gone", "Rat Velvet", "Repeat", "Skulls", "Stop My Head", "Your Home Is Where You’re Happy")
D4 ("6ix", "Alison’s Starting to Happen", "Ballarat", "Being Around", "Big Gay Heart", "Black Gown", "Break Me", "Clang Bang Clang", "Come Downstairs", "Confetti", "Dawn Can’t Decide", "Don’t Wanna", "Down About It", "Excuse Me Mister", "Favorite T", "Fed Up", "Fraulein", "Glad I Don’t Know", "Half the Time", "Hannah & Gabi", "Hate Your Friends", "I Wanna Be Your Mama Again", "Into Your Arms", "It Looks Like You", "It’s About Time", "It’s a Shame About Ray", "Knowing Me, Knowing You", "Left for Dead", "Let’s Just Laugh", "Losing Your Mind", "Mallo Cup" Both versions, "Mrs. Robinson", "My Drug Buddy", "No Backbone", "Old Man Blank", "Paid to Smile", "Pittsburgh", "Plaster Caster", "Rancho Santa Fe", "Repeat", "Ride With Me", "Rudy With a Flashlight", "Rule of Three", "The Same Thing You Thought Hard About Is the Same Part I Can Live Without", "Shots Is Fired", "Something’s Missing", "Step By Step", "Stove", "Strange", "Tribute to Hank Williams", "The Turnpike Down", "A Walk in the Woods With Lionel Richie", "Whoops", "Why Do You Do This to Yourself?", "Year of the Cat")
Significant Low Notes:
B2 ("6ix", "Abandoned", "Au Bord de la Seine", "Become the Enemy", "Belt", "Bit Part", "Brass Buttons", "Cazzo di Ferro", "Ceiling Fan in My Spoon", "Dandelion Seeds", "Die Right Now", "Different Drum", "Excuse Me Mister", "Favorite T", "The Green Fuz", "Hannah & Gabi", "Hey, That’s No Way to Say Goodbye", "I Wanna Be Your Mama Again", "In Passing", "It Looks Like You", "It’s a Shame About Ray", "Kitchen", "Knowing Me, Knowing You", "Let’s Just Laugh", "My Baby’s Gone", "My Idea", "No Backbone", "Now and Then", "Out", "Poughkeepsie", "Rudy With a Flashlight", "Shots Is Fired", "Stop My Head", "A Walk in the Woods With Lionel Richie")
B♭2 ("Beautiful", "Hard Drive", "Hospital", "I’ll Do It Anyway", "Mallo Cup" Creator, "My Drug Buddy", "Repeat", "Straight to You")
A2 ("Ba-De-Da", "Big Gay Heart", "Black Gown", "Ceiling Fan in My Spoon", "Clang Bang Clang", "Dirty Robot", "Fraulein", "In the Grass All Wine Colored", "It Looks Like You", "It’s About Time", "Knoxville Girl", "Let’s Just Laugh", "Mallo Cup" Lick, "My Idea", "Perfect Day", "Speed of the Sound of Loneliness", "Waiting Around to Die", "Yesterlove")
G♯2 ("Favorite T", "Frying Pan", "Round Here")
G2 ("Abandoned", "Au Bord de la Seine", "Big Gay Heart", "December", "Dirty Robot", "Knowing Me, Knowing You", "Losing Your Mind", "Perfect Day", "Shaky Ground", "Take It Easy", "Unfamiliar", "Yesterlove")
F♯2 ("Knowing Me, Knowing You", "Layin’ Up with Linda", "Rat Velvet", "Rudderless")
F2 ("Favorite T")
E2 ("Rudy With a Flashlight")
D2 ("Cazzo di Ferro", "Layin’ Up with Linda", "New Mexico", "The Same Thing You Thought Hard About Is the Same Part I Can Live Without", "Shaky Ground", "Speed of the Sound of Loneliness")
B1 ("Cazzo di Ferro")
A1 ("New Mexico")
{Questionable Notes}
G5 ("Belt" [3, 5] Uncontrolled scream with dubious pitch. It's also too uncanny if someone's highest note is in a song called "Belt".)
F♯5 ("Come Back D.A." [1])
F5 ("Rat Velvet" [2])
E5 ("The Great Big No" [2], "Plaster Caster" [3, 5] The intention is there, but it lacks sufficient tone)
E♭5 ("Come Back D.A." [3, 5] Uncontrolled scream with dubious pitch)
C♯5 ("Sneakyville" [3, 5] Uncontrolled scream with dubious pitch)
A4 ("Something’s Missing" [2])
G♯4 ("You Can Take It With You" [1] Based on the melody and the sound of the note, it’s an F# with a voice crack)
B♭2 ("Step By Step" [2, 4])
C2 ("Ballarat" [5] Fry is too weak)
..................................................
1. Brief jumps into high or low range (eg. Yelps, trills, anacrusis, etc.).
2. Notes whose singer is unclear.
3. Non-melodic (ie. Spoken or off-key) notes that also lack a clear pitch.
4. Possibly pitch-shifted notes.
5. Notes that do not fit the labels above but whose quality is still unrepresentative of the singer's usual work (eg. excessively distorted screams or sustained, but non-projected vocal fry).
G5 ("Belt" [3, 5] Uncontrolled scream with dubious pitch. It's also too uncanny if someone's highest note is in a song called "Belt".)
F♯5 ("Come Back D.A." [1])
F5 ("Rat Velvet" [2])
E5 ("The Great Big No" [2], "Plaster Caster" [3, 5] The intention is there, but it lacks sufficient tone)
E♭5 ("Come Back D.A." [3, 5] Uncontrolled scream with dubious pitch)
C♯5 ("Sneakyville" [3, 5] Uncontrolled scream with dubious pitch)
A4 ("Something’s Missing" [2])
G♯4 ("You Can Take It With You" [1] Based on the melody and the sound of the note, it’s an F# with a voice crack)
B♭2 ("Step By Step" [2, 4])
C2 ("Ballarat" [5] Fry is too weak)
..................................................
1. Brief jumps into high or low range (eg. Yelps, trills, anacrusis, etc.).
2. Notes whose singer is unclear.
3. Non-melodic (ie. Spoken or off-key) notes that also lack a clear pitch.
4. Possibly pitch-shifted notes.
5. Notes that do not fit the labels above but whose quality is still unrepresentative of the singer's usual work (eg. excessively distorted screams or sustained, but non-projected vocal fry).
{Range Timeline}
With The Lemonheads:
Hate Your Friends (1987): B2 - F♯4
Creator (1988): A2 - G4 - D5
Lick (1989): B1 - G4 - F♯5
Lovey (1990): B2 - F♯4
It’s a Shame About Ray (1992): D2 - F♯4
Come on Feel the Lemonheads (1993): F2 - F♯4 - D5
Car Button Cloth (1996): G2 - G4 - D5
The Lemonheads (2006): A2 - E4 - B4
Varshons (2009): A1 - E4
Varshons 2 (2019): D2 - E4
Solo work:
Griffith Sunset (2001): G♯2 - E4
Baby I’m Bored (2003): D2 - E4 - A4
With The Lemonheads:
Hate Your Friends (1987): B2 - F♯4
Creator (1988): A2 - G4 - D5
Lick (1989): B1 - G4 - F♯5
Lovey (1990): B2 - F♯4
It’s a Shame About Ray (1992): D2 - F♯4
Come on Feel the Lemonheads (1993): F2 - F♯4 - D5
Car Button Cloth (1996): G2 - G4 - D5
The Lemonheads (2006): A2 - E4 - B4
Varshons (2009): A1 - E4
Varshons 2 (2019): D2 - E4
Solo work:
Griffith Sunset (2001): G♯2 - E4
Baby I’m Bored (2003): D2 - E4 - A4
..................................................
• Blue: Falsetto, head voice, and/or whistle register (projected mixed voice is kept in black).
• Bold: Some of the singer's arguably most impressive notes within a given register. Click on a bolded song title to hear audio of that note.
• Italics: Non-melodic notes (ie. Spoken or off-key).
• Underlines: Notes that are buried in the song's mix or which blend together with the other voice(s) in a harmony.