The joy of Lost in Revelry is its balance. It's assured, but freely flaunts its imperfections; it's polished, but clearly revels in its most amateurish moments. 80. The vibrant Revelry is tougher and deeper-the sound of traffic lights reflected through Rolling Rock empties, of clothes permanently reeking of cigarette smoke. The downside to a more refined and mature record is that some of their ramshackle charm and energy has been lost.

Although The Mendoza Line haven't exactly reinvented the wheel with Lost in Revelry, it's still a fantastic album that deserves to be heard by anyone who appreciates supremely intelligent, morose pop music. While this release doesn't show the band making any grand alterations to their sound (which is a good thing, really), it does reveal a steady improvement in the band's collective songwriting skills, which were pretty damn good to begin with.

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Athens, GA, indie pop outfit the Mendoza Line were formed during the summer of 1995 by singer/guitarists Timothy Bracy and Peter Hoffman (longtime friends born and raised in McLean, VA) along with Paul Deppler and Margaret Maurice. Andres Galdames and Lori Carrier completed the original lineup, so named in tribute to ex-major league slugger Mario Mendoza, whose. 215 lifetime batting average remains the absolute minimum any self-respecting ballplayer can maintain without banishment to the minors. The mature and more variety-filled Lost in Revelry followed two years later. In 2003, their first album, If They Knew This Was the End, was reissued. Fortune arrived on Cooking Vinyl in 2004, followed by the Misra-released Full of Light and Full of Fire in 2005.

This song is by The Mendoza Line and appears on the album Lost in Revelry (2002).

What makes Lost in Revelry so engaging is that it plays out like an epic lovers' quarrel, the aggrieved parties hurling insults at one another across the bar. All the shame and blame is doled out by singers Tim Bracy (a Dylanesque rambler), Shannon McArdle (a twangy, sassy siren), and Pete Hoffman (a liltingly melodic choirboy). Like an American version of the Mekons, the Mendoza Line stumbles along an Anglo/Southern jangle-rock line, its boozed-up bluster masking the emotional pain of three very smart songwriters. JAMES: Laid Fontana/Mercury 314 514 943-2 (CD). RL found the album "warm and celebratory," and I agree. This extraordinary set entirely captures the intensity and precision of Jarrett's blues and jazz improvisations, as well as the ecstasy of the audience, whose applause takes up more time than on any other album I know of. Jarrett rewarded their clamor with five encores.

By the Mendoza Line: Poems To A Pawnshop (1997) (Kindercore). Like Someone In Love (1998) (Kindercore). I Like You When You're Not Around (1999) (Kindercore). We're All In This Alone (2000) (Bar/None). Lost In Revelry (2002) (Misra). If They Knew This Was The End (2003) (Bar/None). Fortune (2004) (Bar/None).

The Mendoza Line – Fortune. If 2002’s wonderful Lost In Revelry was Blonde On Blonde rescrambled by Westerberg and barbed by Costello, the more buoyant Fortune thrashes to the classic American assembly-line rock of Springsteen and the choppy pop of early Nick Lowe/Joe Jackson