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Wow. Warehouse is indeed a bop. Has no idea this was the namesake of RM user: warehouse
this has been my favorite song since i was like 15 or 16. i think the live versions are head and shoulders above the album version. as much as i love dave and tim stuff, i also feel like this song needs the full band to hit its potential. its hard to explain anymore. the riff has a sorta funky parnoid feel. the prechorus kinda calms the paranoia down and the chorus takes you somewhere else completely. the sax solo going into the last part is like an orgasm. the song is perfect. its hard to explain anymore, its literally been my favorite song most of my life. it's almost like its part of who i am. people in my every day life say they think of me when they hear it. it's not just my user name lol
As rock solid albums as Under the Table and Dreaming and Crash are, they can’t hang with this one. From the opening bars straight through to the end of Pig, for me, I would have a hard time picking any song over these save for a couple of gems on Crash. It’s not that those albums are lacking in any way, it is that this one is that good. Dave is singing with a pure purpose and so intense in moments that he’s developed a growl like his voice box was dragged through a gravel pit…in a good way. The sonics here are more dark, foreboding, and groove driven, as if their flourishes now channel the songs’ movement than accent them. And the songs are excellent. Rapunzel’s jam at the end in particular is fabulous, Dave is…PISSED during The Last Stop, the band makes me believe I don’t want to be any place but where they are during Stay, The Stone is just killer front to back. I mean, I listened to this album on the way home and it was like hearing for the first time again even though I have heard this one far more than any other of their albums. To me, if any of their albums deserve classic status due to the quality, this is the clear winner. My next favorite though is still to come down the (second) line. But really let’s celebrate this one!
Also, Crush is amazing and needs to have a talk with Crash Into Me about how to contain the creepy vibe and bring something worthwhile to the table. Crush is everything that other song isn’t.
pretty much agree with everything here. 'under the table' still has my two favorite songs, but this album is a masterpiece. starting off with a funk song with weird time changes. i love when dmb does eastern sounding stuff like last stop. dave's voice is on fire on this. Halloween is tame on here compared to live version, but it's still heavy for the band that played an acoustic folk gospel jam the track before. 'the stone' is as good as dmb gets. the riff, the contrast between the verse and chorus, its just amazing. this is probably their high point in the studio.
2008-06-21 is such a wonderfully heartbreaking gig. Just a stellar show all around that left me feeling so full of promise as far as the tour and band goes at the time.
_________________ absinthe makes the heart grow fonder...
If the last two shows I covered nailed high points in Dave Matthews Band shows, this one for some reason feels like the most realistic representation. Moments of thrilling highs and great jams combined with extended periods of just meh. Case in point is the band just languishing on Long Black Veil and then just blasting through Don’t Drink the Water. Really though, other than an absolutely stunning Stay, Dave is focused on putting the spotlight on these backup singers that are good but are mostly dragging things along. True Reflections was also pretty boring. But #41, Rapunzel, The Stone, and especially All Along the Watchtower are phenomenal. True to one of their performances, you take the great with the monotonous and hope for an overall fun experience and this album is just that.
Listener Supported might be my most listened to album ever. I gave it to my niece last year as part of her 18th birthday present because she loves music just as much as i do. this is the dave matthews band i fell in love with when i was a teenager. i love the lovely ladies backup vocals. there's really no electric instruments. i can't stand butch taylor's solos, but he fits in with the band perfect w/ tim reynolds missing. boyd and leroi really shine here. they don't always have to take over a song, the way they accompany the rest of the band is amazing. and when they do take over a song, holy shit!
this is also the version of warehouse i put on 95% of the time. the stop/time intro is one of the greatest things ive ever heard in my life. the sax solo at the end, the way it bleeds right into the final stanza, its what i imagine heaven sounds like. this version is why this song is my favorite song. everyone should listen to this.
Listener Supported might be my most listened to album ever. I gave it to my niece last year as part of her 18th birthday present because she loves music just as much as i do. this is the dave matthews band i fell in love with when i was a teenager. i love the lovely ladies backup vocals. there's really no electric instruments. i can't stand butch taylor's solos, but he fits in with the band perfect w/ tim reynolds missing. boyd and leroi really shine here. they don't always have to take over a song, the way they accompany the rest of the band is amazing. and when they do take over a song, holy shit!
this is also the version of warehouse i put on 95% of the time. the stop/time intro is one of the greatest things ive ever heard in my life. the sax solo at the end, the way it bleeds right into the final stanza, its what i imagine heaven sounds like. this version is why this song is my favorite song. everyone should listen to this.
I was thinking about the fact that this is before the fans did the “woo!” in between the stops and starts and I was glad.
If the last two shows I covered nailed high points in Dave Matthews Band shows, this one for some reason feels like the most realistic representation. Moments of thrilling highs and great jams combined with extended periods of just meh. Case in point is the band just languishing on Long Black Veil and then just blasting through Don’t Drink the Water. Really though, other than an absolutely stunning Stay, Dave is focused on putting the spotlight on these backup singers that are good but are mostly dragging things along. True Reflections was also pretty boring. But #41, Rapunzel, The Stone, and especially All Along the Watchtower are phenomenal. True to one of their performances, you take the great with the monotonous and hope for an overall fun experience and this album is just that.
The Lovely Ladies are quite the lightning rod in tDMB world and for as good as they often are, the saturation point is really low.
I adore Listener Supported as it was the first DVD available and the only released live show including BTCS songs at the time. '99 as a tour isn't much to really write home about but much like this show there are fantastic performances throughout. Also, in hindsight, the pace of the show may be slow at times but... well, you'll get there.
Butch was definitely hit-or-miss as far as adding to the overall song at times and there are certainly things I have loved over the years but his playing on Bartender over time had me wanting his knuckles broken.
_________________ absinthe makes the heart grow fonder...
It’s a good point that the pacing is a thing here - #41, Crash Into Me, Jimi Thing - I would take 2/3 of those in a show no problem, but back to back to back is like 30 straight minutes of laid back jams. Even on Two Step, there’s huge highs but periods where they were just waiting to push it forward.
I am not saying it’s a bad show at all, but a very realistic representation of the ups and downs of their shows wherein Red Rocks and Chicago are largely them on fire all night even during the slower jams.
While the two essentially run neck and neck for me, this seems very much the creative peak of Dave Matthews Band for me. As a follow up to Before These Crowded Streets, which for me is like their Born to Run in terms of album quality, this would be their Darkness on the Edge of Town - the follow up that somehow manages to keep pace and even soar above its masterpiece of a predecessor. What makes it all the more tragic is its shelving and never seeing the proper light of day beyond our 2001 MP3 players. Sure, the band would re-record this stuff and try to save a little face, but it wouldn’t be the same - a muted collection down the road compared to the way these recordings capture the moment, the depth of Dave Matthews’ sadness and darkest thoughts. There are so many essential moments for the band here: Grey Street, the last half of JTR (and the rest of the song for that matter), Big Eyed Fish, Grace is Gone, Monkey Man, Raven, the killer interplay in Kit Kat Jam and Sweet Up and Down…and of course among Dave Matthews Band’s greatest recordings in the epic Bartender. That we have this in some form is a blessing, that it will never see the proper light of day a curse. They still had quite a bit left in the tank, but I always saw this lapse in judgment as them blowing a chance to fully cement themselves as one of the most important rock bands at the turn of the century. Instead…
While the two essentially run neck and neck for me, this seems very much the creative peak of Dave Matthews Band for me. As a follow up to Before These Crowded Streets, which for me is like their Born to Run in terms of album quality, this would be their Darkness on the Edge of Town - the follow up that somehow manages to keep pace and even soar above its masterpiece of a predecessor. What makes it all the more tragic is its shelving and never seeing the proper light of day beyond our 2001 MP3 players. Sure, the band would re-record this stuff and try to save a little face, but it wouldn’t be the same - a muted collection down the road compared to the way these recordings capture the moment, the depth of Dave Matthews’ sadness and darkest thoughts. There are so many essential moments for the band here: Grey Street, the last half of JTR (and the rest of the song for that matter), Big Eyed Fish, Grace is Gone, Monkey Man, Raven, the killer interplay in Kit Kat Jam and Sweet Up and Down…and of course among Dave Matthews Band’s greatest recordings in the epic Bartender. That we have this in some form is a blessing, that it will never see the proper light of day a curse. They still had quite a bit left in the tank, but I always saw this lapse in judgment as them blowing a chance to fully cement themselves as one of the most important rock bands at the turn of the century. Instead…
This may go down as one of the great untold stories in music to me. The band is extremely clandestine in regard to the studio anyway but to go from the height of eight solid years of touring leading up to selling out stadiums and having it all crumble in the studio and basically eschew everything previous in the next release is pretty crazy. Add in the 'new' tech of internet filesharing exposing the leak (from inside) and spreading some fairly private property like wildfire, well I am sure there was a huge change of course in life and work with all parties involved.
_________________ absinthe makes the heart grow fonder...
While the two essentially run neck and neck for me, this seems very much the creative peak of Dave Matthews Band for me. As a follow up to Before These Crowded Streets, which for me is like their Born to Run in terms of album quality, this would be their Darkness on the Edge of Town - the follow up that somehow manages to keep pace and even soar above its masterpiece of a predecessor. What makes it all the more tragic is its shelving and never seeing the proper light of day beyond our 2001 MP3 players. Sure, the band would re-record this stuff and try to save a little face, but it wouldn’t be the same - a muted collection down the road compared to the way these recordings capture the moment, the depth of Dave Matthews’ sadness and darkest thoughts. There are so many essential moments for the band here: Grey Street, the last half of JTR (and the rest of the song for that matter), Big Eyed Fish, Grace is Gone, Monkey Man, Raven, the killer interplay in Kit Kat Jam and Sweet Up and Down…and of course among Dave Matthews Band’s greatest recordings in the epic Bartender. That we have this in some form is a blessing, that it will never see the proper light of day a curse. They still had quite a bit left in the tank, but I always saw this lapse in judgment as them blowing a chance to fully cement themselves as one of the most important rock bands at the turn of the century. Instead…
Your take on this album fits my feeling on it perfectly. Their high point. I was working at Best Buy and we were repairing this guys cd player. Lillywhite Sessions was stuck in the player. He told me all about it and gave me the cd. I ended up burning lots of copies and giving them out to friends and strangers. I am not the biggest DMB fan, but Lillywhite really grabbed me.
I am amazed that the A&R guy couldn't see the brilliance in the album and am just as amazed that Dave went with Glenn Ballard in response. I remember reading an interview with Carter Beaufort about Everyday and he said something like, "It's so nice to have your parts laid out for you. You don't have to think about what you want."
Right. Before These Crowded Streets set a new standard for DMB to write and record songs that had a different sort of reach and importance. The Lillywhite Sessions built off that - in some ways surpassed it, in some ways maybe not - I have no clue what happened for sure. Maybe the band didn’t want such a downer album in the end, but wherever the blame lies, it was a massive lapse in judgment, and definitely one that impacted the level of a fan I was hearing what got tossed after the release of Everyday.
Yeah and I am sure that the Lillywhite Sessions discussion and debate will permeate from here through at least Busted Stuff and the related live releases. I had mentioned at the outset moments where I’ve dropped off and picked up the band. This was probably one of the biggest flashpoints. I had the Lillywhite Sessions and Everyday, and saw them over 3 nights at Giants Stadium 6/11, 6/12, and 6/13/01. And sometime soon after, I became disillusioned with them for a while, most pointedly in 2003 after the Central Park concert - so this is going to be the era in time where I am probably going to have the most to say and where I will still lurch between optimism and frustration - and I didn’t pick them back up again after this 3 year stretch, 2001-2003, until Big Whisky.
…instead we get Everyday, which in comparison is nothing short of a flaming turd of an album. Scrapping an album of sad and dark tunes for a different vibe in this context would only have worked with a near perfect album, which means this, put together in 10 days, and devoid of band collaboration in favor of working with a pop producer, was doomed from the start. This album has zero personality, with only the final title track having any feel of this band - and even then it belongs the bottom of the catalogue. The only songs to me that remotely belong with this band are When the World Ends and What You Are, and again, I don’t know if anyone is mistaking them for top level Dave Matthews Band songs. Much of this is simply horrid. Angel, I Did It, The Space Between, ugh. I can recall spending some time trying to convince myself that this was serviceable when it came out, and then once I heard the Lillywhite Sessions very soon after, I never picked this up again…until now. I wish I hadn’t.
…instead we get Everyday, which in comparison is nothing short of a flaming turd of an album. Scrapping an album of sad and dark tunes for a different vibe in this context would only have worked with a near perfect album, which means this, put together in 10 days, and devoid of band collaboration in favor of working with a pop producer, was doomed from the start. This album has zero personality, with only the final title track having any feel of this band - and even then it belongs the bottom of the catalogue. The only songs to me that remotely belong with this band are When the World Ends and What You Are, and again, I don’t know if anyone is mistaking them for top level Dave Matthews Band songs. Much of this is simply horrid. Angel, I Did It, The Space Between, ugh. I can recall spending some time trying to convince myself that this was serviceable when it came out, and then once I heard the Lillywhite Sessions very soon after, I never picked this up again…until now. I wish I hadn’t.
I totally anticipated this response, happening upon tLWS shortly after makes it a virtually impossible pill to swallow.
I gave all the albums a full run through at some point during COVID and this was an interesting album to listen to with 20 years of live shows added to the mix. The album is beyond sterile and the #36 evolution to Everyday would feel sacrilegious had Vusi not been on the track.
edit: I remember getting a leak of it and one of the tracks was Patio by Nine Mile and almost everyone I burned it for preferred that song to the actual DMB tracks.
_________________ absinthe makes the heart grow fonder...
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I totally anticipated this response, happening upon tLWS shortly after makes it a virtually impossible pill to swallow.