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Joined: Wed January 02, 2013 2:42 am Posts: 2447 Location: Minneapolis
on paper the first two shows of this acoustic/electric 2-set deal aren't all that exciting to me.
Dave Matthews Band May 16, 2014 The Cynthia Woods Mitchell Pavilion, The Woodlands, TX
Bartender Stay or Leave Take Me to Tomorrow Satellite Stolen Away on 55th & 3rd Tripping Billies #27 Minarets Sugar Man Two Step ----------------------------------- Big Eyed Fish » Seek Up Seven So Right One Sweet World Grey Street If Only Don't Drink the Water Belly Belly Nice #41 Pantala Naga Pampa » Rapunzel ----------------------------------- The Space Between All Along the Watchtower
Dave Matthews Band May 17, 2014 Gexa Energy Pavilion, Dallas, TX
Recently Grace Is Gone Lie in Our Graves Stolen Away on 55th & 3rd Crash into Me So Damn Lucky Sugar Man Ants Marching ----------------------------------- #27 Shake Me Like a Monkey Crush Spaceman » Corn Bread #41 Proudest Monkey » Satellite You & Me Dancing Nancies » Drive In Drive Out Belly Belly Nice Jimi Thing ----------------------------------- Sister All Along the Watchtower
_________________ ah, copperplate, a font for the truly modern man.
Joined: Fri January 04, 2013 11:40 pm Posts: 112 Location: In the woods
AndySlash wrote:
on paper the first two shows of this acoustic/electric 2-set deal aren't all that exciting to me
I was just thinking the same thing. But on second look, they're not too shabby. I think if I had been at either one of those shows I would have been happy. So Damn Lucky, Seek up, Grey St., #41, hell yeah.
Can't say I'm psyched for this weekend, but definitely looking forward to the new format. It should prove interesting at least.
I stopped paying much attention to DMB around the time "American Baby" started getting radio play. I put on Crash today, though, and it holds up pretty well. I still think it's too long, and has a lot of lag in the second half, but everything up through "#41" (probably my favorite DMB tune) is quite good.
Joined: Tue January 01, 2013 6:03 pm Posts: 9359 Location: Washington State
Crash and BTCS are both almost 100% albums for me. I remember buying Everyday and listening to it for the first time driving home. I lived in a rural area at the time so it was a good 30-40 minute drive home. I couldn't find anything that I liked about the band in it. I tried to give it a better chance but 2001 was an interesting year for me musically so I had other bands (Just found Radiohead, for example) to dive into that were more what I was looking for at the time.
everyday might be one of the most disappointing first listens i've ever had.
I actually felt bad spreading some burned copies of the leak to acquaintances. Funnily there was a false track by Nine Mile called Patio that was included that a few said stood out quality wise, seeing as I burned a few before listening, and I can't say I would disagree.
Edit: heh, haven't listened to this in probably 13 years:
_________________ absinthe makes the heart grow fonder...
the run from everyday-stand up is incredibly disappointing when you put it between the first 3 albums and big whiskey, which i still love. i know the band has acknowledged it more recently, but producers had way too much influence during that run in the early 00s. even 'busted stuff', which has some great songs, sounds overproduced, especially since we heard a leak of most of that album a couple years earlier. i know dave matthews was dealing with addiction during that period, but that still doesnt explain why he decided to collaborate with producers instead of his band. unless the producer was his sponsor or something.
its pretty obvious 2 things saved this band. the first, is tim reynolds coming back. i was pretty much ready to give up on this band in 2008. they stopped playing 'warehouse' for some reason, and hadn't done anything that really moved me in a long time. then tim reynolds came back for the 2008 summer tour, and it shot new life into the band. it was like they remembered how to be a rock n roll band. they covered "money" by pink floyd and "hey hey my my" by neil young the night i saw them, and it totally reignited my love for the band. the second thing that saved the band unfortunately was them losing leroi moore. it really inspired the band to return to their roots in the way they approached music, both recording and performing live. its bitter sweet, but they've really made it a point to go about things the way they used to.
Since the band decided to part ways with Lillywhite can probably be looked at like a roller coaster. A few of the members of the band have had substance abuse issues, LeRoi being the most documented I believe, but the elephant in the room circa ’99-’00 was Dave’s issues with depression. It has always been a battle for him especially during the response to fame acquired due to UTTAD and Crash. BTCS was not too well received by a lot of the fan base and though ’98 can be considered an extreme highlight regarding the live show, it was still leading to tumult.
The Lillywhite Sessions were dark and I very well may have said it in the various DMB threads here but the leaning on a new set of producers, was certainly not solely about the music. And for as much as people like to blame the producers, the band gets the final say but having said that Dave wrote and composed nearly all of the first two albums along with a majority of BTCS. As much as they’re an ensemble this has been Dave’s vehicle since playing Carter a few demos and asking him to join his band.
Everyday sold very well and it was very much the anti-LWS project. I would personally take this as confusing once the fame dust settles; the music itself was a severe notch down from previous work but it was producing the output of what a professional band aims for. Busted Stuff was a hasty release in my opinion, an amalgamation of ill-fitting parts between the lyrics, the songs already carrying emotional baggage, yet another producer (that actually worked out well for Some Devil) and yet again attempting to capitalize on a hot-selling release. 2002 was a long tour with spring, summer and winter legs but also the stadiums were gone; I figure that transition wasn’t lost on the band members. This would definitely be a time of transition for the fan base or not so much a transition but a rift between newer and older fans.
2003 had two members release solo studio efforts and found the band breaking out older fan-favorites but the performances themselves were aberrations and that tour exposed to the fans that there was trouble in paradise. 2004 had some solid performances and for the first time in ages new material to flesh out on the road and bring in to the studio. But as we all know with Stand Up the songs, barring Hello Again and Joyride (a rare legit B-side from the band) the mojo found on the road was quashed in the studio. They tried this again in 2006 along with the first tour incorporating a full rehearsal trailer and none of that material has shown up on an official studio release. I feel LeRoi benefited the most from the additional rehearsals and also getting a bit of a kick-in the ass with the band adding Rashawn Ross full time.
LeRoi quit in 2007. The Vegas shows were basically a final plea toward him to stay and it worked but the lay out of that tour was yet another tell-tale tip of the internal strife. I was very excited to hear Tim was going to be touring full time but even his sound has changed over the years, and one thing the DMB sound guys could not get right was the level of his guitar in the mix. I honestly believe that played a huge part in the creation toward Big Whiskey, the DMB sound was now tending toward heavy electric riffs which is an even further cry from UTTAD than Everyday was. But indeed, I feel that Tim’s presence brought the band closer when it was necessary. It was refreshing to see a bond between he and Carter play out on stage, when often it is Dave turning around to Carter and that’s it. Those first few months of ’08 had some really spectacular performances. Without Tim I feel that LeRoi’s passing would have been the end of the band but that tested fraternity met the challenge and produced results, an album that the fans new and old enjoyed along with some increased vigor on stage greatly added to by the musicianship of Jeff Coffin, who I met this weekend and is a pretty cool dude.
The album promo tour that was 2009 found the band gelling fairly well as an ensemble and the album was so well received that it got the band overseas for the spring of ’10 but the stress that success produces exposed the cracks in the foundation yet again. 2010 was still Big Whiskey heavy and hell, it was more akin to the current line-up than a majority of their back catalog. When Charlottesville was announced I immediately put in for tickets, I was under the full belief that they may be the last shows the band played and I was not alone, especially noting the sentiment in the air during the shows.
The Caravans, reuniting with Lillywhite, the two-set format for this current tour… it’s tough to keep anything going for over twenty years and amazingly rare in a professional music act of their popularity. The nod toward Cavallo to take the helm for Away From The World’s follow-up doesn’t really sit well with me and may not amount to any studio output but "I'm just trying to come up with something that doesn't sound like the past" can be interpreted many ways.
_________________ absinthe makes the heart grow fonder...
The Lillywhite Sessions were dark and I very well may have said it in the various DMB threads here but the leaning on a new set of producers, was certainly not solely about the music. And for as much as people like to blame the producers, the band gets the final say but having said that Dave wrote and composed nearly all of the first two albums along with a majority of BTCS. As much as they’re an ensemble this has been Dave’s vehicle since playing Carter a few demos and asking him to join his band.
this is really where those albums (more so everyday/stand up then busted stuff) really stray from the other albums. from what i understand, the band had free reign to add what they wanted, or in some cases rearrange the stuff dave brought to them before 'everyday'. i remember reading how they had charts for what they wanted the rest of the band to play before the band even came into the studio. thats not really "the dave matthews BAND", its more dave matthews and a producer using one of the more diverse bands in rock music as studio musicians for a dave matthews solo record aimed at top 40 radio. no wonder leroi wanted to quit.
The Lillywhite Sessions were dark and I very well may have said it in the various DMB threads here but the leaning on a new set of producers, was certainly not solely about the music. And for as much as people like to blame the producers, the band gets the final say but having said that Dave wrote and composed nearly all of the first two albums along with a majority of BTCS. As much as they’re an ensemble this has been Dave’s vehicle since playing Carter a few demos and asking him to join his band.
this is really where those albums (more so everyday/stand up then busted stuff) really stray from the other albums. from what i understand, the band had free reign to add what they wanted, or in some cases rearrange the stuff dave brought to them before 'everyday'. i remember reading how they had charts for what they wanted the rest of the band to play before the band even came into the studio. thats not really "the dave matthews BAND", its more dave matthews and a producer using one of the more diverse bands in rock music as studio musicians for a dave matthews solo record aimed at top 40 radio. no wonder leroi wanted to quit.
This is the portion that I feel is romanticized a bit; I believe about the charts but Ballard/Batson were much more hands on in producing music to the point where they played themselves and brought that to the table. I'm certainly not a fly on the wall and can't say that the other sessions were more collaborative for fact, but writing credits ring pretty true as do tales from the studio and though there are fingerprints of this band across their catalog, it has always been the Dave Matthews' Band. Also, the amount of complete compositions before BTCS really nullified this freedom.
Granted, regardless of strict writing credit a band is a collaborative effort; however the life of a band is far more than the music set to tape.
_________________ absinthe makes the heart grow fonder...
The Lillywhite Sessions were dark and I very well may have said it in the various DMB threads here but the leaning on a new set of producers, was certainly not solely about the music. And for as much as people like to blame the producers, the band gets the final say but having said that Dave wrote and composed nearly all of the first two albums along with a majority of BTCS. As much as they’re an ensemble this has been Dave’s vehicle since playing Carter a few demos and asking him to join his band.
this is really where those albums (more so everyday/stand up then busted stuff) really stray from the other albums. from what i understand, the band had free reign to add what they wanted, or in some cases rearrange the stuff dave brought to them before 'everyday'. i remember reading how they had charts for what they wanted the rest of the band to play before the band even came into the studio. thats not really "the dave matthews BAND", its more dave matthews and a producer using one of the more diverse bands in rock music as studio musicians for a dave matthews solo record aimed at top 40 radio. no wonder leroi wanted to quit.
This is the portion that I feel is romanticized a bit; I believe about the charts but Ballard/Batson were much more hands on in producing music to the point where they played themselves and brought that to the table. I'm certainly not a fly on the wall and can't say that the other sessions were more collaborative for fact, but writing credits ring pretty true as do tales from the studio and though there are fingerprints of this band across their catalog, it has always been the Dave Matthews' Band. Also, the amount of complete compositions before BTCS really nullified this freedom.
Granted, regardless of strict writing credit a band is a collaborative effort; however the life of a band is far more than the music set to tape.
thats only b/c "The Carter Beauford Band" doesnt really role off the tongue. didnt they have a name for the band when they first started out, but they were called "dave matthews' band" b/c they played where he worked?
The Lillywhite Sessions were dark and I very well may have said it in the various DMB threads here but the leaning on a new set of producers, was certainly not solely about the music. And for as much as people like to blame the producers, the band gets the final say but having said that Dave wrote and composed nearly all of the first two albums along with a majority of BTCS. As much as they’re an ensemble this has been Dave’s vehicle since playing Carter a few demos and asking him to join his band.
this is really where those albums (more so everyday/stand up then busted stuff) really stray from the other albums. from what i understand, the band had free reign to add what they wanted, or in some cases rearrange the stuff dave brought to them before 'everyday'. i remember reading how they had charts for what they wanted the rest of the band to play before the band even came into the studio. thats not really "the dave matthews BAND", its more dave matthews and a producer using one of the more diverse bands in rock music as studio musicians for a dave matthews solo record aimed at top 40 radio. no wonder leroi wanted to quit.
This is the portion that I feel is romanticized a bit; I believe about the charts but Ballard/Batson were much more hands on in producing music to the point where they played themselves and brought that to the table. I'm certainly not a fly on the wall and can't say that the other sessions were more collaborative for fact, but writing credits ring pretty true as do tales from the studio and though there are fingerprints of this band across their catalog, it has always been the Dave Matthews' Band. Also, the amount of complete compositions before BTCS really nullified this freedom.
Granted, regardless of strict writing credit a band is a collaborative effort; however the life of a band is far more than the music set to tape.
thats only b/c "The Carter Beauford Band" doesnt really role off the tongue. didnt they have a name for the band when they first started out, but they were called "dave matthews' band" b/c they played where he worked?
The most common belief is that the group was scheduled to play a gig and needed a name to announce as they walked on stage. They chose tDMB thinking a better one might be chosen later, I've actually heard that since the beginning. Dave worked at Miller's which is where he made his contacts but tDMB proper never played a show there; it was a big Jazz place so various members have played there at some point though.
_________________ absinthe makes the heart grow fonder...
Joined: Tue January 01, 2013 6:03 pm Posts: 9359 Location: Washington State
warehouse wrote:
thats only b/c "The Carter Beauford Band" doesnt really role off the tongue. didnt they have a name for the band when they first started out, but they were called "dave matthews' band" b/c they played where he worked?
Dave Matthews Band June 13, 2014 Susquehanna Bank Center, Camden, NJ
Two Step Good Good Time I'll Back You Up Ants Marching Snow Outside Recently Sugar Man What Would You Say ----------------------------------- Squirm You Might Die Trying So Much to Say » Anyone Seen the Bridge » Too Much Proudest Monkey » Satellite Kill the Preacher [tease] The Song That Jane Likes Raven Seven If Only Dancing Nancies » Warehouse Tripping Billies ----------------------------------- Some Devil Pig All Along the Watchtower
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