How DMB got their groove backJune 2, 2009 TheBrizz(Springfield, IL United States) 107 out of 120 found this review helpful
First of all, let me just say that I am NOT one of those sycophants who automatically give anything by Dave Matthews Band five stars and just rave about how they're the best and anything they do is just the greatest thing ever. While I don't think "Stand Up" and "Everyday" were as bad as some of the reviews I've read, those albums were obviously not their best work. So I was anxious (and a little nervous) to see what this album would bring.
I needn't have worried; Dave Matthews Band are back with a vengeance. There is an energy, a vibe, a passion, a groove that is present on this album that had been missing on the stuff that followed "Before These Crowded Streets". I've read that there were tensions in the band over the last couple years, and that at one point they were on the verge of breaking up. If that's the case, I guess it's true that what doesn't kill you makes you stronger. After "Grux", a prelude showcasing since-departed saxophonist LeRoi Moore, the album kicks right into "Shake Me Like a Monkey", a flat-out rocker that allows the whole band to shine. After that, the album never really lets up; other stand-out tracks include "Funny the Way It Is", "Why I Am", "Alligator Pie" and "Seven". There are others great songs too but I've only listened to the album once so I haven't tied all the titles to all the songs yet.
Bottom line: if you've ever liked Dave Matthews Band at any point in their history, you will really like this album. They've got their fire back, and they know it: I watched the show they did at the Beacon Theatre in NYC last night, and you can really tell they love these songs and are having fun playing together again. Pick this album up, and I promise you won't be disappointed.
The best DMB album in over a decadeJune 5, 2009 Tim(Newburyport, MA USA) 50 out of 55 found this review helpful
"These songs are some of the strongest ones we've done in a long time."
- Boyd Tinsley
"He [Leroi Moore] would always say, `Take it to the next level.' That's what we've done here. We've taken it to the next level."
- Dave Matthews
"It was time to unleash the tiger."
- Carter Beauford
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The first time I heard songs from "Big Whiskey and the GrooGrux King" was at the May 29 show at Fenway Park. Listening to live versions of songs like "Seven," "Why I Am," "Squirm," and "Time Bomb" immediately had me and my friends thinking "Whoah... this album is different. This album is going to be GOOOOOD!"
And it is. It's REAL good. I've been listening to the CD for a solid week, and I can say that it is, by far, DMB's best album in over a decade. They haven't played with this level of passion and tenacity since their back-to-back classics "Crash" and "Before These Crowded Streets" from the late 90s.
It's not hard to figure out where the intensity comes from. In 2008, DMB experienced a serious double whammy. First, they nearly broke up due to interpersonal struggles, "toxic" energy, and a lack of leadership (according to Dave). This was followed by the tragic death of founding member and horn-player extraordinaire Leroi Moore.
The result? A massive reboot of purpose and energy. With the help of Green Day producer Rob Cavallo, the Dave Matthews Band has once again found their "A" game. "Big Whiskey" is the sound of a band that is NOT mailing it in... instead, they sound like musicians that are psyched to play together and ready to go for it (to "unleash the tiger," as Carter says in the DVD documentary.)
The opening notes of the CD is a sublime Leroi solo, a voice from the past calling us forward. Then we plunge into the wall of sound that is "Shake Me Like a Monkey." It's a wonderfully funky stew - with Stefan's meaty, thumping bass line punctuated by Rashawn Ross's crisp trumpet and spiced up by Dave's tasty, hilarious lyrics ("I like coffee with toast and jelly. But I'd rather be licking from your back to your belly.")
"Funny The Way It Is," the CD's first single, was a perfect opening song for the Fenway concert ("Lying in the park on a beautiful day. Sunshine in the grass, and the children play.") It's an agreeable little song that gets under your skin and doesn't let go. It has the same joyous, carefree energy of their 90's hit "Stay (Wasting Time)." I keep finding myself unconsciously humming it throughout the day.
"Lying In The Hands Of God" is just plain gorgeous. Dave's voice lazily drifts along... weaving in and around acoustic guitar, flute, clarinet, and an assortment of angelic voices. It is sublime surrender into the hands of Dave. Why resist?
"Why I Am" is, in my opinion, the album's stand out cut. Tim Reynolds' pulsing electric guitar gives it a ferocious, propulsive beat that sounds unlike anything DMB has done before (DMB `plugged'!!!) It's also the song that gives the album its name. "GrooGrux King" was one of Leroi's nicknames, and the song honors him in numerous ways. ("Still here dancing here with the GrooGrux King. We'll be drinking Big Whiskey while we dance and sing.") Much of the album was recorded in New Orleans - one of Leroi's favorite places - and this song would fit right in at a Mardi Gras celebration... as would "Alligator Pie," a song that Dave wrote for his daughter Stella. Evidently, he has included his other daughter's name (Grace) in songs several times, so Stella said, "Daddy, when you gonna put ME in a song?" This one's for you, Stella. It's driven by a frisky banjo and Carter Beauford's shufflin' beat - it could be the Cajun sibling to "Louisiana Bayou" from the last album "Stand Up." I can't wait to see what they do with this when they play it live. The crowd is going to go CRAZY.
Listen to "Seven" and see if you can figure out what makes it different from just about any song that you've every heard... It begins with electric guitar power chords that would make Aerosmith proud (thank you, Tim Reynolds!) and then it slips into something wonderfully strange. As Dave croons his suggestive lyrics about wishing that his boyhood innocence could have been informed by his adult wisdom ("I never knew what I do now"), notice that the song's odd rhythms are created with SEVEN beats to the measure. Not four. Not three. Seven! It gives the song a cool awkwardness that perfectly matches its subject matter. Just don't try to dance to it, because that missing `beat' will wreak havoc with your groove. It reminds me of The Pretender's classic "Tattooed Love Boys", which had seven beats to the measure every other measure.
I also LOVE the ominous crescendos of "Squirm," the beautiful, lilting "Baby Blue," and the plaintive wail in "Time Bomb" ("Baby when I get home, I wanna believe in Jesus. Hammer in the final nail, Help me pick up the pieces.") And be sure to wait for appx. 40 seconds after the final song, "You & Me," is over to hear a final little ditty by Leroi.
The bottom line? A great album, a fitting tribute to Leroi, and a huge sigh of relief for DMB fans everywhere, knowing that Dave and the boys did NOT break up but instead are now making some of the best music of their prolific careers. Why I am? It's why they are. We all get to dance with the GrooGrux King!
The Second MasterpieceJune 2, 2009 Patten(Nashville, Tunisia) 39 out of 45 found this review helpful
After Stand Up came out a couple of years ago, I thought my love for the Dave Matthews Band had run its course. While that album eventually grew on me, it was easily the band's weakest album to date (including Everyday, which was actually decent...it just wasn't The Lillywhite Sessions).
Now some critics out there are calling this "The Best Album Yet" and I won't go that far: Before These Crowded Streets was a masterpiece. If anything, this album is a second masterpiece. Springsteen had Nebraska and Born to Run, U2 had the Joshua Tree and Achtung Baby. This album succeeds in a way that most bands' best albums succeed: This album is familiar...but at the same time, remarkably different.
Where BTCS utilized cellos and other stringed instruments to create a very dark feel, this album is all about Stefan and Carter. It is funky...in the good way...and that isn't an understatement...you hear Cameo screaming at you in the opening riffs of the first track...BTCS was polished...this album is raw. They complement each other perfectly in the band's repertoire.
What sets this apart from Remember Two Things, Under the Table and Dreaming, Crash, Everyday, Busted Stuff and Stand Up is that this album is simply that...an album. Whereas the others were compilations of songs recorded at the same time and placed on the same CD without too much rhyme and reason (see what I did there?)...this album, like BTCS, is masterful when listened to as a whole.
FinallyJune 5, 2009 Flitcraft(Unreal City) 5 out of 5 found this review helpful
I used to be a fanatic for this band in high school. I played and sang alone and with friends the majority of their "hits" from the 1990s. Then EVERYDAY came out and basically ruined everything (though there are probably two worthwhile tracks on that album). I was convinced they'd completely lost it--that perhaps Steve Lilywhite was the real genius behind the band, as they started to suck right at the time that he stopped producing their music. When STAND UP came out I was moderately satisfied with a few of the tracks, and thought they might be making a comeback.
With this record, however, they have redeemed themselves and have exceeded all expectations. This is the best thing since BEFORE THESE CROWDED STREETS in 1998 (which is unarguably their magnum opus), and it is certainly the most musically and aesthetically sophisticated since that time. What we have now is the band returned to its roots, with Carter Beauford back at full capacity (a huge part of their early sound), and just a few bites of their 2000-decade-"hit"-obsession-sound blended in.
I just hope they can keep it up before Dave goes completely off the deep-end with the increasingly bleeding-heart lyrics.
Another amazing album.June 3, 2009 Erk(Windsor, Colorado) 4 out of 4 found this review helpful
I am not going to start this review from the standpoint of a "longtime" fan. Yes I liked DMB before Stand Up, but I did not really listen to them religiously until then. I know many write off Stand Up as their weakest CD, and all around consider it a failure. But I fell in love with that album, and it defined a summer for me. So when I had to have more I went back and listened to the other albums closer. I became a diehard fan.
I started downloading every live song I could, every demo and outtake. I waited patiently for their seventh CD. Then last year upon scanning the news I read about LeRoi Moore's accident. Then in August we all got the news that he had died. Apart from the fact that the band would never be the same, I gave up hope on the new cd for awhile. I first listened to BWATGK last week. At first it didn't hit me, I was playing it in the background while doing other things and tuned it out.
The next day, I listened to the whole album from start to finish. I love it. From the haunting sax solo(the final thing recorded by Moore)to the closing track You&Me, this is a great album. This is DMB brought together in an amazing tribute to their late friend.
This album has everything that the previous ones had, all evenly disbursed among the 13 tracks on the CD. The sexy "Shake me Like a Monkey", leads straight into the lead single "Funny the Way it is" Things take a slower turn on "Lying in the Hands of God" before picking back up on my favorite track "Why I am", a funky track paying tribute to the groogrux king himself. Another one of my favorites is "Alligator Pie" A salty banjo jam in the vein of "Louisiana Bayou". My Favorite song on the album is the amazingly beautiful "My Baby Blue" The Only downside is the absence of "Cornbread" one of my favorite live DMB songs. But overall this is a must have for any fan, "longtime" or not.
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