Music: Dave Matthews Band
The Dave Matthews Band is a five-piece rock/jazz/folk/pop/jam band that was formed in Charlottesville, Virginia in 1991. In their twenty-plus years as a band, they've become one of the world's top-earning live acts, as well as achieving a great degree of radio success. The band consists of:
- Dave Matthews: Lead vocals, lead guitar, piano
- Boyd Tinsley: Violin, viola, mandolin, guitar, backing vocals
- Carter Beauford: Drums, percussion, backing vocals
- Stefan Lessard: Bass
Former and touring members include:
- Leroi Moore: Saxophone, flute, pennywhistle (1991-2008; deceased)
- Peter Griesar: Piano, keyboards (1991-1993)
- Rashawn Ross: Trumpet, backing vocals (2005-present)
- Jeff Coffin: Saxophone, clarinet, flute (2008-present)
- Tim Reynolds: Guitar
- Butch Taylor: Piano, keyboards
So far, the band has released eight studio albums:
- Under the Table and Dreaming (1994)
- Crash (1996)
- Before These Crowded Streets (1998)
- Everyday (2001)
- Busted Stuff (2002)note
- Stand Up (2005)
- Big Whiskey and the GrooGrux King (2009)
- Away From the World (2012)
Tropes that apply to the Dave Matthews Band include:
- Album Title Drop:
- "Crash into Me", "Everyday", "Busted Stuff", and "Stand Up (For It)" are obviously the title tracks of their respective albums.
- Under the Table and Dreaming gets its title from "Ants Marching".
- Before These Crowded Streets gets its title from "The Dreaming Tree".
- Big Whiskey and the GrooGrux King gets its title from "Why I Am", though technically the two terms are mentioned separately in the song's lyrics. "GrooGrux King" was a nickname for the late Leroi Moore, who the song and album are a tribute to.
- Away From the World has its title dropped in "The Riff".
- Apocalypse How: "Two Step", "Pig", "Mother Father", "Dive In", and obviously "When the World Ends" all make reference to some form of environmental disaster wiping out most or all of the population.
- Arc Words: Dave has a thing for monkeys. See "What Would You Say", "Proudest Monkey", "Monkey Man", "Big Eyed Fish", "Shake Me Like a Monkey", and "Why I Am".
- Badass Beard / Bald of Awesome: Jeff Coffin.
- Can't Live With Them Can't Live Without Them: "Drive In Drive Out". At least in the studio version. Interpretations of various live versions are anyone's guess.
- Careful With That Axe: The growling voice of "Scary Dave" seems to come out of nowhere on some albums. "Halloween", "The Last Stop", "Rhyme & Reason" and "Time Bomb" are good examples.
- Cloud Cuckoo Lander: Dave, whenever he talks to the crowd at live shows. Though Word Of God has it that he does this on purpose to overcome stage fright.
- Contemptible Cover: The promo version of the Recently EP.
- Cowboy Bebop At His Computer: A news report on the death of Leroi Moore showed the cover of Everyday, since it's their only album with the full band pictured on the cover.* While talking about Moore, the video then zoomed in on the face of Carter Beauford. Oops.
- Creator Breakdown: Most of the songs from The Lillywhite Sessions were written while Dave was rather drunk and depressed.
- Dave tried to avert this by scrapping those songs and writing most of Everyday, one of their happiest albums, in about 10 days. Since they were still playing a number of them live, the band eventually warmed up to the idea of releasing them on ''Busted Stuff'.
- Dedication: Under the Table and Dreaming was dedicated to Anne, Dave's older sister who was murdered by her husband before the album was released. The inner sleeve includes a picture of Dave with one of her children.
- Denser and Wackier: Before These Crowded Streets.
- As a whole, their 90s output seems to favor longer and more complex song structures than their later material (which is still reasonably complex compared to a lot of popular music). The trope name is slightly misleading since lyrically they downplayed some of their more humorous lyrics in favour of darker, more serious ones.
- Downer Ending: "Big Eyed Fish" tells the story of a fish, a monkey, and a man who all meet their demise after deciding to leave their respective comfort zones. The moral of the story seems to be that the grass isn't greener on the other side.
- Epic Instrumental Opener: All over the place in their live shows. "Warehouse", "Two Step" and "Bartender" are good examples of this, even in their studio versions.
- Epic Rocking: They're a jam band. It comes with the territory.
- On Under the Table and Dreaming, "Warehouse" is seven minutes long, while "Typical Situation", "Dancing Nancies", and "Jimi Thing" are all around six minutes.
- Crash ends with the nine-minute jam "Proudest Monkey", while "Two Step", "#41", and "Say Goodbye" are all over six minutes long.
- If you don't count the intro track "Pantala Naga Pampa" and the brief instrumental segues, every single song on Before These Crowded Streets aims for epic proportions, culminating in "Crush" and "The Dreaming Tree", which are both over eight minutes long.
- Everyday is their only album so far to subvert this. Every song is under five minutes long.
- Busted Stuff revived most of the discarded songs from The Lillywhite Sessions, giving us an eight-and-a-half minute studio version of "Bartender" and the brand-new six-minute epic "You Never Know".
- Stand Up and Big Whiskey and the GrooGrux King come close to being subversions as well, but "Louisiana Bayou" and "Sqiurm" still clock in at about five and a half minutes.
- Away From the World ends with "Drunken Solider", which is their longest studio-recorded track at nearly 10 minutes.
- Live versions of some of their songs have been known to stretch out to twenty or even thirty minutes.
- Erudite Stoner: Dave Matthews is probably one of the most well-known examples of this in real life. it crops up in his lyrics from time to time.
- Evolving Music: Inevitable when the band road-tests songs before their official album versions are released, and when they jam on them in concert to the point where specific versions of particular songs are noted by fans recapping their setlists.
- "Drive In Drive Out" is notable for its constantly changing lyrics.
- "#36" was floating around for several years, even appearing on a few live albums, before it eventually morphed into the title track for Everyday. The band play both songs as a medley live, and it's a tradition for the crowd to sing "#36"'s original chorus of "Hani, Hani, come and dance with me".
- Fading into the Next Song: "#41" into "Say Goodbye" on Crash; "Halloween" into "The Stone" on Before These Crowded Streets; "Big Eyed Fish" into "Bartender" on Busted Stuff; "Louisiana Bayou" into "Hello Again" on Stand Up; "Alligator Pie" into "Seven" on Big Whiskey and the GrooGrux King.
- And that's not even getting into the multitude of segues they've done in concert to bridge various songs together, some of which are well-known enough to have their own names (e.g. "Anyone Seen the Bridge").
- Friends with Benefits: "Say Goodbye" is all about a one-night stand with a friend who Dave knows is seeing another man.
- Heavy Meta: "Alligator Pie" is about Dave's twin daughters wanting to be mentioned in one of his songs.
- "The Song That Jane Likes" refers to the fact that Dave's sister Jane liked the song.
- The Hedonist: A frequent theme in Dave's lyrics. "Tripping Billies" has the line "Eat, drink, and be merry, for tomorrow we die" as its chorus.
- "Too Much" could be about the dark side of this behavior.
- Hidden Track:
- Before These Crowded Streets has several unlisted instrumental segues between its songs, including a reprise of "The Last Stop" hidden at the end of the album.
- Big Whiskey and the GrooGrux King has a brief sax solo hidden after the end of "You and Me". It was one of the last things Leroi Moore recorded before his death.
- "#34" on Under the Table and Dreaming is sort of a subversion in that the track is listed, but it's actually track 34 instead of track 12 on some editions, with 22 unlisted tracks of silence separating it from the 11th track, "Pay For What You Get".
- Insult Backfire: One of the band members' girlfriends once told Dave she thought they sounded "like a bunch of hillbillies tripping on acid". They thought this was hilarious, so they wrote the song "Tripping Billies".
- Word Of God says that at least the verses of "Tripping Billies" are about the first time Dave did acid in South Africa with his ex-girlfriend (the same ex he refers to in "I'll Back You Up", "Halloween" and "Grey Street").
- Intercourse with You: A great majority of DMB songs are either blatantly about this, or can be interpreted this way due to innuendo. This should be no big surprise coming from a songwriter who once quipped, "Even when it's not about sex, it's about sex."
- Just a Kid: Bass player Stefan Lessard had problems with this due to joining the band at age 16. He had to sneak in the back of some of the 21-and-over venues where the band had gigs in the early days.
- Keep Circulating the Tapes: The Lillywhite Sessions became some of the most (in)famous bootleg recordings of the Napster Era.
- The band actively endorses the taping and trading of their live shows, so long as it's not done for profit.
- Killed Mid-Sentence: Implied by the abrupt ending of "When the World Ends".
- Lighter and Softer: Arguably, Everyday. The record was relatively simple and upbeat compared to the Before These Crowded Streets and the discarded Lillywhite Sessions that later became Busted Stuff.
- Busted Stuff might actually be a rare case of "Lighter and Edgier". The music is much more sparse than any other DMB record, and the subject matter is moodier as a whole than most of their albums. This isn't surprising since the sessions the material was culled from represented something of a Creator Breakdown for Dave.
- Lyrical Dissonance: Don't let the music fool you, "What Would You Say" and "Ants Marching" aren't happy songs.
- "#36" was never recorded in the studio because Dave felt it sounded too cheery and upbeat for a song inspired by the murder of anti-apartheid activist Chris Hani.
- Motor Mouth: The bridge of "Ants Marching", which frequently becomes an Audience Participation Song despite this. Also the verses of "Dreams of Our Fathers" and "Shake Me Like a Monkey".
- Neoclassical Punk Zydeco Rockabilly: Sort of comes with the territory when your band prominently features a saxophonist and violinist. They're one of the most commercially successful examples.
- New Sound Album: Every. Single. One.
- Non Appearing Title: "The Song that Jane Likes", "The Christmas Song", "Rhyme & Reason", "Two Step", "Pantala Naga Pampa", "JTR", "Raven" (in its final version on ''Busted Stuff'), "Stolen Away on 55th and 3rd", "Seven", and any of their numbered songs ("#36", "#41", etc.)
- One-Woman Wail: Dave does the male version of this a lot in some of his spookier songs. "The Last Stop" is a particularly unsettling example.
- Alanis Morissette guests on "Don't Drink the Water" and provides one for backing vocals.
- Out of Focus:
- Precision F-Strike: Matthews' lyrics generally keep the swears on the mild side, but the F-bomb makes an appearance in "Halloween", "If I Had It All", and "Time Bomb".
- At the end of "Drive In Drive Out", Boyd can be heard in the background exclaiming "That is bad shit!"
- The Pete Best: Peter Griesar. He left in 1993 before the band hit it big with Under the Table and Dreaming. Since then, the band has never had a keyboard player in its official lineup, despite Butch Taylor being an important part of their live shows and several piano-based tracks appearing on their albums.
- Record Producer: The band's first three albums and the abandoned Lillywhite Sessions that were revived for Busted Stuff were produced, unsurprisingly, by Steve Lillywhite. They worked with other people for a while after the Lillywhite Sessions didn't work out - the pop leanings and polish Glen Ballard brought to Everyday and Mark Batson added to Stand Up did not resonate well with their fans or critics, but Stephen Harris' work on Busted Stuff and Rob Cavallo's production of Big Whiskey and the GrooGrux King were well-received - and finally reunited with him for Away from the World. Lillywhite has been credited as a Helping Hand Producer by certain reviews, as he cut down some of the endless jamming the band indulged in their pre-Under the Table and Dreaming releases and performed an Adaptation Distillation on the songs from that record.
- Religion Rant Song: "The Last Stop" and possibly "Time Bomb".
- Averted on several songs that invoke some form of either God Is Love Songs or Jesus Was Way Cool, most notably "Bartender" and "The Christmas Song". Let's just say that Dave's feelings on religion are rather mixed.
- Scatting: Dave does this a lot. Especially noticeable on "Alligator Pie" and "Louisiana Bayou".
- Self-Deprecation: Listen to Dave talk about himself for any length of time and it'll become clear that he doesn't take himself too seriously.
- Sexophone: Played straight and averted, depending on the song.
- Sixth Ranger: Tim Reynolds. He's never considered himself an official member of the band, but his guitar playing is heard on most of their albums, and he's become an integral part of their live shows to the point where Dave and Tim will often tour together as an acoustic duo.
- Also keyboard player Butch Taylor.
- The Something Song: "The Christmas Song" and "The Song that Jane Likes".
- Special Guest: John Popper performs the harmonica solo on "What Would You Say".
- The Kronos Quartet makes guest appearances on "Halloween" and "The Stone".
- Alanis Morissette performs backing vocals on "Don't Drink the Water" and "Spoon".
- Béla Fleck plays banjo on "The Last Stop", "Don't Drink the Water" and "Spoon".
- Step Up to the Microphone: Boyd Tinsley sings lead on "True Reflection" and the spoken-word section of "I Did It". Carter Beauford sings the main hook on "Old Dirt Hill (Bring That Beat Back)".
- Tim Reynolds gets to play a few solo instrumental tracks in the live acoustic shows that he and Dave do together. He got a Grammy nomination for one of these.
- Stop and Go: "Drive In Drive Out" seems to end about ten times before it's actually over.
- The intro to "Satellite" is arguably a softer version of this.
- Subverted Rhyme Every Occasion: Dave uses this to add a little extra tragedy to his solo song "Gravedigger":
Little Mikey Carson, 'sixty-seven to 'seventy-five
He rode his bike like the devil until the day he died
When he grows up he wants to be
Mr. Vertigo on the flying trapeze
Oh, nineteen forty to nineteen ninety... TWO!
- Token Minority: A notable aversion. Up until the death of Leroi Moore, the band was split 60/40 between black and white members. With Jeff Coffin taking over on sax, it's now 40/60.
- Uncommon Time: All over the place, sometimes with numerous time signature changes in the middle of a song ("Rapunzel", "You Never Know", and "Seven" are excellent examples of this).
- "Crash into Me" is an interesting subversion - its time signature sounds confusing due to where it's accented by both Dave and Carter, but it's actually in 4/4.
- The Unintelligible: "Halloween" quickly devolves into this, as do a lot of live versions of songs before Matthews had the lyrics completely worked out.
- Word Salad Lyrics: An awful lot. You generally get the basic idea of what Dave is rambling about, but his lyrics can seem like non-sequiturs from one line to the next. This naturally leads to a lot of Wild Mass Guessing concerning the meaning of certain songs.