Reflections on DMB

Heard some late-model DMB last night, which got me to thinking: "Now there's a band past its prime."

Just think about it - remember when Under The Table And Dreaming came out, and you're like, "this is IT! THIS is the music I've been waiting to hear!" I can still remember with vivid clarity the unbelievable freshness of that album, its shimmering beauty. The sound, the vibe, the mood was utterly without peer in the popular music spectrum of 1994.

Then, you had Crash in '96, which, while having a few missteps, was still a pretty solid album. 1999's Live at Luther College (recorded in '96) further cemented the legend while showcasing a whole new side of Dave's music; the all-acoustic presentation boasted an eerie musical telepathy between Matthews and Tim Reynolds, a guy who should've been an official, full-time bandmember from day one.

Unfortunately, Before These Crowded Streets signalled the beginning of the end. Lots of un-DMB material - combined with a general sense of wankery - began to reveal cracks in the seams of the band's greatness.

With a few exceptions, pretty much everything the group has done since '98 has disappointed me. In fact, it takes some effort to remember the way the music used to make me feel; I'm stuck with a pair of jaded, can't-go-back-there ears. Auditory virginity is just as impossible to reclaim as the carnal kind; would that it weren't so...

Since I'm one to be helpful, I'll suggest a bunch of stuff Dave couldn't possibly do:

1) Find a way to get Reynolds permanently onboard in the early 90's.
2) Realize that you're a songwriter / rhythm guitarist, not a singer - get somebody else on vocals.
3) Fire the freaking horns guy; this ain't no jazz bar, nor are you running a ska band. (Hey Lillywhite, can we get an alternate mix of "Two Step"? Maybe one without the tuba!?)

With this sterling advice, a Dave Matthews in an alternate universe might make it to 2008 without sucking wind.