Definitely. When Matt, the guy who helped start antsmarching, went to that first listening party he got a chance to talk to Boyd and he asked him if they were going to use the rest of the unreleased material on the road. Boyd said they would absolutely use them, so I'm looking forward to that.jsgksu wrote:At least weve got more unreleased songs to look forward to during the tour this year.
Stand Up Articles/Reviews Thread
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Nitro1515
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Kahn
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We've allready heard these songs. Why would you want to hear an album of old songs? I wouldn't pay $10 to hear studio versions of live songs I've heard over and over again. The thing is, people dont understand that this is the Dave Matthews Band, not Dave Matthews and a Band. They all had input into this album, and I'm sure nothing would have gone over if the band wasn't comfortable with it. People want the old days, where Dave would write a song and the band would add to it. The reason this album is different is because the songs were structured from the ground up, with the band's input. Intricate lyrics and complicated drum beats and sax solos don't make music good. What makes music good is seeing a band or an artist putting their blood sweat and tears into a work, and coming out with work that speaks to you. The truth is, yes some guitar riffs are simple, yes some drum beats are simple, yes their isn't much "jamming" going on, but these are just plain good songs. I can ride in my car with this album, I can listen to it in my room, and smoke a bowl, I can share the music with others, and it makes me happy. This album fucking rocks.i like tictacs wrote:this band really has the potential to do better. why couldn't they just release an album like
1. Hello Again w/ drum solo and dave solo intro
2. Monkey Man
3. Light Lift Me Up
4. Crazy/Easy (Finished)
5. Dressed In Black
6. Sugar Will
7. Sweet Up And Down
8. Good Good Time
9. Joy Ride
10. JTR
11. Out Of My Hands ->
12. Blue Water
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i like tictacs
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They don't have to be complex but they don't have to suck either. I'd rather get re-released versions of these songs and hear them fresh live. They've already written them and 80% of the fanbase doesn't know 2/3rds of them anyway. You know, I'd almost rather just see them rehearse for 6 months and come into the next tour with a FULL 90 SONG catalog, covering all the bases, with all the songs played solid and well, then an overproduced and lacking album that was rushed before the tour, with a producer who is great, mind you, but I don't think was best fit for this band. I'd rather see a producer PUSH THE BANd into writing quality songs and solid material, or PUSH them to rework the downtrodden LWS songs and the unfinished songs from last summer into perfection.KahnTheRevelator wrote:We've allready heard these songs. Why would you want to hear an album of old songs? I wouldn't pay $10 to hear studio versions of live songs I've heard over and over again. The thing is, people dont understand that this is the Dave Matthews Band, not Dave Matthews and a Band. They all had input into this album, and I'm sure nothing would have gone over if the band wasn't comfortable with it. People want the old days, where Dave would write a song and the band would add to it. The reason this album is different is because the songs were structured from the ground up, with the band's input. Intricate lyrics and complicated drum beats and sax solos don't make music good. What makes music good is seeing a band or an artist putting their blood sweat and tears into a work, and coming out with work that speaks to you. The truth is, yes some guitar riffs are simple, yes some drum beats are simple, yes their isn't much "jamming" going on, but these are just plain good songs. I can ride in my car with this album, I can listen to it in my room, and smoke a bowl, I can share the music with others, and it makes me happy. This album fucking rocks.i like tictacs wrote:this band really has the potential to do better. why couldn't they just release an album like
1. Hello Again w/ drum solo and dave solo intro
2. Monkey Man
3. Light Lift Me Up
4. Crazy/Easy (Finished)
5. Dressed In Black
6. Sugar Will
7. Sweet Up And Down
8. Good Good Time
9. Joy Ride
10. JTR
11. Out Of My Hands ->
12. Blue Water
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Kahn
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Your entitled to your opinion, but this is the first fresh album since 2001 if I'm correct. I think I'm more excited about the ablum experience than I am about the album. You know, hearing all the new songs live, seeing how they evolve, learning how to play and sing the new songs, all the hype leading up to the album (it gets me anxious, but its fun at the same time). I think its just a breath of fresh air from a band who hasn't had fresh material for a while now. And if you don't like the songs thats cool, no skin off my back, but I enjoy this album, and I think the songs are cash money.
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i like tictacs
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SpoonInSpoon
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that's what i wanna hear, and that's how i hope/think i will feelKahnTheRevelator wrote:We've allready heard these songs. Why would you want to hear an album of old songs? I wouldn't pay $10 to hear studio versions of live songs I've heard over and over again. The thing is, people dont understand that this is the Dave Matthews Band, not Dave Matthews and a Band. They all had input into this album, and I'm sure nothing would have gone over if the band wasn't comfortable with it. People want the old days, where Dave would write a song and the band would add to it. The reason this album is different is because the songs were structured from the ground up, with the band's input. Intricate lyrics and complicated drum beats and sax solos don't make music good. What makes music good is seeing a band or an artist putting their blood sweat and tears into a work, and coming out with work that speaks to you. The truth is, yes some guitar riffs are simple, yes some drum beats are simple, yes their isn't much "jamming" going on, but these are just plain good songs. I can ride in my car with this album, I can listen to it in my room, and smoke a bowl, I can share the music with others, and it makes me happy. This album fucking rocks.i like tictacs wrote:this band really has the potential to do better. why couldn't they just release an album like
1. Hello Again w/ drum solo and dave solo intro
2. Monkey Man
3. Light Lift Me Up
4. Crazy/Easy (Finished)
5. Dressed In Black
6. Sugar Will
7. Sweet Up And Down
8. Good Good Time
9. Joy Ride
10. JTR
11. Out Of My Hands ->
12. Blue Water
Andrew
i don't think boyd really knows what he's talking about or has the authority to make that decision.Nitro1515 wrote:Definitely. When Matt, the guy who helped start antsmarching, went to that first listening party he got a chance to talk to Boyd and he asked him if they were going to use the rest of the unreleased material on the road. Boyd said they would absolutely use them, so I'm looking forward to that.jsgksu wrote:At least weve got more unreleased songs to look forward to during the tour this year.
Andrew
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Grandpagotgame
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I am not going to make a complete judgement until I give this album some more time. I loved Some Devil, it was new and different. I loved Everyday, which was a big change. I loved Before These Crowded Streets which also was a big change, and I loved Busted Stuff as well. But this album has me dissapointed as for now, I will see what happens though. The lyrics simply aren't as good, neither is the music.
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Nitro1515
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Rolling Stone Review 3.5 Stars
"What do you get when you combine a veteran jam band with 50 Cent's producer? One likeable album. Dave Matthews Band- Stand Up by Christian Hoard (3.5 stars)
One advantage of actually being able to play your instruments: Midcareer crises are often less scary. In the four-plus years since DMB last convened to write and record a new album, its members have toured the country several times over; released four live albums and the rejiggered leftovers collection Busted Stuff; and taken time out as the band's frontman recorded a successful, if lightweight, solo debut. The group also dipped its toe into politics, playing concerts for John Kerry on the Vote for Change Tour. But if you were expecting the band to be bogged down by fame, fatigue, or global politics on its thirteenth album Stand Up, you haven't been paying much attention to this twelve-year-old quintet.
"This album," Matthews told ROLLING STONE, "is about love, life, God, death, and sex." You can take him at his word, but Stand Up is also a quintissential summer record, a collection of tight, group composed grooves and breezy tunes that sometimes float by too easily. DMB has always operated on a pleasure principle that has endeared it to nice folks everywhere: the adventure and instrumental skill of jazz music in a framework your average rock fan can understand, delivered by unassuming guys you don't have to pay a two-drink minimum to hear. In the past decade, they've held onto this communal vibe even as they've streamlinied their sound and quietly grown from a frat-rocking cult act to America's biggest band. Where's 2001 Everyday turned DMB into a world beating, chart busting juggernaut, Stand Up is the sound of a veteran outfit navigating between jammy mojo and pop-wise charm.
More than most bands, DMB needs a skilled producer to edit out the fatty jam sessions. For Everyday, the group had that in Glen Ballard, for Stand Up, Matthews as done well again, finding Brooklyn born Mark Batson, best known for cowriting songs by Seal and India.Arie and co producing tracks by 50 cent, the Game, and Eminem. Batson met with each band member individually, taping instrumental ideas from which Stand Up's fourteen tracks were later constructed: The result is a disc whose unfussy demeanor conceals a mountain of overdubs and deftly edited jams. There many not be enough sax or violin spotlights to satisfy old fans, but there's lots of enlightened riff-rock and splashes of color- the syncopated strings on Everybody Wake Up; the sexy funk-lite of SAO55A3- to fill that void. Even better, Carter Beauford's drumming is less cluttered than ever. On stand-out cuts such as the light-footed title track and the wistgul backyard barbeque soundtrack American Baby, DMB's easygoing choruses sound fully cooked, which hasn't always been the case in the past.
Stand Up is as democratic a record as you can expect from a band named after the singer. Unfortunately, that organic feel comes at the expense of Matthews' personality, a combination of pervy extroversion and armchair philosophizing that Everyday channeled more purely. Matthews' hazy words and warm voice rarely gather much force on the new album's less memorable cuts, such as the slow, guitar heavy YMDT. He tacitly addresses his displeasure over the Iraq War EWU, which begins with lines about 'the man with the bomb in his hand,' but thats about it; the point of the song is the four minutes of percussion packed communal uplift that follow. And the self-parodying yips and drawls with which he fills LB reveal one of his less endearing traits: getting so caught up in the groove that he forgets to come up with a decent lyric or convincing hook.
If the thoroughly good natured Stand Up proves anything, its that DMB has learned to temper its considerable chops with enough restraint and pop smarts that it no longer seems possible for even the most ardent punks to hate the group. But the album wont give the unconverted a reason to love Matthews either. When he sings, 'its out of my hands for now,' on the sparse, piano backed lullaby OOMH, he might as well be describing his relationship to the music on Stand Up: The band's singular groove is as self-sustaining as ever, and this happy guy is simply content to let the songs come as they may.
Copyright Rolling Stones, Issue 974, May 19th, 2005
"What do you get when you combine a veteran jam band with 50 Cent's producer? One likeable album. Dave Matthews Band- Stand Up by Christian Hoard (3.5 stars)
One advantage of actually being able to play your instruments: Midcareer crises are often less scary. In the four-plus years since DMB last convened to write and record a new album, its members have toured the country several times over; released four live albums and the rejiggered leftovers collection Busted Stuff; and taken time out as the band's frontman recorded a successful, if lightweight, solo debut. The group also dipped its toe into politics, playing concerts for John Kerry on the Vote for Change Tour. But if you were expecting the band to be bogged down by fame, fatigue, or global politics on its thirteenth album Stand Up, you haven't been paying much attention to this twelve-year-old quintet.
"This album," Matthews told ROLLING STONE, "is about love, life, God, death, and sex." You can take him at his word, but Stand Up is also a quintissential summer record, a collection of tight, group composed grooves and breezy tunes that sometimes float by too easily. DMB has always operated on a pleasure principle that has endeared it to nice folks everywhere: the adventure and instrumental skill of jazz music in a framework your average rock fan can understand, delivered by unassuming guys you don't have to pay a two-drink minimum to hear. In the past decade, they've held onto this communal vibe even as they've streamlinied their sound and quietly grown from a frat-rocking cult act to America's biggest band. Where's 2001 Everyday turned DMB into a world beating, chart busting juggernaut, Stand Up is the sound of a veteran outfit navigating between jammy mojo and pop-wise charm.
More than most bands, DMB needs a skilled producer to edit out the fatty jam sessions. For Everyday, the group had that in Glen Ballard, for Stand Up, Matthews as done well again, finding Brooklyn born Mark Batson, best known for cowriting songs by Seal and India.Arie and co producing tracks by 50 cent, the Game, and Eminem. Batson met with each band member individually, taping instrumental ideas from which Stand Up's fourteen tracks were later constructed: The result is a disc whose unfussy demeanor conceals a mountain of overdubs and deftly edited jams. There many not be enough sax or violin spotlights to satisfy old fans, but there's lots of enlightened riff-rock and splashes of color- the syncopated strings on Everybody Wake Up; the sexy funk-lite of SAO55A3- to fill that void. Even better, Carter Beauford's drumming is less cluttered than ever. On stand-out cuts such as the light-footed title track and the wistgul backyard barbeque soundtrack American Baby, DMB's easygoing choruses sound fully cooked, which hasn't always been the case in the past.
Stand Up is as democratic a record as you can expect from a band named after the singer. Unfortunately, that organic feel comes at the expense of Matthews' personality, a combination of pervy extroversion and armchair philosophizing that Everyday channeled more purely. Matthews' hazy words and warm voice rarely gather much force on the new album's less memorable cuts, such as the slow, guitar heavy YMDT. He tacitly addresses his displeasure over the Iraq War EWU, which begins with lines about 'the man with the bomb in his hand,' but thats about it; the point of the song is the four minutes of percussion packed communal uplift that follow. And the self-parodying yips and drawls with which he fills LB reveal one of his less endearing traits: getting so caught up in the groove that he forgets to come up with a decent lyric or convincing hook.
If the thoroughly good natured Stand Up proves anything, its that DMB has learned to temper its considerable chops with enough restraint and pop smarts that it no longer seems possible for even the most ardent punks to hate the group. But the album wont give the unconverted a reason to love Matthews either. When he sings, 'its out of my hands for now,' on the sparse, piano backed lullaby OOMH, he might as well be describing his relationship to the music on Stand Up: The band's singular groove is as self-sustaining as ever, and this happy guy is simply content to let the songs come as they may.
Copyright Rolling Stones, Issue 974, May 19th, 2005
fuck.Nitro1515 wrote:Out of 5GSRLessard14 wrote:is that 3.5 out of 4?
hey i was thinking... what if dmb fans really don't like this album... and receive it the worst out of all of them... and they play the songs on tour, and they don't get a response really. are they gonna keep playing them or will they just bite the bullet and play a limited amount of the album live?
Andrew
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Nitro1515
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I think they will keep playing them. Majority of fans hated Everyday and they still played a ton of stuff from it during the 2001 tour. This album is better though so I don't see that problem happening. And on a side note just to show how useless Rolling Stone is, they gave Stand Up and Everyday the same rating as BTCS.GSRLessard14 wrote:fuck.Nitro1515 wrote:Out of 5GSRLessard14 wrote:is that 3.5 out of 4?
hey i was thinking... what if dmb fans really don't like this album... and receive it the worst out of all of them... and they play the songs on tour, and they don't get a response really. are they gonna keep playing them or will they just bite the bullet and play a limited amount of the album live?
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