DMB in Relix Magazine

[iha]

Don't know if it's already been posted, but there is a little article in the latest issue that has a review of the DMB 4 night live at the red rocks show.


They didn't give the greatest review, but did include some praises. I'll post more specifics later, but I don't have it in front of me and want to make sure I quote them right.

[bense27]

come on man post some of that

[filmdude100cms]

in relix? really?

[trippin6strings]

ive seen em in relix a few times now, i love that magazine

[a1075dd63aa12]

ive seen em in relix a few times now, i love that magazine

[iha]

in relix? really?

don't know why i'd make that up

a little harder to believe.. they reviewed a system of a down show too.

[iha]

Ok, I decided to type it out.. it's not that long. I was in a hurry when I typed it so excuse any typos.

Morrison, CO
Red Rocks Amphitheater
September 9
Dave Matthews Band

Returning to Red Rocks Amphitheater for the first time in a decade, the Dave Matthews Band chose to wade into its sold-out four-night stand with a gentle "#36" wrapped around "Everyday," a somewhat meek opening statement for such a hotly anticipated run of shows. It gradually became apparent that the road-tested band was actually a little nervous to be in Red Rocks again- for much of this show's first half, in fact, DMB looked perilously like a football team that had found itself in the Super Bowl only to realize it had left its "A" game back home.

DMB's evolution from underground world-beat ragamuffins to NFL-shilling pop practitioners hasn't gone down well in all circles, and it should come as no suprise that the band's forays into its more recent releases were the least successful of the night. The sweet, empty "Dreamgirl" had the crowd listless by the second verse, while the cover of The Zombies' "Time of the Season" was faithful but flat and apropos of nothing. And as if to underscore the fact that "Stolen Away on 55th and 3rd" is an inert piece of songwritting, Matthews chose to perform it-for the only time that night - seated in a folding chair.

Fortunately, though, DMB packed enough fighting spirit and old-school stomp to make the gourney worthwile. The splintery electric intro of "Louisiana Bayou" and Matthews' use of his lower vocal register brought some real grit at a crucial point. Violinist Boyd Tinsley seized the moment, hauling his bandmates into a ferocious, funkified jam, their first real chance to cut loose. By the time the set reached the stretch run, Matthews was in fine, looselimbed form, leading his band through the marriage of "Dancing Nancies" and "Warehouse" and "So Much to Say" bridged with "Too Much," as though Red Rock Amphitheater were nothing more than the world's largest frat house.

In a night somewhat short on extended jams -- even the normally longish numbers "Warehouse" and "The Stone" seemed truncated -- the 16 choice minutes of the elagiac "Bartender," with its multiple plateaus, a jazzy interlude from keyboardist Butch Taylor and Leroi Moore's gorgeously plaintive pennywhistle clearly proved a point: Pop most certainly has its pleasures, but while longer isn't necessarily better, bands with as unconventional makeup as DMB definitely shine brighter when they have a little more room to run.

[i like tictacs]

good article

[GSR]

huh.

I got a free subscription to Relix for a year when i pre-ordered 5 Gallons of Diesel.

[myxomatosis]

I got a free subscription when I signed up for one online.

[jellyfish]

I gave everybody a free subscription last year. I have not received this issue yet htough.