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Old 12-18-2018, 01:27 PM   #41
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This year has solidified my feeling that DMB and I are no longer on a mutual path. And Iím not saying this with blame or bitterness, just stating the fact. I havenít listened to a lot from this year, but thereís no doubt that what Iíve heard is the sound of a band that is renewed and playing with more passion and heart than in several years. I just donít really like it. Itís not the DMB that Iím interested in. Some of it is that Carter doesnít play like he used to. Some of it is that I still often donít care for the way Tim sounds with them. A lot of it is that I miss the interplay between Roi and Boyd. Basically a lot of what I liked about the band just isnít the band anymore. And thatís fine. Iíll always have that band to listen to, but after DMB 2.0 theyíre just not for me.
I can really understand where you are coming from. 4.0 is a VAST departure from the old days and even from where 2.0 was (oddly enough even though the sets were great it was my least favorite iteration). For me though 4.0 has actually re-invigorated my love for this band and brought back a whole rush of feelings regarding how happy I am about where they have grown to.

Its sort of an off-DMBc point but the 2018 NIN tour did the same thing with that band for me (weird af band to be my #2 I know). I felt like they had gotten so far off of what I really fell in love with them for but the sound and the experience that they brought to the shows I hit up this year knocked me on my ass and put me back into full on mode. I got to hear The Perfect Drug and they opened one of my shows with most of the Broken EP this year, thats insane.

For the first time in years I am looking at next year with a lot of excitement and want to see what curveballs are on the way. I had a blast with 4.0 and I feel like they are on such an upswing that I never saw coming.

Rashawn needs to tone his shit down though, or get some tone back beyond just squeaks. Something. Trumpets are weird.
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Old 12-18-2018, 01:30 PM   #42
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This year has solidified my feeling that DMB and I are no longer on a mutual path. And I’m not saying this with blame or bitterness, just stating the fact. I haven’t listened to a lot from this year, but there’s no doubt that what I’ve heard is the sound of a band that is renewed and playing with more passion and heart than in several years. I just don’t really like it. It’s not the DMB that I’m interested in. Some of it is that Carter doesn’t play like he used to. Some of it is that I still often don’t care for the way Tim sounds with them. A lot of it is that I miss the interplay between Roi and Boyd. Basically a lot of what I liked about the band just isn’t the band anymore. And that’s fine. I’ll always have that band to listen to, but after DMB 2.0 they’re just not for me.
My main gripe sound wise is definitely Carter. His playing has become the opposite of what it once was - Smooth.

Dave thrashing his guitar, re: rhythm doesn't help Carter's sound much either.
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Old 12-18-2018, 01:40 PM   #43
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I can really understand where you are coming from. 4.0 is a VAST departure from the old days and even from where 2.0 was (oddly enough even though the sets were great it was my least favorite iteration). For me though 4.0 has actually re-invigorated my love for this band and brought back a whole rush of feelings regarding how happy I am about where they have grown to.

Its sort of an off-DMBc point but the 2018 NIN tour did the same thing with that band for me (weird af band to be my #2 I know). I felt like they had gotten so far off of what I really fell in love with them for but the sound and the experience that they brought to the shows I hit up this year knocked me on my ass and put me back into full on mode. I got to hear The Perfect Drug and they opened one of my shows with most of the Broken EP this year, thats insane.

For the first time in years I am looking at next year with a lot of excitement and want to see what curveballs are on the way. I had a blast with 4.0 and I feel like they are on such an upswing that I never saw coming.

Rashawn needs to tone his shit down though, or get some tone back beyond just squeaks. Something. Trumpets are weird.
Can. Not. Stand. Rashawn.
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Old 12-18-2018, 03:39 PM   #44
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Stefan is so solid.
Whatever happened to everyone just shitting all over Fonz?
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Old 12-18-2018, 03:51 PM   #45
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Have you tried a Say Bye from this tour? The Columbus one got my classic DMB juices flowing. Creative Carter and Jeff intro and then Jeff does a lovely job playing BT's lines in the chorus
Felt the same way. Jeff sounded like Roi and i thought I was listening to 2003
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Old 12-18-2018, 03:52 PM   #46
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Whatever happened to everyone just shitting all over Fonz?
Rashawn
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Old 12-18-2018, 04:22 PM   #47
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Whatever happened to everyone just shitting all over Fonz?
Rashawn happened.
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Old 12-18-2018, 04:22 PM   #48
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Hadn't refreshed the window and Tamby beat me to it
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Old 12-19-2018, 10:10 AM   #49
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Rashawn happened.
Yeah, but it's been over a decade since the Conductor happened.

Shit, have we been respecting Fonz for a decade?
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Old 12-19-2018, 10:52 AM   #50
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No, we mock hith Twitter feed all the thyme
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Old 12-19-2018, 11:15 AM   #51
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Yeah the lisp and him being ignored by Dave for setlist decisions are still universally mocked, but all in all, he's such a solid contributor between playing in the band and fan interaction.
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Old 12-19-2018, 11:54 AM   #52
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Fonz can be a dunce sometimes (I think it’s probably a combination of a poor education and early fame and money), but at the end of the day he’s far and away the one that gives a shit about the fans more than anyone else on the stage.

And by that I mean he gives 1/10 of a shit, whereas the rest of the band doesn’t even reserve the tiniest of spaces in their minds for anyone here or anywhere else. They’re at a point in their careers (and have been for a while) where collectively as a band (not counting Buddy) they 98.33% are in this thing for themselves. It would be 100% if not for Fonz, who’s like 90% in it for himself. I did the math, it checks out.
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Old 12-19-2018, 12:01 PM   #53
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Tldr they literally don’t care or even consider what we think and really couldn’t care less if we even existed at all. Come to terms with that, folks. Dave Matthews gives zero shit about you. His mind is fully dedicated to his own personal tribe(s) and none of you are a part of that.
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Old 12-19-2018, 01:00 PM   #54
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The fake island accent from el director was a bigger joke to me than the lisp.

And yeah they don't really care. At least Stefan is a solid player and kinda throws us a bone every once in a while.
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Old 12-19-2018, 01:03 PM   #55
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The fake island accent from el director was a bigger joke to me than the lisp.

And yeah they don't really care. At least Stefan is a solid player and kinda throws us a bone every once in a while.
I mean Rashawn is a very competent trumpet player. A true master, I'm sure. It's just not for us and doesn't compliment the band in way at all. Aside from he plays muted, which I admit, I like. That's like 2% of the time though. Get him outta here.
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Old 12-19-2018, 01:07 PM   #56
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Yeah - I actually first wrote "at least stefan is competent" but that wouldn't have been fair to Rashawn. He's a talented player no doubt, he just lacks the tact to play within THIS band.

Stefan is solid night in and night out and has been since the beginning. I was listening to the wetlands live trax last night (bass is nice and high in the mix) and he's a star of the release for sure.
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Old 12-19-2018, 01:21 PM   #57
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Yeah - I actually first wrote "at least stefan is competent" but that wouldn't have been fair to Rashawn. He's a talented player no doubt, he just lacks the tact to play within THIS band.

Stefan is solid night in and night out and has been since the beginning. I was listening to the wetlands live trax last night (bass is nice and high in the mix) and he's a star of the release for sure.
Good way to put it, zero tact with DMB.
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Old 12-19-2018, 01:30 PM   #58
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During the 2010 tour I had come to face the fact that the horn section dictated how songs were played and how new songs would be arranged. It was sad because even though '09 had it's fair share of thrashing, in 2010 it seemed like the longer Rashawn was left to his own devices, the more influence/control he would have over this band. Even Lillywhite had succumb to that fact with his production for AFTW in 2012, and the arrangements that poured out of those sessions. As the tours went on, '13, '14, '15, '16, it just seemed like it was never going to end. The "wall of sound", heavy instrumentation on songs that don't need it (OSW for example), the horn section continuing to drown other band members out during their solos with canned horn lines, stems and arrangements. Dave having some very obvious vocal issues in 2015 and 2016 (and not just the typical fail of a falsetto but he seemed to almost be singing out of key and tempo on a good number of performances those years), also with each passing year Carter becomes less and less interesting and age has nothing to do with it, it's not about pounding the shit out the drums, it's incorporating all those fills and accents on new arrangements but he's traded that in with just filling the pocket with kick-drums.


The whole Boyd thing happened, some new guy on keys that no one knew, and the news of this new hodge-podge record just seemed like it was almost going to be a nail in the coffin for me, but something glorious happened. The record was nothing like what I had heard and/or seen the last 6/7 years with this band. No over-the-top, horn driven, speed-demon of a song. No "hip-hop" attempts from Batson. No arrangements that got lost under mindless patterns from Carter. Come Tomorrow truly reinvigorated me. For better or worse, the band was playing together instead over each other like they were doing for years during almost every live show since Roi passed. It was so refreshing. I don't care how simplistic of an arrangement or vocal delivery or lyrically some of the songs are. The album and subsequent summer and fall tour had me enjoying the band as a collective (which in includes some of what Rashawn was doing), instead of pin-pointing one solo from one member during an entire show that I liked...this was different.


Rashawn's forced crescendos and builds, squealing, and directing were kept at such a minimal level this year I still have this kind of "it's too good to be true" feeling. Whatever the reasoning, Boyd's absence, the band having fun with Buddy, maybe even Rashawn starting to be a bit more self-aware after all these years...whatever the recipe is for direction things seem to be going, I hope it's something that can be replicated every year from now on. Sure, there are going to be bad shows, bad sets, bad performances, bad experiences at shows and there are still things Rashawn does that really irk me and things I think Buddy can do to improve growing transition into this band's music, but I think the trajectory that they're on right now is one that I totally didn't expect and was a warm welcome from someone who was close to writing them off in terms of future albums, tours, etc...


They've been a changing band, long before Roi's death, and they're still changing and evolving but at least now, I enjoy listening to the band without some anxiety every 2 minutes that my enjoyment will be crushed by decisions musicianship-wise from anyone in the band. Maybe some small let downs, but nothing is totally ruined. Somethings should still change, but for where I thought they were headed...to where we are now, I find myself much happier(more than I have felt in a long time) as a fan moving forward.

I may have a different opinion next year if for example Rashawn starts reverting back to his 2010 approach to every piece of music, an I understand people may not agree with some or most of what I've said here, but as of right now I'm actually more than content with DMB 4.0....I'm happy.
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Old 12-19-2018, 01:45 PM   #59
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They've been a changing band, long before Roi's death, and they're still changing and evolving but at least now, I enjoy listening to the band without some anxiety every 2 minutes that my enjoyment will be crushed by decisions musicianship-wise from anyone in the band. Maybe some small let downs, but nothing is totally ruined. Somethings should still change, but for where I thought that were headed...to where we are now, I find myself much happier(more than I have felt in a long time) has a fan moving forward.

I may have a different opinion next year if for example Rashawn starts reverting back to his 2010 approach to every piece of music, an I understand people may not agree with some or most of what I've said here, but as of right now I'm actually more than content with DMB 4.0....I'm happy.


Your whole post nailed it.

I canít think of a time Iíve been overall positive about the way things are going since.... I donno maybe the 04 tour. 2018 was a great year.
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Old 12-19-2018, 01:57 PM   #60
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During the 2010 tour I had come to face the fact that the horn section dictated how songs were played and how new songs would be arranged. It was sad because even though '09 had it's fair share of thrashing, in 2010 it seemed like the longer Rashawn was left to his own devices, the more influence/control he would have over this band. Even Lillywhite had succumb to that fact with his production for AFTW in 2012, and the arrangements that poured out of those sessions. As the tours went on, '13, '14, '15, '16, it just seemed like it was never going to end. The "wall of sound", heavy instrumentation on songs that don't need it (OSW for example), the horn section continuing to drown other band members out during their solos with canned horn lines, stems and arrangements. Dave having some very obvious vocal issues in 2015 and 2016 (and not just the typical fail of a falsetto but he seemed to almost be singing out of key and temp on a good number of performances those years), also with each passing year Carter becomes less and less interesting and age has nothing to do with it, it's not about pounding the shit out the drums, it's incorporating all those fills and accents on new arrangements but he's traded that in with just filling the pocket with kick-drums.


The whole Boyd thing happened, some new guy on keys that no one knew, and the news of this new hodge-podge record just seemed like it was almost going to be a nail in the coffin for me, but something glorious happened. The record was nothing like what I had heard and/or seen the last 6/7 years with this band. No over-the-top, horn driven, speed-demon of a song. No "hip-hop" attempts from Batson. No arrangements that got lost under mindless patterns from Carter. Come Tomorrow truly reinvigorated me. For better or worse, the band was playing together instead over each other like they were doing for years during almost every live show since Roi passed. It was so refreshing. I don't care how simplistic of an arrangement or vocal delivery or lyrically some of the songs are. The album and subsequent summer and fall tour had me enjoying the band as a collective (which in includes some of what Rashawn was doing), instead of pin-pointing one solo from one member during an entire show that I liked...this was different.


Rashawn's forced crescendos and builds, squealing, and directing were kept at such a minimal level this year I still have this kind of "it's too good to be true" feeling. Whatever the reasoning, Boyd's absence, the band having fun with Buddy, maybe even Rashawn starting to be a bit more self-aware after all these years...whatever the recipe is for direction things seem to be going, I hope it's something that can be replicated every year from now on. Sure, there are going to be bad shows, bad sets, bad performances, bad experiences at shows and there are still things Rashawn does that really irk me and things I think Buddy can do to improve growing transition into this band's music, but I think the trajectory that they're on right now is one that I totally didn't expect and was a warm welcome from someone who was close to writing them off in terms of future albums, tours, etc...


They've been a changing band, long before Roi's death, and they're still changing and evolving but at least now, I enjoy listening to the band without some anxiety every 2 minutes that my enjoyment will be crushed by decisions musicianship-wise from anyone in the band. Maybe some small let downs, but nothing is totally ruined. Somethings should still change, but for where I thought that were headed...to where we are now, I find myself much happier(more than I have felt in a long time) has a fan moving forward.

I may have a different opinion next year if for example Rashawn starts reverting back to his 2010 approach to every piece of music, an I understand people may not agree with some or most of what I've said here, but as of right now I'm actually more than content with DMB 4.0....I'm happy.
Fantastic post my man. I'm on board with everything you said.

Question though, if Cater's downfall isn't as much to do with age, why do you think he's digressed so much? The last two years specifically.
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