Customer Reviews

Everyday

5 star:		(271)
4 star:		(208)
3 star:		(146)
2 star:		(121)
1 star:		(122)

 

 

DMB's latest release, "Everyday", is an excellent album. Fans of any other band would be thrilled at such a powerful, upbeat product. Fans of Dave Matthews Band however have come to expect something else from DMBs CDs. Dave Matthews Band has never been about following the "rules" of commercial success and confining songs to more radio-friendly 4 minute creations; nor have they ever shyed away from extensive break down jams that lead into the next track (making each album feel like one continuous effort). Dave Matthews Band has always stayed "true to the music, commericial rules be damned." It is these and other qualities that have attracted so many fans of all types. Sadly, Everyday departs from these basic qualities. Glen Ballard, producer of Everday, recently was quoted on PBS's Charlie Rose Show as saying about fans, "They don't want extensive jams on an album...That's what a concert is for." (One wonders if Ballard has ever heard of such bands as Pink Floyd and Led Zeppelin, to name a few...) Ballard therefore packages all songs on Everyday to under four minutes, save one which is slighty under five. DMB fans might find it frustrating that just when the band begins to jam, the music fades out in the name of radio-friendly songs. Musically "Everyday" is complex and exciting, just as one would expect from Dave Matthews Band. Fans however will be disappointed to find that violinist Boyd Tinsley and saxophonist LeRoi Moore are all but nonexistent on the album, instead replaced by Ballard on a retro-80's-style keyboard for accompanyment. In total, to their credit DMB is clearly expanding their musical borders in this album, providing an enjoyable (albeit different) musical experience. Everyday is definetly worth buying and all fans should anticipate amazing concert versions of each song. That said, the strength of the songs despite Ballards best efforts to de-Dave-Matthewsize them leaves one wondering of the album that could have been had long-time DMB producer Steve Lilywhite (and his pro-music/anti-commercial sentiment) had a say in the production.

It's strange that Dave Matthews Band's newest studio release is titled Everyday. After all, the word "everyday" carries a sense of normality and routine. But with new producer Glen Ballard behind the board, the band's new album is not your "everyday" DMB record. Dumping longtime producer Steve Lillywhite for Ballard (best known for his biggest contribution to pop music: Alanis Morrisette's Jagged Little Pill), Everyday has turned into a product belonging only to Matthews and Ballard. After the the two wrote 12 songs together in L.A., they invited the rest of the band to record them. In an "everyday" DMB recording session, Matthews would usually play a few licks on the guitar and the remaining four would gradually join in to create the full sound. But when bassist Stefan Lessard, violinist Boyd Tinsley, sax player Leroi Moore and drummer Carter Beauford arrived in Los Angeles, Ballard had charted out the songs on paper for each musician to follow during the recording process, thus eliminating the creative process and input that the entire quintet had produced in the band's previous three studio albums. The result is a collection of songs that fail to capture the essence of Dave Matthews Band - an essence that usually features an album of performances, not routine recording sessions. The album totally changes DMB's change of pace, evident by its 50 minute-51 second duration (compared to the previous three records that lasted well over an hour). All the songs are short, limiting band members to minimal musical expression. Also, the songs contain the influence of Ballard's rock/pop feel throughout. Gone are the fun grooves as the rhythms of Beauford (arguably the best drummer in the business) are limited to rock and pop. Gone are the constant melodic riffs that underlie a typical DMB track as bassist Lessard is reduced to following typical rock progressions. But most notably absent are the talents of Moore and Tinsley, who's saxophone and violin, respectively, are featured at a minimum on Everyday. The album's first single, "I Did It," opens the CD with a funky rock feel and a rocking guitar lick. Noticeable throughout the record is the replacement of Matthews' constant acoustic six-string companion with an electric baritone guitar introduced to him by Ballard. "When the World Ends" possesses a funky pop feel - a rather bright groove mixed with dark lyrics. The song draws striking similarities to Morrisette's (and Ballard's) "You Learn." "So Right" is another song with a rock/pop feel to it, but suffers lyrically with cliches of love. It is also one of two songs on the CD that features the talents of sax player Moore in a rare solo. "If I Had it All," on the other hand, contains much more lyrical content as the bridge features Matthews expressing his current state of emptiness in convincing fashion. "Angel" is a sweet love song that opens with a nice, but short-lived duet between Matthews and Moore. "Fool To Think" is an interesting track. The song's main lick sounds a lot like the Police's "Message In a Bottle," again showing the influence musicians like Stewart Copeland, Andy Summers and Sting have had on DMB. The song again showcases Moore in a short sax solo. "Sleep to Dream Her" is Matthews' poetic victory on the album. It is also one of the most involved songs for the entire band, showing off the abilities of every member. The verses, however, are heavily dominated by the keyboard playing of Ballard. Nevertheless, this rock ballad is one of the best songs on Everyday. Grammy award-winning guitarist Santana is featured on the Spanish-inluenced rock song "Mother Father." Finally, the title track "Everyday" sounds a bit like "Stay" (from Before These Crowded Streets), containing a rock/pop groove and unusually spiritual and uplifting lyrics. Matthews pays a personal tribute to John Lennon and The Beatles with the lyric: "... All you need is/What you want is/All you need is love ..." Surprisingly, the band followed Ballard's lead with anxiety and optimism. All five members, especially Matthews, feel Everyday is the best album they have recorded in their decade-long history. However, it will probably be a little difficult for hard core DMB fans to embrace the band's change. Fans welcome change in a band that has been around as long as DMB, but changes that move the band forward are more desirable. With Everyday, it appears the quintet has taken a minor step back. Again, Everyday is a very strange title for this album that has left four members of this legendary band in the dark in order to make room for Ballard. A little too ironic, don't you think?

Though it's a tad early to celebrate, DMB's latest release, Everyday is a great departure for the band. Through their transformation over the years, Matthews, Lessard, Tinsley, Moore and Beauford have gone from the happy jams of Recently (Remember 2 Things) to the brilliant musical composition of The Stone (Before these Crowded Streets) and now to the edgy riffs of the band's new single, I did It. In abonding an already recorded album of songs like Grey Street and Sweet Up & Down, Dave and the boys returned to the studio to rewrite a new album along side new producer Glenn Ballard (Aerosmith, No Doubt), and even colaborating alongside friend Carlos Santana on the latin piece, Mother Father. The final product is an awesome new sound for such a band. Putting a hold on the twangy riffs in What Would You Say and evolving into cutting edge sounds as heard in The Space Between. Have no fear though, Dave fans. Though this recent departure seems tragic in a sense, all of the elements can still be heard. Boyd's still ripping up his violin, Carter maintains his status of best drummer in the world, and Roi is still beeboppin away on his sax (without sunglasses this time). Just go with the flow on this energy-packed release by the band, and remember that they never did a single thing that did a single thing to change the ugly ways of the world, but Dave Matthews Band can still rock!

I grew up in Virginia. Dave Matthews used to play W&L parties, the Virginia Horse Center, UVa and William and Mary all the time, and his classic, energetic shows full of songs that no one else but his band could play have come to define a sweet, warm summer evening for me in my early adulthood. I have seen him live at least once every year since 1996...

But, (and you were waiting for that "But" I'm sure), I won't be going to see Dave this year. Not because I do not like his music, but because I will not enjoy this album played live. Oh sure, maybe if Dave went on tour with Sting and His band, this might translate well, but since we're talking about the other 4 members of DMB being forced to play parts that aren't there, I shan't bother.

Those of you who caught onto DMB after "Remember Two Things" or "Under the Table" will know exactly what I'm talking about. There's an energy in those albums this CD comes nowhere close to replicating, if for no other reason than the underside of this disc has Glen Ballard's greasy fingerprints all over it, thus effectively smudging any real impact from Boyd or Leroi on the music. The two stars is salvaged only by "Everyday", which listeners of "Live at Red Rocks" will catch as a nascent "#36" with the catchy chorus "Honey Honey, come and Dance with me".

Not to advocate an illegal practice, but if you can, score a burned copy of the Lillywhite Sessions. A bittersweet footnote in this otherwise depressing story--only because that's the album that could have been, and this is what we got instead.

Sorry Dave. Maybe next year.

After listening to this disk for the first time, I could hardly believe it was actually DMB. Dave's unique sound is gone and it's been replaced by typical, over-produced "music by committee."

Even though the sound of this album was designed to expand the band's fan base and get more radio play, I fear it will turn away the die-hards like myself. It just doesn't sound like the DMB anymore.

I truly hope the band can go back to what made them truly great and please send producer Glen Ballard back to working with the boy bands or where ever he came from. He just doesn't fit DMB's style of music (the old one at least).

I still give the album a three because a couple of songs are pretty good. There's just nothing that could rival incredible songs like Ants Marching, Lie in our Graves, Tripping Billies, etc.

I bought this CD the other day, not because of some review I read but just for the hell of it. I am a fan of DMB, not like some of the diehard, fanatics here on this site, but because I am a fan of good music. I have three DMB CD's in my collection and listen to a wide variety of stuff (Allman Brothers, B.B. King, Jimmy Thackery, Pretenders, Widespread Panic, Goo Goo Dolls, J Geils, Hendrix, AC/DC, Miles Davis, Jimmy Vaughn, Neil Young, Wes Montgomery, etc,etc,etc).

I liked Everyday the first time I listened to it. I couldn't wait to hear it again. Didn't matter that it didn't sound like anything they had done before, it was a great CD full of good, soulfull music.

So...I decided to check some reviews to see what others thought. Wow!!...from some of the reviews you would think that Dave Matthews himself personally went to these people's homes, beat up their sisters (or brothers), wrecked their new car, and kicked their dogs! What ever happened to appreciating music for what it is, not for what you, the listener, thinks it should be.

It was refreshing, however, to see all the good reviews from the rational thinking, music loving people of the world. After listening to Everyday I pulled my Under the Table CD and listened to it. I am anxious to expand my DMB collection again.

Ok first, I'm a HUGE DMB fan. From the first notes of "Remember Two Things" I was hooked. This is the most disappointing album of DMB's career. My biggest question is "Where's the Band?" Unlike other albums,this disc focuses more on Dave's Voice than the band. I think there are maybe 3 tracks with sax on it. That's a sad state of affairs. Sure Dave hasn't had too many radio hits, but the label should have let the band continue their journey other than looking for "Snappy, Upbeat" Songs. So Dave please release the album that RCA made you scrap and bring Steve Lillywhite back. Or at least get a producer such as Daniel Lanois that has a more proven track record. Sure Alanis' "Jagged Little Pill" is a great disc, but ever hear Paula Abdul's "Forever Your Girl" or The Wilson Phillips album? I rest my case.

Being a hardcore Dave Matthews fan for years, the switching of producers from Lillywhite to Ballard disappointed me greatly. I didnt understand the logic behind departing from the producer that helped Dave with his unmistakable and irresistable sound. At first, this album is a little bit hard to digest. The sound is undeniably different, but the more I listened to it the more I realized that it's a musical progression, not a deviation. The same classic Dave sound is still there. If you didnt like the commercialized first single "I Did It", don't worry. All the rest of the tracks on the album are extremely impressive (So Right, The Space Between, Angel and Fool to Think). Buy this album... you wont be let down ... and you'll be able to sing along to some great tracks during Summer Tour 2001!

For Some Reason, dave matthews now thinks that his traditional 15 minute jam songs, extensive solos and sounds are "boring". As a result of this atitude (most likely provided by the new hollywood producer, Glen Ballard) Dave has changed the whole sound of the record. Daves lyrics and voice help keep this album from beiong blow-torched by traditional DMB fans. The first thing that a lot of people noticed about the album is that Dave is playing an elecric guitar. Also, the music is mixed in short, 3-4 minute songs, the drums, bass, woodwinds and violi are mashed together to create a wall of sound that is different from the classic individualality of the instruments. This is by far, the most mainstream pop sounding album that weve ever seen. I personally think that the band shouldve released the Lillywhite cd which was composed with all the songs that the band successfully toured with in the summer of 2000. Hopefully the guys will realize that they have a huge fan base to play to and that they dont really need to change sound for more audience. If youve never heard the band, this cd is NOT an accurate depiction of the group, if you are a fan, youll be surprised. I should also say that as i review this cd, i am comparing it to the other 8 or 9 DMB albums that have been released, not to pop music today.

Let me start by saying that I am a huge DMB fan. When I first listened to 'Everyday', I was disappointed. Like many other people, all I heard was Dave's voice over lifeless electric guitar riffs. After several listens, I have to say that 'Everyday' has become one of my favorite studio DMB albums.

1) I Did It - I couldn't stand this song until I imagined the smile on Dave's face as he was singing it. He Did It, alright, he made some stylistic changes, damn the critics.

2) When The World Ends - Very, very sexy song.. lyrics reminiscient of Crash Into Me.. "Your legs don't work 'cause you want me, so you just lie spread to the wall.." My only qualm with this song is the placement on the CD.. I think it would have been more appropriate at the end.

3) The Space Between - Easily the worst song on Everyday. It just sounds corny to me.

4) Dreams Of Our Fathers - The verses on this song are fun to sing along with, similar to Blues Traveler. The chorus does leave something to be desired though..

5) So Right - This song is one that you hope a cop doesn't pull you over to.. makes you want to get up and dance, just like Rapunzel. Very catchy, very happy.

6) If I Had It All - A song that has playful, wishful lyrics accompanied by a somewhat dark background of troubling sounds.. a cautious tale of someone who is aware of the evils of success. Definitely worth reading the lyrics.

7) What You Are - A hidden gem.. a mid-eastern feel, similar to Minarets and The Last Stop. The intro is awesome as well. Just try listening to this song without nodding your head.. an infectious beat. Dave continually teases the listener by delaying the rhythm with his thoughtful interludes.

8) Angel - Another sweet song, in the mold of 'Crash Into Me'. Only time I've ever heard Dave sing out of tune on an album (When he sings "When you're gone")

9) Fool To Think - What a great song! The first time I heard it, I thought 'Oh no, electric fiddles..'.. this is one song that I really wish DMB had expanded and played with.. hopefully it will be jammed out live.

10) Sleep To Dream Her - Soft, sweet song accompanied by a sweeping saxophone melody. This song sounds like it could have fit well on 'Crash'.

11) Mother Father - An excuse to use Carlos Santana.. not nearly as memorable as 'Love Of My Life' from Santana's Supernatural.

12) Everyday - Odd, as it doesn't really fit the rest of the CD. This song grew out of #36, #41, and Stay.. definitely the closest thing to a classic-sounding DMB song on the album.. playful, happy lyrics similar to those found on Under The Table.