Who knew that the next huge American band would include a violin and a saxophone, draw upon backgrounds in jazz, classical and metal, and call Charlottesville, Virginia its home? Over the last 15 years or so, the Dave Matthews Band has broken down musical barriers and achieved success on its own terms. The band has established itself as the most successful touring machine since the Grateful Dead, and its climb to the top has been propelled by their evolving live performances and word-of-mouth advertising, not by radio play or MTV.
However, all bands lose their vision at some point. In 2000, the band scrapped "The Lillywhite Sessions," and instead, lead singer Dave Matthews and former Alanis Morissette-producer Glen Ballard crafted a slick pop album. Packed with catchy beats and uncharacteristically simple song construction, "Everyday" was a departure from the band's unique sound; Ballard's influence left little room for the other members of the band and the sound they had developed.
Many fans -- myself included -- were disappointed. While the band was exploring new territory, it had sold itselves short with a shallow effort motivated by material success. Moreover, its legendary improvisation was abruptly discontinued.
But after rerecording the "Lillywhite" material with 2003's "Busted Stuff" and exploring solo projects, a more mature Dave Matthews Band is again sailing uncharted waters. Matthews selected accomplished producer Mark Batson (India.Arie, Seal) to bring a unique perspective to the creative process, and the result is something that is completely different but still unmistakably Dave Matthews Band.
Batson's influence is apparent in the extensive sampling, string arrangements, synthesizations and distortions. The songs are intricately layered, and Batson does an excellent job of catching each musician's most brilliant moments and weaving them together to create rich tapestries. The band's instrumentation and vocal harmonies have never sounded so polished, but the listener can still feel the band's legendary live energy.
The band's most ambitious album to date, "Stand Up" is simultaneously sentimental and funky, political and philosophical, and easily accessible and refreshingly progressive. At one point, Matthews says in one of his goofy voices, "This is a classic fucking album." He's kidding, but not really.
The music and lyrics complement each other seamlessly. In interviews, Matthews has attributed this to a new approach, saying, "In the past, finishing the lyrics was the thing that happened at the end, but here the lyrics were an integral part of the process."
Like past albums, the songs on "Stand Up" are meaningful and powerfully emotive. "Dreamgirl," is a sentimental love song with euphoric harmonies and an awkward yet catchy hook. The single "American Baby" somehow manages to be deeply political, spiritual and personal all at once, with Tinsley's plucked hook proving instantly memorable.
"Everybody Wake Up (Our Finest Hour Arrives)" is an obvious political plea for action: "Everybody wake up / If you're living with your eyes closed / See the man with the bomb in his hand." "Out of My Hands" is the achingly beautiful, whispered response, and the two together represent the hope and desperation of our times.
But "Stand Up" also rocks. Carter Beauford's funky licks and Matthews' staggering hook drive the hard-rocking title track, while "Hello Again" and "Louisiana Bayou" are guaranteed to bob heads from start to finish.
The flawless production of "Stand Up" is due to the perfect combination of band and producer. This seemingly effortless combination of rock, jazz, R&B, blues, funk and pop crosses countless musical boundaries but maintains authenticity, emotion and energy. In short, it provides new possibilities for the future of popular music.
