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Stuntcheeks
12-17-2003, 02:37 PM
I couldn't find a thread on this. I'm pretty sure most of you don't get this magazine and it's a cool article so I typed it out.

First, go here for the first few paragraphs, then see below to finish the article.

http://www.performingsongwriter.com/pages/74/primary.cfm

(rest of the article)

Then again, as Matthews himself admits later in this article, being on a major label does have certain advantages. Dave's first solo album for RCA, Some Devil, arrived in stores the day before our conversation, and by week's end it will have moved 469,000 copies, nearly the entire total sales of RTT's independent run. Aside from L@LC, an "official bootleg" from one of Matthews' acoustic shows with TR, Some Devil marks the first time the singer-songwriter has appeared on disc w/o his DMB partners. It's also his first studio effort to miss the No. 1 position on the Billboard Top 200 since 1996's Crash, kept from the top by the release of OutKast's double album, Speakerboxxx/The Love Below. And one suspects Matthews couldn't be happier. "The OutKast record is the best album of the year," he says, in the same awestruck tone he uses to rave about Bela Fleck or Nusrat Fateh Ali Khan. "They're so far ahead of what the rest of us are doing."

That same genre-be-damned acceptance is just as evident in the construction of Matthews' own label, ATO (According To Our) Records. Started with the help of his manager (Coran Capshaw) and two friends from the band's early days (Michael McDonald and Chris Tetzeli), ATO hit the indie-label jackpot on its very first try when the company's initial release, David Gray's White Ladder, produced a Top 40 hit in "Babylon" and went on to sell more than two million copies in the U.S. Since then, ATO has signed a diverse and uniformly excellent roster of artists, ranging from jam-band foundations Gov't Mule and North Mississippi Allstars to power popsmith Ben Kweller and critically acclaimed singer-songwriter Patty Griffin. None of them outsell their boss, but that's never been Matthews' intention anyway. "To build a small record company from the ground up would be such a fun venture, " Matthews said in 1995 when asked about his plans for the future. "And I hope we can help out bands that are either too quirky or too eclectic or too left-of-center...Because the more power we can get for ourselves, the more power we can get for other bands like us. Maybe, if nothing else, we can take a corporation as large as RCA and inspire some respect.

PS: In our earlier interview, you were talking about your reasons for signing a major label deal, and one of them was a desire to play in places like Italy, Australia and Brazil. Eight years later, it seems that decision has paid off well.

DM: Yeah, and to a degree I think we've had quite a few advantages being on RCA. But I also think we haven't gotten as far as some people think. We've managed to carve out a niche here in the US, but a lot of that is due to our touring and persistence. And I think our growing popularity in South America, as well as Canada, comes from the movement of people from here to there. But we only have a cult following in the rest of the world. And I think that's because we haven't toured over there as much as we have in this country.

So, while I am certainly grateful for the many things RCA has given us, I also like to take the lion's share of the credit for our popularity in America. And that's because we don't follow: In the career of this band, we've never followed the models of anyone else. And that's made it difficult for RCA to get us across to people. But it's been easy for us to get ourselves across, because we don't have to fit into a can.

PS: In the mid-'90s, a lot of other Southeastern bands experienced great success with major labels-Hootie and the Blowfish, Better Than Ezra, Sister Hazel-but they couldn't sustain their popularity. Yet you've not only thrived, you've expanded. I mean, the Dave Matthews Band is one of the three or four biggest-grossing touring acts in America right now.

DM: You mean we're not the biggest (laughs)? Holy cow, I'm only joking. I'm not too aware of what everyone else is doing. But, I think there's been a combination of things behind our success: Our music translates pretty well into both small and large venues, and our commitment to each other has always been at the very top of our priorities. Regardless of how this band's career has been interpreted by the press or the industry or critics, we've never answered to any of them.

PS: The early critical opinion of DMB was pretty dismissive, but lately many of those same publications have come around.

DM: Yeah, there's always potshots, though. I really don't pay attention to critics, 'cause there's no real point. I don't understand the decision to become a critic, having to label music you don't like, or having to become opinionated about things...I don't know. It seems like such an alien career. I mean, if you didn't like the last 10 albums we've made, you're probably not going to like out next one. And yet, I find some critics just relish in it! They can't wait for our next album! They're making up quotes while they wait (laughs)!

Really, the only opinions that deserve attention are the opinions of our fans-because they're our livelihood-and, especially, the opinions of the five of us. That's been the focus all along.

I think we're all trying to create something out of love. Not every trip to the studio is a piece of pie, but that's the focus. We want to make something we all love, and that focus has given us a certain amount of longevity.

PS: And none of your albums sound exactly like the other, yet they all sound like "the Dave Matthews' Band," albeit at that particular point in time. And while your solo album starts off reminiscent of DMB, it develops its own identity as it goes along. you begin to notice the difference without the other four members.

DM: Yeah, I agree it's very different. I don't think I brought the same thing to this situation that I bring to the band, because the whole experience was different. Writing with a band, a song may take a completely different character turn from where it starts to where it finishes. And the way we construct songs and the way we perform them affects things.

(Pause) When we play and record together, there's a volume to it. And it was interesting for me to discover my solo album doesn't have that giant quality, which I think the band possesses. A good band has a sort of "A-team" quality, meaning there's a lot of muscle in our band. (Long pause) It's hard to say. It was very, very different working alone. And I enjoyed the experience, but it made me want to go back into the studio with the whole band.

See, I didn't take one-fifth away from [DMB] to go and make this album, to say, "Without the band, this is what I sound like." I didn't want to record an album of songs I could've done with the band. Although I see there's a similarity-I understand what you're saying about the first couple tunes on the album. There are certain progressions and qualities that maybe aren't as far off from the band as the later songs.

[With Some Devil] I was specifically going in directions where I felt I wouldn't go with the band, whether melodically or lyrically. I think working alone made for an album that reflects a little more solitude; if I'd made a band album instead, I don't think it would've had the same lonely quality this one has. Because I would’ve done it with other people, right?

PS: A good example is "An' Another Thing." It's a spooky, falsetto-driven song, and it would have never fit in on a proper DMB album.

DM: There's been versions of that chord progression floating around for the last eight or nine years. But I think that's the final one. (Pause) Yeah, that's a great example. Though it's been floating around for a long time, it never did attract the attention of the whole band. So I was really happy for that particular song to find a little venue to appear.

During the recording, I just sat down to a click track and played the guitar and sang. That's the first take. We built everything else around it. Then we were faced with the question of how to finish it, lyrically. Eventually we just said, "No. It's already finished." There's a couple mumbled lines in there, but I think the performance says enough about what the song is about. I think that was a real magic moment. It may be the best vocal performance I've ever done.

PS: Speaking of "floating chord progressions," a lot of early DMB songs started from a single riff or chord line, then slowly worked themselves into full-fledged compositions over a string of live performances. Has that process changed substantially over the years?

DM: Well, for the first four years of our existence, all we did was write songs and play. We never recorded anything. Since then, we've recorded six studio albums. The amount of writing changes. The way you develop songs changes. I think it's inevitable, unless you're doing exactly the same thing as before.

But there's still some similarities. Many of the songs used to come out of extensions of existing songs: An idea going out of a song would be improvised around until it became a song of its own. That kind of thing still happens a lot, or at least the possibility is there. There's also an element-which was present in the early days, as well-of bringing a finished, or half-finished, song to the table. I think there are many different directions we go.

In the beginning, it was essential that our main writing technique be writing from the stage. When we started, we had maybe 10 songs, and then we toured everyday of the year for four years. So that was the only place where we could write, because we were onstage every day! I couldn't go, "Well, let's sit down and write for a week." We didn't have a week. Everything had to happen onstage, because if we weren't onstage, we were asleep or driving. Now, thanks to the fact that we don't tour every single day, to write only from stage would be ludicrous. We have different venues for writing now. New ideas aren't only allowed to come out onstage anymore. And, while that method isn't dead, there are other places where we can write as well.

PS: Probably the most drastic departure from your original writing style came with the album Everyday, the bulk of which was co-written with Glen Ballard.

DM: Well, here's what happened. The band had been in the studio for five months, bangin' away and making-I think-some of the best music we had ever recorded.

PS: You're talking about the Lillywhite Sessions.

DM: Yeah. But the process became exhausting because there was no progress, and yet we were still coming back every day. We started thinking, "What are we doing? Why are we playing these tunes over and over again?" It became this heavy blanket over the whole session, to the point where we said, "Let's just get out of here. I don't want to be here anymore. I don't give a fuck about this music." And it's not because it wasn't good. And it's not because we didn't love it. You know, you might love pepperoni pizza, but eat that breakfast, lunch and dinner for a month and a half and you will puke. So that's what the Lillywhite sessions turned into. We'd all go to the studio and none of us would even want to go inside.

In hindsight, I think that situation shows how committed this band is. The vast majority of partnerships, when faced with that kind of thing, would probably blame themselves. I think a lot of bands would not be able to survive that. They'd blame each other. When, in truth, it had nothing to do with the band. You can listen to the music and tell: We were slammin'. We were killin' it. It had everything to do with the place we were, the environment, and the mood of the room we were in. It was sorta like blowing up a balloon with two holes in it. "What are we doing here? I know how to blow up a balloon, but this is ridiculous." "Well, keep trying." It was Carter [Beauford, drummer] who said we needed to leave. We needed to do something else.

And, certainly, Everyday turned out to be a completely different experience. I think all of us would agree, it's a slammin' record. It's real different, but lyrically it's as good as anything I've done. <Do you agree, Jake?> And musically, working with Glen was a great deal of fun, especially the speed of his ability to move a creative process along. The intention was to go in and write three of four more tunes, then blend those with the Lillywhite Sessions. But Glen and I were having so much fun that we went on this writing spree. Then the band came in about a week and a half later, and we recorded this stuff really quick. There was very little time with the band sitting in a circle playing, so the result was absolutely different. I think the songs from Everyday that we've been playing live have our character on them now. But I never apologize for that record. It was a different album for us. And it wasn't a "Dave Matthews Band album" in the same sense. But we're all real proud of it.

PS: How much fallout was there with Steve Lillywhite over those sessions? He hasn't produced an album for you since.

DM: No, but how many bands work with the same producer every record? And Steve has never done as many records with any other band. Really, we realized we needed someone we weren't especially comfortable with. There's a part in the relationship between artist and producer where we want to impress you. And vice versa. Whereas, that would've been our fourth album with him, and the ambition to impress...(pause) we should've realized it sooner, maybe on BTCS. Because that was a great collaboration with Steve, and the album, in many ways, is the band’s crowning achievement with him. And I think it's our best album in many ways. But we should've had the wisdom to make BTCS the last one we did with him.

You know, if we sat in a room with him, we'd get on superbly-and we have. It's not that we're no longer friends. It's not that we don't respect each other. It's just that working together will never the be the way it was on the first three albums.

PS: As far back as our 1995 interview, you were discussing the idea of signing other artists to Bama Rags, your independent label and merchandising company. But it took some time for ATO Records to happen.

DM: Well, I thought that was a good idea then. I never though it was a bad idea, actually. And then my friends-my manager [Coran Capshaw], Michael McDonald, and Chris Tetzeli-all wanted to do a similar thing. But we waited. I think one of the mistakes people make when forming an independent label is to say, "OK, we're gonna start this company," and then, after they start it, go look for artists. For us it was different. Once we thought it might be a good idea, we said, "Now we have to prove it's a good idea by finding someone who needs the support of a record company." Otherwise, you're just making something unnecessarily.

So, our feeling was, "Let's create a demand for us by supporting someone. And then we'll build a record company around him." I think it's accurate to say we build ATO around David Gray-and we had to prove ourselves to him before he would sign w/us. We had to argue our way into his confidence. Then, once we had him, we took that on as our method. With every artist following that, it's been a similar process.

For instance, we just signed a woman from England named Jem. We had to argue our way into her confidence, too. And she’s gonna be ridiculous, in my opinion. From where I'm looking, I'd be really surprised if she doesn't kick the doors down. She's a monstrous songwriter. And we had to do the same thing with Patty Griffin.

PS: I've been a big fan of hers for years.

DM: Likewise. In the eyes of songwriters, she's been at the top of the heap for a long time. Maybe not so much in the eyes of the industry. When you think about it, the music industry-like the movie industry-is obsessed with mediocrity, too. I mean, if you don't fall into a fashionable, hip mediocrity, then you have no chance. Every once in a while, someone balances neatly between originality and average, and they get raves. But very often it's people like David Gray of Patty Griffin-artists with such undeniable quality-who get screwed by the industry. And it's only because the industry is run by artists of spin, rather than people who care about music. There's an emphasis on looks or fashion, very temporary things. As a result, people with something more profound and long-lasting to offer are often overlooked. One only hopes that if they do get completely overlooked, they can still bubble up to the surface later on.

PS: Is that the philosophy behind ATO?

DM: Well, I think so. That's certainly my feeling. That's what I think is important. But I'm not alone in running it. There are also wise people out there looking for brand-new, fresh stuff to put on ATO as well. But my focus will always be to turn people on to these overlooked artists. Because there’s so much great music out there. And if you turn on the average radio station in America, you're not going to hear any of it. You might hear a touch. It's always an inspiration if OutKast of Eminem or Patty Griffin comes over the radio. You can tell! You’re listening along, and then all of a sudden you hear something great that jumps out at you!

It reminds me of a story I heard. A guy I work with told me one radio station didn't want to add 'Gravedigger' to their rotation, because it made somebody at their station cry. That's just funny to me. Wow, someone had such a real reaction to the music that you don't want to play it.

PS: And they wonder why radio listenership drops every quarter.

DM: Yeah, the Internet is gonna destroy it. Radio is run by spineless people who want to make the advertising buck and don't care about anything else. It may pay them in the short term, but in the long run, they're just gonna sink into the murky mud. It hasn't happened yet. But there seems to be a great deal of crumbling going on. Everything's changing...Think about what happened to the radio of the '50s and '60s, and how it became the FM radio of the '70s. Back then you could hear John Denver, Paul McCartney, Marvin Gaye, Diana Ross, and Led Zeppelin in a row. Now, you might get jail time for playing that (laughs). And yet, the people programming the radio right now were probably listening to those kind of stations in the '70s. But they've forgotten what a pleasure it was to hear Carole King and Bob Marley right next to each other.

PS: It seems like people in the industry who love music have been replace by people who only care about the bottom line.

DM: Oh, yeah! That's why I think it can't maintain itself. An industry that doesn't care about what it's making is only a money industry. And what is a money industry? There's nothing there. There’s no commerce, no exchange. And I think we're watching the disintegration of the record industry right in front of us. It may be frightening to the songwriter and the recording artist in some ways. But they're only part of it that matters.

People want to listen to music. It's been around forever. It's been around longer than language. And it will always come out the other end, even if it's in a changed form. The A&R man and the record company president should be worried for their jobs. If you're performing and writing, you're not the one whose job will be lost.

PS: You're the irreplaceable part of the company.

DM: Exactly. You're what the entire company is based on. Even if it pretends to be based on something else.


There you go. I'm tired of typing.

egallo
12-17-2003, 02:58 PM
Cool article. Thank you so much for posting all of that.

DmbNuNu
12-17-2003, 03:08 PM
its a really good magazine. my local Borders sells it so i will try to pick it up.

is he on the cover? if not, who is?

flyer3468
12-17-2003, 03:17 PM
very good stuff

digitaldj
12-17-2003, 03:21 PM
Favorite article I've seen posted. Thanks alot, take some tylenol 8-hour.

-adam

nonewdirections
12-17-2003, 03:41 PM
i can't believe you typed all that. thanks a lot, good article

Parker
12-17-2003, 03:44 PM
appreciate the time. great article.

JanelleM
12-17-2003, 04:08 PM
Back then you could hear John Denver, Paul McCartney, Marvin Gaye, Diana Ross, and Led Zeppelin in a row. Now, you might get jail time for playing that (laughs). And yet, the people programming the radio right now were probably listening to those kind of stations in the '70s. But they've forgotten what a pleasure it was to hear Carole King and Bob Marley right next to each other.

As if I needed any more reasons to love the man. ^^^

crashintosabine
12-17-2003, 04:19 PM
thanks for taking to the time to type all of that out! good read. :)

greymatt
12-17-2003, 04:42 PM
Minor quip. Wasn't Central Park Sept. 24, not Sept. 25?

gracemonkey
12-17-2003, 04:43 PM
What a great piece! thanks for putting that up.

jstlsn
12-17-2003, 05:07 PM
Yes, Dave is on the cover. I also picked mine up at Borders.

Brad


its a really good magazine. my local Borders sells it so i will try to pick it up.

is he on the cover? if not, who is?

ayla123
12-17-2003, 05:25 PM
Monster effort typing that all out, thank you it was a great interview. I especially love what he said about recording on the first take, and the writing process in general, and ATO. Thanks again for sharing.

Mickey Carson
12-17-2003, 05:41 PM
Awesome interview...awesome article. Thanks Stunt.

bstorey
12-17-2003, 05:58 PM
Thanks

DrFartbrain
12-17-2003, 06:11 PM
Thanks, that's a really good read.

perrinbar
12-17-2003, 06:24 PM
Awesome work on the transcription. Thanks that was a great article.

LIKEaHUNGER
12-17-2003, 09:47 PM
That was really cool of you... thanks!

I have been reading this magazine for almost two years now I think and it is really fantastic. I wrote the editor a letter about a year ago asking if they would consider featuring Dave, and she wrote me back saying that was something she really hoped to do... looks like it worked out!

I have found so many great Indie bands and artists from this magazine. Definately check it out.

dmb_41_sd
12-17-2003, 10:13 PM
That was really cool of you... thanks!

I have been reading this magazine for almost two years now I think and it is really fantastic. I wrote the editor a letter about a year ago asking if they would consider featuring Dave, and she wrote me back saying that was something she really hoped to do... looks like it worked out!

I have found so many great Indie bands and artists from this magazine. Definately check it out.


Great article. I may have to go pick it up!


DM : So, while I am certainly grateful for the many things RCA has given us, I also like to take the lion's share of the credit for our popularity in America. And that's because we don't follow: In the career of this band, we've never followed the models of anyone else. And that's made it difficult for RCA to get us across to people. But it's been easy for us to get ourselves across, because we don't have to fit into a can.

This explains on of the main reasons why I'm a fan.

Stuntcheeks
12-18-2003, 12:35 AM
I was glad to do it. I would have posted last night, but I only got about halfway through before I wanted to quit typing.

I think this is my favorite interview of DM that I've read. The interviewer obviously was a fan and asked excellent questions. I think Dave could tell and gave him a great interview. Oh, and to give credit where it's due, the author is Richard Challen.

Performing Songwriter is an excellent magazine. I get it @ Barnes and Noble.

jngshin
12-18-2003, 12:49 AM
my god amazing article, big thanks for typing it

Surfer X
12-18-2003, 12:56 AM
This has to be one of, if not THE, best interview(s) I have ever read. Thanks for the effort in getting this out to us, man!

Stuntcheeks
12-18-2003, 01:28 AM
BTW, Surfer X. You are not Sancho. I am Sancho.

ITS REALLY COLE
12-22-2003, 03:11 AM
*gigantic* thank you for typing this.

WesDutchMaster
12-22-2003, 05:04 AM
Wow, big effort! I already had the magazine but thanks for typing that up for the fans that didn't.

illbackyouup_03
12-22-2003, 10:08 AM
best thing ive reada in dmbc for a while

missycor
12-22-2003, 10:15 AM
Thank you. :)
Gravedigger makes me cry too (referring to the radio station in the article), but I wouldn't stop playing it because of that. :lol

Mark
12-22-2003, 10:31 AM
that was a great interview.

thanks for typing it out.

scoot_14
12-22-2003, 11:31 AM
BTW, Surfer X. You are not Sancho. I am Sancho.

Good to see some orgasmo references around here!

Excellent read, thanks for typing that out. I may have to check out that magazine at B&N the next time I go out for some starbucks at lunch.

bartender4141
12-22-2003, 11:50 AM
dave likes outkast haahhahhahahaha

hornet
12-22-2003, 12:12 PM
Great article, thanx again, and I'm glad to read that Dave seems to have the same affection for OUtkast that I do.

Nighthawk419
12-22-2003, 01:04 PM
That was amazing for you to type that out. More reasons to love the man that he understands whats going on in the music industry, and his whole opinion on that. plus hearing that "an another thing" was a first take, but final... wow, i thought it had emotion before... but damn...

scoot_14
12-22-2003, 01:09 PM
Dave has mentioned outkast a lot recently. I think it's always interesting to hear what music musicians listen to. It never seems to be what you'd expect really.

DMB10984
01-03-2004, 09:22 PM
WOW... thanks alot for taking the time to post that, excellent read!! yeh it is interesting to see wut the artist have to say bout each other n wut they think.

BouldrinSoChill
01-04-2004, 12:21 AM
Man what an awesome read! excelent questions and a great article...

-:thumbsup :thumbsup
"Radio is run by spineless people who want to make the advertising buck and don't care about anything else. It may pay them in the short term, but in the long run, they're just gonna sink into the murky mud. It hasn't happened yet. But there seems to be a great deal of crumbling going on. Everything's changing...Think about what happened to the radio of the '50s and '60s, and how it became the FM radio of the '70s. Back then you could hear John Denver, Paul McCartney, Marvin Gaye, Diana Ross, and Led Zeppelin in a row. Now, you might get jail time for playing that (laughs). And yet, the people programming the radio right now were probably listening to those kind of stations in the '70s. But they've forgotten what a pleasure it was to hear Carole King and Bob Marley right next to each other"
:thumbsup :thumbsup
sweet

Phillip

Chrissy811
01-05-2004, 06:15 PM
AWESOME!! Thanks so much for typing that up! That article proves why I am such a big fan... and it seems it does the same for a lot of us!!!

Stuntcheeks
01-05-2004, 06:22 PM
You're very welcome. I'd do it again in a heartbeat.

MistreatedLewis
01-05-2004, 07:03 PM
Not very surprised about that. They did ask the Roots to come on tour, so he must like some of the arty hip-hop type stuff.

dave likes outkast haahhahhahahaha

^MaLaKaS^
01-05-2004, 11:30 PM
Thank you for typing all of that. Awsome article! :)

CrashDMB219
01-06-2004, 01:34 AM
thanks i cant believe you typed all of that out, good work my friend

petelax06
01-05-2005, 03:28 PM
awsome article thanks for the time and effort

ChrisLaw
01-05-2005, 03:58 PM
awesome job typing that thing out.. appreciate it!

snapmcd
01-05-2005, 04:36 PM
Wow! You are a monster. Thanks!

Stuntcheeks
03-05-2005, 02:49 PM
Just bumping an old article for those who may have missed it. It's still my favorite interview. I enjoyed reading it again.

road_designer
03-05-2005, 06:16 PM
Just bumping an old article for those who may have missed it. It's still my favorite interview. I enjoyed reading it again.

I missed it. Thanks so much for bumping it and especially for typing that.

eirikra
03-05-2005, 07:13 PM
that interview was amazingly good. probably one of the best interviews I've read in a long long time! Thanks for taking the time to type it out for us!

happygirl326
03-05-2005, 07:51 PM
Thanks for bumping this article and for taking the time to type it out- it's very insightful.

Jake
03-05-2005, 08:10 PM
.... It's real different, but lyrically it's as good as anything I've done. <Do you agree, Jake?>




it's interviews like that which reveal the true Dave. He's a vain man who can't admit that he produced a steamer of an album.




even Kiss can say Dynasty sucked. Aerosmith doesn't play crap from Rock In A Hard Place (that's the one w/o Perry), but DMB loves throwing feces back into our faces, no matter how much we sit on our hands during Fool To Think.

jr_cigar
03-05-2005, 08:38 PM
wow that was a great read, thanks man!

Rapunzel34
03-05-2005, 08:58 PM
"Really, the only opinions that deserve attention are the opinions of our fans-because they're our livelihood-and, especially, the opinions of the five of us. That's been the focus all along."

:thumbsup:thumbsup Great article...thanks so much!

lilc
03-05-2005, 10:59 PM
good read, thanks

stratocoustic05
03-06-2005, 03:23 AM
somebody add to this kid's reputation points!!!

phunky420
03-06-2005, 05:19 AM
That was sweet...THNXS!!

I loved that he said, "But I never apologize for that record", when talking about Everyday. Even he knows that there is something wrong with that record....Artistic blindness i guess....

And yes...BTCS is their best album..from his lips too...

Pantala
03-06-2005, 08:59 AM
On "An' Another thing"....

"During the recording, I just sat down to a click track and played the guitar and sang. That's the first take. We built everything else around it. Then we were faced with the question of how to finish it, lyrically. Eventually we just said, "No. It's already finished." There's a couple mumbled lines in there, but I think the performance says enough about what the song is about. I think that was a real magic moment. It may be the best vocal performance I've ever done."


I can't agree with this more. I was driving listening to the Some Devil album when this tune came on, simply amazing. So unique, great vocals, and you can hear the passion in this song. This is the epitomy of the type of song you will never hear on the radio. I really think this song is underated by a lot of people. Some day, this song will be revered by DMB fans. Sometimes it takes longer to recognize brilliance when it is staring you in the face.

Great article. Thanks.

lilc
03-06-2005, 10:23 AM
On "An' Another thing"....

"During the recording, I just sat down to a click track and played the guitar and sang. That's the first take. We built everything else around it. Then we were faced with the question of how to finish it, lyrically. Eventually we just said, "No. It's already finished." There's a couple mumbled lines in there, but I think the performance says enough about what the song is about. I think that was a real magic moment. It may be the best vocal performance I've ever done."


I can't agree with this more. I was driving listening to the Some Devil album when this tune came on, simply amazing. So unique, great vocals, and you can hear the passion in this song. This is the epitomy of the type of song you will never hear on the radio. I really think this song is underated by a lot of people. Some day, this song will be revered by DMB fans. Sometimes it takes longer to recognize brilliance when it is staring you in the face.

Great article. Thanks.

An' another thing brings a smile to my face:D

Stuntcheeks
03-08-2005, 09:51 AM
it's interviews like that which reveal the true Dave. He's a vain man who can't admit that he produced a steamer of an album.




even Kiss can say Dynasty sucked. Aerosmith doesn't play crap from Rock In A Hard Place (that's the one w/o Perry), but DMB loves throwing feces back into our faces, no matter how much we sit on our hands during Fool To Think.

But remember the commercial success of Everyday. Do you not think they feel obligated in some sort of way to play songs off that album for the fans they acquired when it was released?

Stuntcheeks
05-12-2005, 12:02 AM
Shameless, shameless bump, but I love this interview and I want the newer 'Stand Up' people to see it.

Nokinja
05-12-2005, 12:52 AM
<Do you agree, Jake?>

Man, that freaked the CRAP out of me. That's my name and I thought I was going crazy.

Stuntcheeks
05-12-2005, 09:28 AM
Man, that freaked the CRAP out of me. That's my name and I thought I was going crazy.

Why? I was talking to you :evil

filthyrich
08-22-2008, 02:58 PM
I was browsing for a link for my blog (http://richpicks.blogspot.com) and came across this post. I'm actually the original author of this article, Richard Challen, and it was a nice surprise to stumble across (nearly) the entire thing transcribed!

Since the Performing Songwriter link no longer works, here's the first couple paragraphs again. Enjoy.

--Rich

It’s Wednesday, September 25th, 2003, and in eight hours Dave Matthews will be on stage in Central Park, playing to more than 100,000 people. And he’s a little nervous. “I’m always a little nervous,” he clarifies politely. “I mean, there’s no reason to be, but I still am.”
A strange sentiment, considering the Dave Matthews Band has probably played well over 2,000 shows since their formation in 1991. Stranger still, this will not be their largest crowd to date, at least according to the man himself. “I think the biggest was probably a show down in Brazil, or maybe JazzFest,” he offers. Regardless, it’s a far cry from their first NYC gig, a four-in-the-morning slot at the famous CBGB’s. “I remember the first time we ever played ,” Matthews said during a news conference promoting the concert. “We had three people in the audience with shaved heads and pierced everythings.”
Lest one forget, Dave Matthews was an independent artist—and a highly successful one at that—long before RCA, VH1, and AOL (the corporate sponsor of the Central Park show) came calling. Criss-crossing the East Coast numerous times over, the Matthews Band built a sizable, largely college-based following in the early Nineties through their wonderfully eclectic, highly-charged live shows. Released after more than two years of non-stop touring, [I]Remember Two Things sold over 500,000 copies on the band’s own Bama Rags label, an astonishing number for a self-manufactured release. Such financial solvency meant DMB could negotiate a lucrative deal with RCA, retaining the rights to their independent albums and merchandise even as 1994’s Under The Table And Dreaming received the major-label push. “RCA is an investment for the future,” Matthews told me during a 1995 interview, “but Bama Rags shoots straight up into our hands. Up to this point, it’s certainly been a larger source of financial income for the band.”