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New Dave Matthews Band Album Streaming Now Options
Posted: Monday, May 25, 2009 9:19:10 PM

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Perfectly legal and available for listening now.

Shake Me Like a Monkey, Why I Am, Spaceman, Squirm Alligator Pie and Seven are great tracks.

You and Me, if released as a single, is the most radio friendly they have ever sounded, and not in a bad way. Many weddings and graduations will end with this track.

As a side note, Funny the Way It Is, the first radio track, broke the record number of plays in the USA since the current polling data came into place a decade ago.

Hope they keep coming back to our little festival.

Trumpet bells ringing
Bass drum is swinging
As the trombone groans
And the big horn moans
Posted: Tuesday, May 26, 2009 9:49:52 AM
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Thanks Finley - Listening now!

Bring 'em back Pete - Thursday headline like the last time to give them the three-hour timeslot!
Posted: Friday, May 29, 2009 4:39:32 PM
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Whilst I'm not a huge fan, this is a really nice article on the recording of the new album and on Dave Matthews' love of New Orleans:

Spera article that was posted on antsmarching.org

MAN ABOUT TOWN; Dave Matthews adapted well to being a New Orleanian while finishing his latest album and packing a crowd at Jazz Fest
The Times-Picayune, 9 May 2009

Dave Matthews nearly became a New Orleanian this year.

The Dave Matthews Band spent February at Piety Street Recording in Bywater finishing "Big Whiskey and the GrooGrux King," a new album due June 2.

And on April 26, the DMB headlined the New Orleans Jazz and Heritage Festival presented by Shell. It was the band's first local performance since the August death of saxophonist LeRoi Moore after an all-terrain vehicle accident. Saxophonist Jeff Coffin and trumpeter Rashawn Ross, along with electric guitarist and longtime Matthews collaborator Tim Reynolds, helped fill the void.

Matthews called from his tour bus recently to reflect on his Big Easy adventures.

How does Jazz Fest compare with other festivals you've played?

Just the fact that Jazz Fest is inside New Orleans makes it stand out for me. I was looking forward to Jazz Fest just to smell the air and see the branches of the trees hanging low over the streets, and to see the architecture, and visit friends. New Orleans hasn't been incorporated in this dominant commercial corporatization of the rest of the country. It's a unique, self-sustained city and culture that keeps its identity in a defiant way.

And the amount of local music . .

Everywhere! It is the most musical city that I've ever been to. I'm not saying L.A., Nashville, New York or Chicago aren't centers of music. But somehow it's in the roots and in the ground in New Orleans. It's in the blood. It's in the celebration and the suffering. It's all around.

Did you come into New Orleans early for Jazz Fest?

I was in and out. I would have loved to be in the day before to see Pete Seeger, because that was the first concert I ever went to as a little kid.

You kept repeating the name of Ivan Neville's band, DumpstaPhunk, during your set.

They were standing on the side (of the stage). I'm a big fan, and they're good friends. And it is ridiculously funky.

You headlined the single largest day in Jazz Fest history -- 160,000 in 2001.

I only found that out on the day of Jazz Fest this time. Something else must have been going on at the same time. People were getting out of the way, and they just happened to be in the Fair Grounds.

How do you think your set went this year?

I think we started off pretty hot -- we were really excited. We'd been doing a good concentration of gigs up to that point; my legs kind of came out from under me about halfway through. There's all these people on stage, behind the stage, in front of the stage . . . there's a festive quality. So it's kind of hard not to enjoy it, with all the flags. I'm not a very good judge -- my perspective is somehow warped nowadays. I have a good time, with moments of incredible paranoia when I think everyone is staring at me like, "What are you doing?" But I thought we came out swinging. What was your perspective?

I thought the first 35 minutes were flawless. Giving Tim Reynolds extra room was good. Turning Jeff Coffin loose . . . that guy can blow.

And he has a style. I love the energy that he brings on stage. I think the band is as strong as we've ever been right now. The turning point when we started to fall in love with each other on stage again happened in the last year of LeRoi's life. Obviously he's an integral part of our history, but he really was an integral part of this turning point in the band. I'm sorry that Roi's not here to see that. We miss him enormously.

How do you decide whether to play "Ants Marching"?

Some nights it seems like a good idea. Sometimes I put a song in because I like the song, and other times I put a song in because I like where the instrumental part is going. At this point, I like how we've been going into "Ants Marching" and the break inside of it. I think we'll probably take it easy on that song for the rest of the tour.

Why cover the Talking Heads' "Burning Down the House"?

It's a fun song to play. I like Tom Jones' version. Didn't he do a version? He should if he didn't. Maybe we do his version of it. Our version is his version.

The Edge sat in with you at the first Jazz Fest after Hurricane Katrina.

He was down there doing good work, trying to get some B-3 organs back in the churches.

And your band issued a $1.5 million challenge grant for the Musicians Village in the 9th Ward.

The Musicians Village was a fun, focused project. Now we're trying to figure out some other things we might be able to do. The scars of a belligerently poor response by the local and federal government to Katrina are still present. It's up to the private sector to help get that city into a new and healthier place.

As soon as your Jazz Fest set ended, you ran toward your tour bus, then stopped to take pictures with fans.

I don't have the courage to just go past without saying anything. I was going to fly home to see my kids, which is very important. But by the time I'd get home, they'd be sleeping. So I didn't have anything I really had to rush to get too. I suppose if I was Madonna or John Mayer and I had a lot of paparazzi around, then maybe I'd get tired of people shouting for me. But I have exactly the amount of no paparazzi. I'm not too upset about it. Maybe I just blend really well. I try and tell myself that it's not just that I'm the Superman of Boring or the Batman of Mundane.

When you were in New Orleans recording, you took the streetcar and generally lived like a local.

I ran into a couple people that would say, "Hey, I know who you are." Mostly not. I ran into people at the coffee shop that I hadn't seen for years. I'd run into musicians. People down there tend to be pretty calm.

Being down there with my family made working on music . . . I didn't feel like we were doing anything unusual. In L.A. or New York, you feel like, "Oh, I'm going to make music. I'm a unique individual."

But I didn't feel like that (in New Orleans). I felt like I was going to work -- to make a record. We were in this cool studio, this studio that is invisible from the outside. Such a great vibe and such a great-sounding space. The people there were awesome. The neighborhood bar we'd pop into to have a drink. . . . I couldn't have asked for a more special experience to finish the album than in that space and in that city.

And to have my family there, and take the streetcar to the zoo or spend a day downtown at the Children's Museum or go and listen to music at night . . . and the food. I just want to tell more people about that city without it getting overrun. I don't think it will. I think it can handle it.

I just really felt at home down there making music. I honestly think that we made the best record we've ever made.


The first three records we made had the energy of this band at its healthiest. Then we made good records after that but . . . we were sort of in a holding pattern. Not to belittle those records but . . . they weren't grabbing the band. On this album, we all found each other. Right from the drums, Carter (Beauford) said, "This is going to be our record now."

I'm not saying only because of New Orleans; that would be exaggerating. But I think being in New Orleans had a lot to do with it, with our focus. It set a tone.

You actually got work done during Mardi Gras.

And I got to take my kids to parades and see crazy people drinking in the morning. Mardi Gras is another example of a unique city. Most parades around the country have at least a corporate sponsor, if not 30. But not there. No corporate sponsor.

It's its own unique place. Maybe it's all of Louisiana. This album was my falling in love with Louisiana, my falling in love with New Orleans, as well as an homage to my fallen comrade, LeRoi Moore. The great focus of the album was to try and make a record that Roi would have liked us to make. And I know he was psyched that we were going to do it in New Orleans. He loved that city.

The cover of "Big Whiskey and the GrooGrux King" features a surreal drawing by you of a mule-drawn Mardi Gras float passing through the French Quarter.

I did the drawings after I witnessed Mardi Gras. That was my first Mardi Gras. And I read about it. I felt like the name (of the album) had a tone to it that was Mardi Gras. So I had the idea of making the GrooGrux an imaginary Mardi Gras parade.

Did you go totally native and put your kids up on ladders for the parades?

Yes I did.

You were around Napoleon and Prytania, which is very family friendly.

We were invisible for most of the time. Then we were adopted by Tiffany and her family.

We didn't know we had to go reserve a space (on the parade route). So this very kind lady who saw my (7-year-old) twins adopted me. Her family informed her later on that I was a nominal celebrity -- not worth any paparazzi, but in some circles I had notoriety.

So then she was excited. She was a lovely lady and very generous to us for no reason other than to say, "Why don't ya'll just come up here?" She was great. And I had a great time catching beads.

Music writer Keith Spera can be reached at kspera@timespicayune.com or 504.826.3470. Comment or read past stories at nola.com/music.

...might have to review my thinking about his music!!

Hangin' out on Frenchmen
Posted: Monday, June 01, 2009 8:06:01 PM

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thanks repete. a nice article. hope i can return the favor some day.

Trumpet bells ringing
Bass drum is swinging
As the trombone groans
And the big horn moans
Posted: Wednesday, June 10, 2009 2:43:48 PM
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Reviews of the album (mostly US) are available here:


Rolling Stone: 4 out of 5
Spin: 3.5 out of 5
People: 3.5 out of 4
SF Chronicle: 3 out of 4
Chicago Tribune: 3 out of 4
Detroit Free Press: 3 out of 4
Entertainment Weekly: B
Boston Globe: B
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