Again and Again Dave Matt Lyrics
Every Dave Matthews Band vocal, ranked
Sometimes a pandemic hits and and so you spend weeks thinking well-nigh and ranking the songs from your favorite band'due south catalog.
I just recently ranked 101 of the best NCAA Tournament games of the modern era, and then this was cake past comparison. And as I bide my fourth dimension waiting for a follow-upward interview with Steve Lillywhite — which we hope to become done in podcast form later in 2020 — what better time than now to tackle something so fun and fanatical?
I haphazardly ranked out nigh 85% of the songs below a few years back and never got effectually to tweaking. Quarantining, and the abrupt end of all sports beyond the world, accelerated the project.
Songs that qualified: Any total studio song on a DMB or Dave Matthews album — officially released or in any other capacity. Album instrumental segues or not fully fleshed live songs (like "Grux," "bkdkdkdd," "Pantala Naga Pampa," "Kill the Preacher," the abandoned Batson '06/'07 sessions, "Mother's Night," "Litho Blitho," etc.) were not under consideration. Random one - or two-offs played past Dave (a la "Falling Off the Roof") aren't logged, but whatsoever vocal with at least iii live plays was considered, and some were included. Covers were not eligible. I'1000 not merely accounting for the mode the songs were recorded/produced, but the essence of each song.
Posted beneath the rankings, fun for all the DMB fans who observe this: a bracket of the 68 all-time DMB songs in history, consummate with ii write-in options. Let's get to the rankings. It's rough sledding initially but things pick up about 30-35 songs in. This is but one man's view of DMB'south canon, and to a higher place all else, an elongated appreciation for i of the most successful and singled-out bands in American history.
169. Blackjack (unreleased). All of the creative instincts and songwriting quirks that can lead DMB to construct such interesting songs and/or subsections of songs completely backfires and folds in on itself in this gibberish-laden disaster.
168. Steady as Nosotros Go (Stand Up). Mawkishly piano-ascendant, style out of character, and the crescendo is the most cringeworthy moment the ring has ever committed to a proper album.
167. Stand Upward (Stand up). The phrase "STAND UP!" is said/sung AT Least 72 TIMES -- there well could be some other dozen more mercifully buried in the slapdash mix --- during the studio recording of this.
166. Angel (Everyday). "I call you up, you pick upwards." Enough sung. Only salvaged always so slightly because the guitar riff is somewhat catchy, if non entirely derivative.
165. Smooth Rider (Stand). Never have I listened to a song for the first fourth dimension, thought information technology was pretty solid, only to have the second, third and fourth listens degrade my opinion as rapidly as salt falling into boiling water.
164. Hunger for the Great Light (Stand up). A bizarre song about oral sex that combines a desire to pull from the flower-power era and so shoehorns in an alt-rock-lite riff.
163. Time Bomb (Large Whiskey & the GrooGrux King). The instrumental intro was a practiced idea. Everything after was non.
162. Mother Father (Everyday). Only been played a scattering of times, and that stands to reason. Everyday's songs were famously put together in just over a week's time back in 2000, and no song from that record is a clearer piece of show of how that can be a bad thing than this ane.
161. Dreamgirl (Stand up). Or is it "Dream Girl"? You know what, it doesn't affair. This song talks about digging a whole all the manner to Communist china, unless of course you're already in China, which in that example you'd best dig your way dwelling. It'due south a dearest song, natch.
160. Grey Blueish Eyes (Some Devil). Matthews' very skillful solo album nevertheless runs about three songs too long, and this is one of them.
159. Baby Blue (Big Whiskey & the GrooGrux Male monarch). Written for the late, great LeRoi Moore, the song is curt, placidity and sweet, but that'south about it.
158. Stolen Away on 55th & 3rd (Stand up Up). Forgettable, only bear witness that a Moore soprano sax line tin can salvage almost whatever DMB melody to a certain caste.
157. Baby (Some Devil). It's a prissy lullaby.
156. Come Tomorrow (Come up Tomorrow). Hard to get on board here. Why did they name the album after this one?
155. I Did Information technology (Everyday). The song that changed the direction of DMB's trajectory forever. The music video remains bizarrely hilarious. Wow, this was and then long agone.
154. Belly Full (Away From the Earth). The weakest link on DMB'due south fifth-best album. Nice, but a scrap treacly.
153. When I'chiliad Weary (Come Tomorrow). Few songs in the DMB catalog are a match both in title and vocal commitment like this one.
152. Be Yourself (unreleased). Whether this vocal really exists anymore remains a little flake of a mystery, as it was clearly manipulated on Come Tomorrow as a segue rail and renamed "bkdkdkdd."
151. Death on the High Seas (unreleased). Matthews has tried to expand his songwriting by pushing himself on the keys. There are instances (as evidenced much further downward this listing) where he's found some adept, but this isn't one of them.
150. Can't Finish (Come Tomorrow). Tricky to rank because there are two versions of the song; existence that the "faster" version is what was cut and stuck to Come Tomorrow, it's what gets evaluated. The bridge is an abomination and the lyrics are all the same vicious. But this version of Dave playing it solo on a baritone guitar, in 2007, is the best ane.
149. Trouble (Some Devil). Just a chip filler-ish.
148. Intermission Gratuitous (unreleased). A certain department of the fanbase seems to admire this song, simply the chorus has ever been bothersome. As is the instance with a few other Matthews songs that come up upwards a bit short, the melody itself is saved a bit by the chief riff.
147. If I Had It All (Everyday). Meh. There's a parallel world where Everyday doesn't include this and the studio cut never sees the calorie-free of day. (There's another parallel world where Everyday doesn't even get fabricated at all.)
146. Where Are Yous Going (Busted Stuff). Crazy to call back that in one case upon a fourth dimension this was considered i of the 3 worst songs in DMB's index. But that was 2002 and that was a generation ago.
145. Butterfly (unreleased). Simple audio-visual tune that'southward made hither-and-there appearances for well-nigh 17 years.
144. That Girl Is Y'all (Come up Tomorrow). The studio cut is bad, but this number works well equally a show-opener.
143. Alligator Pie (Big Whiskey & the GrooGrux King). Matthews' vox is all over the place on this track.
142. American Baby Intro (Stand up Up). Song is based around a four-notation progression and has like 8 different words total but information technology'southward ameliorate than everything else yous read before it.
141. The Wing (Joshua soundtrack). Unless you're a diehard fan, yous probably don't know nearly this song. Check it out.
140. Sweet (Away From the World). Matthews on ukulele. This song features frontman by himself for the kickoff 80% of information technology before the band comes in, a decision I've always thought was a adept one.
139. Out of My Hands (Stand Upwards). Expert-enough lyrics, forgettable musical attempt.
138. Sister (unreleased). Matthews understandably loves the song, and information technology's a fine petty melody, but information technology's so much meliorate suited to a Dave-and-Tim surround than full-band shows.
137. Everybody Wake Upward (Our Finest Hour Arrives) (Stand Upward). Song was salvaged — even improved upon — when it was brought back from the expressionless in 2012 so promptly dropped once again.
136. Build You a Firm (unreleased/Lillywhite Sessions side song). Almost like a peek in to the treasure breast of who knows how many other soundcheck and studio jams take been left behind over the past 25-plus years.
135. Corn Staff of life (Little Blood-red Bird EP). Better lyrics would become a long fashion. There was a lot of hope for this vocal when it debuted back in 2007, but information technology never really met its potential.
134. Spotlight (unreleased). Matthews famously grew to hate this vocal well earlier DMB always went mainstream. It's by no means a standout, but I actually like it more now than I did 15 years agone.
133. If Just (Away From the World). Good music, forgettable lyrical try. I retrieve I'm lower on this one — much lower — than the average DMB devotee.
132. Hither On Out (Come Tomorrow). Matthews has grown fond of a lot of soft tunes equally he'due south aged, which is understandable.
131. You & Me (Big Whiskey & the GrooGrux Rex). It'southward irrefutably a well-written, catchy song. The progression from poetry to chorus to span all flows. I become why information technology connects with the mass audience, only it's non my bag and the lyrics lack.
130. Everyday (Everyday). Matthews took 1 of his most buoyant and flexible songs — #36 — stripped its frenetic energy and molded it into "Everyday," a good-enough song that remains a oversupply-pleaser.
129. Louisiana Bayou (Stand Up). "Bye-yous!" Doctors recommend this in pocket-sized, sparing doses.
128. Toy Soldiers (unreleased). Debated whether or non to put this one on the list. Iii plays minimum was the rule, and this ane clears that bar at exactly three plays all time. Matthews had something here merely bailed. No gamble he realizes "Toy Soldiers" was once a matter. 'Cause what y'all don't know / y'all don't know / that gets yous in trouble.
127. Doobie Thing (unreleased). Ix plays to its name, all over a 65-twenty-four hour period span in late 1993. Given that a few shows that featured Doobie Thing were liberally traded in the ring's early days, I've always thought this vocal helped build out DMB'south reputation for being a slightly jammier band than they really were. I've a hunch this song sort of played into the Dreaming Tree—>Pig segue song on Before These Crowded Streets.
126. Intermission For It (unreleased). The rare case where a song became known through a stealthy soundcheck capture, only for it to be dropped on an unsuspecting audience years later.
125. Mercy (Abroad From the World). It's fine. Moving forth.
124. Shake Me Like a Monkey (Big Whiskey & the GrooGrux King). Wonderful cut on the album. The dual-horn station has grown to stilt and suffocate DMB'due south sound a chip over the past decade, but this is where it works.
123. Dive In (Big Whiskey & the GrooGrux King). Some sleight-of-mitt with time signature work here and a overnice melody. I'chiliad by no ways ranking it in my peak fifty or annihilation, merely this one's not fully appreciated. Nice choral melody.
122. Old Clay Colina (Stand). The studio cutting is unquestionably among the lesser six or seven the ring's e'er done, but check out a Dave & Tim version and yous hear how it's redeemable.
121. Gaucho (Away From the World). Classic Matthews riff, and a tune that's get a bit disregarded in recent years due to its absenteeism from setlists.
120. Belly Belly Nice (Away From the World). It's fun, information technology'due south simple, it'due south an alteration — and upgrade — on "Shake Me Like a Monkey."
119. Slumber to Dream Her (Everyday). Ear-catching, descending guitar part, and the soprano sax — on what could best be described as the post-chorus — is lovely.
118. When the World Ends (Everyday). This tune, creatively, is cutting off abruptly on the LP, a practice the ring has mimicked in shows ever since the vocal debuted. Just I've enjoyed how Dave and Tim have opted in audio-visual performance to bust past the intended ending into a more than traditional finish.
117. Joyride (Stand Up sessions). The weakest of the five "2004 songs," Joyride is nonetheless a peek into what kind of anthology DMB could have released in 2005 in lieu of Stand.
116. A Dream So Real (unreleased). In one case every 30 or twoscore songs, Matthews volition come with a tune that is out of his wheelhouse and nonetheless manages to land just right. This is a prime example. Unfortunately it's simply been played 18 times, none since 2009.
115. An' Another Affair/Little Thing (Some Devil). Near recognized for its inclusion on Alive at Luther College, the thing I've ever liked well-nigh this vocal is how Matthews picked such artistic and unusual chord voicings on the guitar, which led to an impossibility when it came to making a melody during the verse. And so the falsetto chorus hits merely right.
114. Heathcliff's Haiku Warriors (unreleased). Ane of the more than adventurous and virtually-atonal chordal guitar parts Dave's ever come up with. A shame this song died in 1993.
113. Gravedigger (Some Devil). Gravedigger / when y'all dig my grave / tin you get in shallow / so that I can feel the rain? That'south a actually good line. This is a pretty sturdy song with an original concept.
112. People People (unreleased). The Lord of All DMB Sites — DMB Almanac — has in permanent residence on its abode page the ever-referenced Liberation List. And since the site went live almost ii decades agone, one vocal has remained atop that list: "People People." Nosotros are endmost in on 10,000 days since it was last played. Co-written by former band member Peter Griesar (whose keys largely bulldoze the song), it's understandable why this one is probably never, ever, ever coming dorsum. But information technology's a DMB vocal that sounds nothing like anything else the band's always done. That verse is smooth as shit.
111. Kill the King (unreleased). DMB went seven years without playing this, only to take it out of moth balls in November 2018. It lost a little something nice once in that location was no longer a violin to highlight in the post-span chorus. The six/eight rhythm, driven by Matthews' tromp-ish baritone guitar line, gives it a real frontward-moving feel.
110. Oh (Some Devil). Matthews wrote this considering of the love he saw from his grandparents, and information technology'due south a fine little tune. Yous can practically rest it on your shoulder.
109. Samurai Cop (Oh Joy Begin) (Come Tomorrow). Album-opening rails and a really nice later on-career effort from Matthews, who'southward grown prone to writing well-nigh being a father and married man.
108. Christmas Song (Remember 2 Things). When you're at an arena show on a wintertime tour in December, it is always a pleasure to get this one.
107. Let You Down (Crash). That's of course the tardily, cracking LeRoi Moore whistling on the outro. Easily the weakest song off Crash, it'south nonetheless come a long way — with a much deeper itemize 23 years post helping its case — from being pegged equally ane of the two or three worst DMB songs.
106. Deed Is Done (unreleased). The definitive version comes from Live at Luther Higher. If Matthews really did riff that off the peak of his head, it's wildly impressive. The descending guitar riff was afterwards put into 1 of the BTCS segue songs (or "commercials," as Steve Lillywhite has referred to them).
105. Spaceman (Large Whiskey & the GrooGrux King). Lithe bass, bouncy chorus, classic Matthews riff and sparky drums. It's the DMB equivalent of an 15-bespeak, six-rebound, 3-assist, i-steal game. It gets the job done.
104. Upward and Abroad (Some Devil). Have always wanted to know the story and circumstances behind when and how Matthews wrote this song. It'southward boisterous, inventive and disgracefully never been played with DMB!
103. Seven (Big Whiskey & the GrooGrux King). While DMB has played this one with changing-of-the-seasons dependability e'er since it came out in 2009, no version has ever topped the studio one, more often than not due to Matthews' satiny commitment on the first poesy that he can't replicate in a live setting.
102. Piddling Ruddy Bird (Picayune Reddish Bird EP). There are 10-or-and then songs Matthews has written that y'all can fit in your back pocket, that show his ability to write with an economy of words. This is a sample of that.
101. Save Me (Some Devil). A bang-up distillation of how Matthews, Tim Reynolds and Trey Anastasio can come together to record a really skilful vocal and never step on each other's toes. Enjoyable all the way through and an easy telephone call for DMB to incorporate into its sets for a decade-plus.
100. The Space Between (Everyday). At some indicate, Matthews switched from playing this on a baritone guitar to a raised B and it was a pregnant upgrade. Lyrically, it's aged well. When this is the 100th all-time song of your career, you're a damn practiced songwriter.
99. Yous Might Die Trying (Stand Up). The ending is style better than the beginning. Few songs win me over the course of five-eight minutes like this 1 can. The Live Trax 13 version has long been one of my favorites.
98. Dreamed I Killed God (unreleased). If I could ever sit down with Matthews for an interview, amid the 15 or 20 questions I'd absolutely have on hand would be: How does a vocal like this just disappear?
97. Eh Hee (unreleased). Can carve a groove iii feet deep. This one's been flirting with becoming endangered in setlists in the past decade, just here's a slept-on gem of a stanza.
Foreign development how people accept come to believe that nosotros are its greatest accomplishment
When really we're but a collection of cells
Overrating themselves
Hello God I'thousand avoiding the truth
96. Get in Line (unreleased). Unless you are a diehard, you won't know this one. An early era amalgam of a lot of the good, and not so skillful, DMB was experimenting with. Probably for the all-time it went inactive in late '94.
96. Earthworks a Ditch (Busted Stuff). Not an essential song, but an elegant one in its own right and — hey, I'thou fulfilling the prophecy by placing it then depression — undeniably an underrated melody.
94. American Baby (Stand Upwards). Shockingly, with a peak position at No. 16 on the Billboard 100, this is the second-all-time performing single of the band's career ("What Would Yous Say" hitting No. nine). If memory serves, this song was built effectually a violin-pluck riff. All things considered, it came out well.
93. #27 (Little Cherry-red Bird EP). Matthews sorta channeling Neil Young? If you've never heard the studio cutting, it'due south nix flashy merely instead captured just near perfectly to the spirit of the song.
92. The Riff (Away From the Globe). Matthews has conjured up six dozen interesting riffs in his life. Why this i gets dibs on being the name of a vocal is a puzzlement. Simply anytime DMB wants to feature alto flute on a tune, count me in .
91. Come On Come On (Come Tomorrow). There are probably only 7-ten instances of DMB having a song whose studio cut tin't exist topped live, and this is quite obviously one of them. When Come Tomorrow was released in 2018, fans found out this vocal was more than a decade old. Information technology'due south the song that makes CT that much stronger and at center level with Large Whiskey and the GrooGrux King and Away From the World.
90. What You Are (Everyday). Song is adaptable and doable in spots 1-20, anywhere in a setlist, and I'd similar to encounter it implemented as such in the future.
89. Write a Song (Little Red Bird EP). A little jangle to the verse, a wave-curlicue pre-chorus and so one of the near joyous hooks of Matthews' career on the chorus. It's a stunner this didn't brand the cut for Big Whiskey.
88. Problem with Yous (Stand up sessions). Not everything that was recorded in the studio in 2004 was inferior. Just every bit the bite of the blade wakes the absent mind / there's fourth dimension to dream and there's time open up your eyes.
87. Funny the Way Information technology Is (Big Whiskey & the GrooGrux King). This song holds a special place in the hearts of some fans, every bit it was the first piece of studio material released, in 2009, afterwards the decease of LeRoi Moore. Information technology's Matthews, not Reynolds, who takes the guitar solo on the anthology as well (and he does a fine job with it).
86. She (Come Tomorrow). An earworm in 9/8 time that — vocals aside — sounds like something Soundgarden could have written in '95. Just it was composed in 2017 and it mostly works!
85. Black and Blue Bird (Come Tomorrow). Every bit I wrote in my Come Tomorrow review, this is a "constellation-proper name-dropping number about cosmic humility that got the red-pen treatment in the studio." Nimble, enjoyable, non too loud, not also soft.
84. Greyness Street (Busted Stuff). Song in its original form, which included three verses and iv choruses, would be ~sixty spots college. But it hasn't been played that fashion since 2002. Truncated Grey Street is Actual Grey Street, and Bodily Grey Street is a trounce of itself at the summit of its powers. UPDATE: Approximately i 60 minutes afterward this list published the morn of Apr 14, Matthews sang/played the third poetry of Grey Street for the first time in near 18 years. The choice commission has never been dealt such a curveball and is awaiting more information before potential re-ranking can be done.
83. Satellite (Nether the Table and Dreaming). Dorsum-to-back classics here — probably ranked much lower than many would accept either. I like it, I've just never loved it. Satellite'south guitar riff is no doubt among the three or four most recognizable Matthews has e'er written and is required learning for whatever immature guitar thespian inspired by the man.
82. Shotgun (unreleased). Of the sixty-plus songs Matthews has written in the past 15 years, there might not be one whose potential is equally tantalizing — and ultimately not met — as Shotgun'south. But information technology nevertheless packs a practiced punch, and this is probably the all-time Veillette guitar one of the bunch; a regular 6-string but wouldn't be the same.
81. Fool to Think (Everyday). A The Police-sounding cabochon to emerge out of the Everyday sessions. To fully appreciate it, watching Matthews play it solo should do the trick.
lxxx. #40 (unreleased). How to judge this longtime fan favorite? Lyrics have never been gear up. The most praised version, from 5.10.95, is essentially perfect. That's all the more hilarious, because Matthews ad-libbed the entire affair. If #40 ever became that vocal with those lyrics, with total band accompaniments, then it's easily a acme-xl song in the ring'southward itemize. Equally is, information technology snugs right into the top fourscore.
79. Stay (Wasting Fourth dimension) (Before These Crowded Streets). The lowest-ranked Streets song is in fact the happiest song on that dynamic monster of an album. Moore's glorious sax bleat to close out the studio cutting tin reflect into the next solar system for all I intendance.
78. Good Skillful Time (unreleased). This vocal is what 6:54 p.yard. on a warm-but-not-also-warm Friday summer evening feels similar.
77. Cigarette Lit (unreleased/Some Devil sessions). In a Guitar World interview, Matthews said this: "With Some Devil, there was 1 song we axed called 'Cigarette Lit' which, despite being a not bad song, didn't end up on the anthology because it was slightly oversized. Its breast was a little too full compared to everything else. When I rejected it, I asked myself, 'Am I being a moron?'" Hey, at to the lowest degree we take it. And the outro was pilfered from a defunct song — "Hold Me Down" — making information technology all the more intriguing.
76. Proudest Monkey (Crash). There's a small musical wit DMB's long held — evident from its primeval days — to build brawny arrangements around simplistic structures. Few songs embody this likewise equally "Proudest," a vocal with merely 4 notes that wonders aloud about existential threats that accompany ambition and distraction.
75. Sweet Up and Downwardly (The Lillywhite Sessions). In light of this song non making the cut for Busted Stuff — and never knowing for sure whether it was even laid downward for that album — information technology'southward been refreshing to meet the two-fisted 12-string tune nigh sexual activity, love and a piffling chip of gibberish keep itself effectually (albeit sparingly) in the 20 years since it debuted to rave reviews on the 2000 summertime bout.
74. Rooftop (Away From the World). Cracks the top 75 on the strength of its bridge lonely. Besides love the quarter-note snare hits that tug the first chorus into the second verse.
73. Loving Wings (unreleased). A song that starts out with a shy, indented guitar riff somewhen builds into a powerhouse. Once Carter Beauford starts ripping rolls and popping firecrackers off his snare, it's a wrap.
72. So Damn Lucky (Some Devil). The most played song past DMB off Some Devil, "And then Damn Lucky" hovers — suspends — as the narrator reflects on a life lived in the closing seconds earlier a (fatal?) car crash. The vibe Matthews pulls off with this song, juxtaposed with the lyrics is, pardon the pun, right in his wheelhouse.
71. Do Yous Call back (Come Tomorrow). The all-time compliment one tin pay to this song is that, although it was written sometime in late in the 2010s, at its core, you can close your eyes and easily hear this being something a 24-year-old David John Matthews could have written.
70. I'll Dorsum You Up (Remember Ii Things). The first song Matthews wrote is a creaky, adoring love song that has stood the test of time but remains a cherished rarity at full band shows.
69. Dreams of Our Fathers (Everyday). There is only one proper song in DMB history to have been released on a studio album but has never been played live. Of course, it happens to be i of the 2 strongest songs off Everyday. Never say never?
68. Kit Kat Jam (Disrepair Stuff). The glory of this far-also-infrequently-played song is the locked-in rhythm and power of Matthews, Stefan Lessard and Beauford. It's a bout de force. In that regard, I don't know if DMB has x other songs that rely so heavily and defiantly on the stamina of those three joining forces from get-go to finish.
67. Help Myself (BTCS sessions). Earlier These Crowded Streets is the best DMB album. And although this recording is actually practiced — if not fairly straightforward — the band and Steve Lillywhite fabricated the right call opting to not include it (the LP would've been pushing 76 minutes), even though information technology fits right in with the rest.
66. Grace Is Gone (Busted Stuff). Dave Matthews' Willie Nelson song, and despite its downwardly-tempo, downtrodden arroyo, it'southward capable of getting a crowd of xxx,000 to belt out their sorrows withal.
65. Busted Stuff (Busted Stuff). This one almost never comes out to play, and that's a damn shame because the jazz potential with Beauford, Lessard, Jeff Coffin and Rashawn Ross is immense.
64. Pay for What You Get (Under the Table and Dreaming). It's easy to film a scenario where a simple, low-volume song like this is put aside and never makes an album. So my everlasting thanks to everyone involved in the decision to lay this rails in the penultimate position on UTTAD. It's the perfect lead-in to "#34."
63. Sugar Volition (unreleased). Which version to consider here? The hypnotic 2004 incarnation of this vocal is a superlative-50 DMB composition. Unfortunately, that'due south no longer what the song is. A truncated, horn-gilded update has taken some of the polish off what was a kaleidoscope of a tune. It's however tasty, though.
62. Too High (Some Devil). Methodical, moody, leadenly. Safe to say that Some Devil was a successful mid-career solo effort for Matthews, who released the record when he was 36 years old.
61. Ane Sweet Earth (Call up Two Things). Certain tunes are emblematic of the band'south formative years, and for such a long time that was the case with "One Sweet World." I've but iv words, though: bring. back. the. intro. 1 of the best riffs Matthews has written.
lx. Thought of You (Come Tomorrow). Ascending verse, catchy/open-your-throat chorus, a span that flows seamlessly, and a song that gave hope to the fan base of operations after the debacle that was Stand up Up. A keeper.
59. Big Eyed Fish (Busted Stuff). Per DMB Almanac, quite the name journey for this ane in its nascent days: "I Eyed Fish," "Fish Monkey Man," "Human being Bird Fish Monkey," "Fishman & the Drunk Monkey," "Fish Monkey," "A Niggling Fishy," "Street Fish," "Roi'south Bent Fish" and "Fish Schtick." Its ultimate title is the best one, and though this was likewise recorded for The Lillywhite Sessions, information technology did not debut until 2001.
58. So Much to Say (Crash). Here's the song that delivered DMB its first Grammy. "Then Much to Say" won All-time Rock Performance by a Duo or Group with Vocal in 1997. It's the only track on Crash that makes sense to open up the tape. It's well-nigh never been altered since its conception in 1992 and is on a short list of songs to be played every year since 1992.
57. Drunken Soldier (Away From the Earth). From overhyped to underhyped. The album-endmost Soldier was the song selected to tease fans when Lillywhite returned to work with DMB after more than than a decade apart. That only upped the stakes. Is information technology an outright epic? No, only it's musically robust and unafraid of anything in its path. The outro pulls from Pink Floyd and then much it verges on copyright infringement but no thing: this should dot setlists regularly.
56. Halloween (Before These Crowded Streets) . For years, this vocal's strength was perceived by its rarity. Getting "Halloween" at a bear witness immediately made information technology a special testify. In some ways that's still true, but in 2020 it's non close to the white whale that it was in the '90s and up through most of the aughts. There are many defining versions, just Live at Luther College'south cutting is notwithstanding i of the best .
55. Stay or Leave (Some Devil). We used express joy underneath the covers / possibly not so often at present / the way I used to laugh with you lot / was loud and difficult. Damn, Dave, this is a devastating breakup song dressed in ordinary vesture.
54. Bismarck (unreleased). Matthews taps into his inner Paul Simon and delivers a later-career jewel. This one is remarkably terrific, and the fact it didn't make the cutting for Come Tomorrow remains a quizzical stunner. Here'southward to hoping whatever anthology comes next for DMB includes this storytelling and musical W.
53. Why I Am (Big Whiskey & the GrooGrux King). For the late LeRoi Moore, and what a excellent tribute this is. Matthews' lyrics are fantastic; the whole vibe of the song is of a classic DMB mold. The taffy-pull chorus is a piddling stroke of genius, too. The bitter irony is that the song tin only exist because Moore is no longer here. If DMB ever gets to a point where information technology knowingly plays its final show as an outfit, this 1 has to be on that setlist.
52. Rhyme & Reason (Nether the Table and Dreaming). A growler of a rail that deals with the trappings of drug utilize, most specifically heroin. Song chugs like a racehorse and is made all the improve whenever it features an electric guitar solo. Cartel I say the Joe Lawlor sit-ins fifty-fifty one-upwardly Reynolds' offerings on this one.
51. #36 (unreleased/defunct). Song is dead and never coming back but it's going on this list, dammit. Indicative of the freewheeling, quasi-jammy ethos that DMB flirted with in the kickoff iv years of its existence. Live at Cherry-red Rocks goes down a notch if this isn't played at that prove. One of my favorite Beauford tunes, to kick.
l. Dodo (Some Devil). Why would you play by the rules? Who did? You did. Yous. Just a playful song most skepticism of what the world tells yous is true, that's all. Can anyone explicate why this has never been played by DMB? Look at it. Information technology's just sitting there!
49. Some Devil (Some Devil). The highest-ranked non-DMB vocal on the list. Put a pair of expert cans over your ears, shut your eyes and yous can practically envision Matthews in a guild playing this with nearly all the lights off in a soundcheck environment. Simple, yet 1 of the best studio cuts he'due south ever done.
48. So Right (Everyday). Almost two decades subsequently, this has proven to exist the all-time vocal off Everyday. A stand-upwards double at that.
47. Crash into Me (Crash). Mandatory Lady Bird mention hither? Have to. The Academy Honor-nominated motion picture helped with the critical reexamination of non just this song but DMB on the whole. That said, in that location are almost four dozen songs better than this one in the band'southward oeuvre. The finest version of the song — featuring soprano sax! — was played on New Twelvemonth's Eve in 1996 .
46. #34 (Under the Table and Dreaming). In that location are a handful of songs and recordings that can ship me back to the late '90s — when shows were traded on cassette, via a process known as B&Ps — and tap into that early, infectious, bottomless fandom. The few versions of #34" with lyrics hit that spot .
45. What Would You Say (Nether the Table and Dreaming). In many means, the song that started it all. DMB's first single off its kickoff major-characterization record. While this can be said of enough of acts in the 1990s, when "What Would You Say" landed on radio, there was cipher that sounded like it. John Popper'southward harmonica solo made it that more than singled-out. I've always liked how DMB'due south beginning unmarried featured a invitee spot; the band has been graciously collaborative from the beginning and this was a reflection of that. Besides, the alto sax-guided breakdown is equally danceable equally anything else in the band'south catalog.
44. Beach Ball (Little Carmine Bird EP). Those who might withal heedlessly expect down on Matthews' songwriting chops need to familiarize themselves with this jewel of a tune that has woefully been ignored for almost of its existence. But! The ring did revive it in early 2020, prior to the COVID-xix pandemic sideswiping the planet. Hope for the future.
43. Lover Lay Down (Under the Table and Dreaming). The but beloved vocal off UTTAD, "Lover Lay Down" was among the best songs to showcase how inventive, delicate and colorful Moore could be on soprano sax. Jeff Bury has his own amazing style, but he'south done a good chore over the years tapping into Moore'south MO when taking solos on this cute song.
42. Cleaved Things (Away From the World). Another terrific album opener. Another terrific song that's been kept on the shelf for the almost office. One of the last shining moments for Boyd Tinsley in the studio, besides.
41. Squirm (Big Whiskey & the GrooGrux King). A twisted sort of a thing. A creeping-if-not-creepy threat of a song that'due south ultimately all about laying downward your guard accepting the inevitable: joy and love are what make y'all human, so terminate fighting the nature of those emotions. Information technology'southward one of a few DMB songs with a Centre Eastern bend, which is one of the sharpest tools in the band's tool belt.
twoscore. Jimi Thing (Under the Tabular array and Dreaming). This is probably Matthews' favorite song. It almost never disappears for more than a 5-show stretch, a reality that has come to torment the hardcores and bring a cheeky delight to Dave, who never hesitates to taunt the fans by reminding them that he'll play this damn song any and every time he pleases. It's vintage DMB and one of the biggest crowd pleasers in the catalog.
39. Again and Again (Come Tomorrow). Producer Rob Cavallo described this song's chorus as "fucking glorious." He's fucking right . The album cut is stellar and, given that information technology existed as "Bob Police force" in live sets well before Come up Tomorrow was released, "Once again and Again" ranks as one of the most shockingly great anthology tracks in the ring'due south history.
38. Say Goodbye (Crash). I'd say this is about where we enter into the "great" tier. From here on out, everything's at A-minus level or better. There are far too few DMB songs that feature flute and Beauford utilizing mallets instead of traditional drumsticks. Fortunately, this one-night-stand up temptation of a tune has both, and boasts amid the all-time crescendos in the itemize.
37. Weep Freedom (Crash). Amongst the five or vi start songs Matthews wrote, "Cry Liberty" poignantly takes on the consequence of apartheid in South Africa and turns it into an earnest only non syrupy anthem about commonality, egalitarianism and integration.
36. Virginia in the Rain (Come Tomorrow). Who would take ever thought a keys-driven song — on a Rhodes piano no less — could plow into one of the best studio cuts of the band's career? This is a pristine capture. Put everyone involved in this into the studio again at any other betoken or whatever other time and it will never be as magical every bit this.
35. Granny (UTTAD sessions). Easily among the best and nigh infectious songs that's never been properly released. A late-phase cut for Under the Table and Dreaming. We're and then far removed from that anthology's release, it's most impossible to imagine this song fitting anywhere on that record — despite the fact it was initially anticipated beingness the debut single. The Central Park version from 2003 is a superlative-3 edition, easily down.
34. Tripping Billies (Crash). One of only v songs in the one,000-play club, per the Almanac. Billies sits at No. iii all time with 1,050 known performances. You could wrangle upwards six or seven lyrics that will ultimately be about prominently associated with DMB, and though it's not entirely original, "eat drink and be merry, for tomorrow we die" is neck and neck with "Two Step's" "gloat we will, for live is brusk only sweet for certain" at the top of the list. (Without a violin, the vocal is not the aforementioned and loses its personality, which is true of nigh another 15 or so songs.)
33. Likewise Much (Crash). The first single off Crash was an alert, in 1996, that the Matthews Band would be going nowhere. This song is a beast. It's cool every bit hell when slowed downward acoustically, and the bombast of the full band never lets upwards or lets downwardly. Among the most disregarded terrific opening lines Matthews has written: Hoo! Straight in, suck upwards and go / cool it, swallow, swallow / ah, breathe deep, take it all / information technology comes cheap.
32. Crazy Piece of cake (unreleased). Something inspired conspicuously hit Matthews in between tardily 2003 and the summer of 2004, when he wrote five songs ("Crazy Easy," "Joyride," "Good Good Fourth dimension," "Saccharide Will" and "Hello Again") that seemed to indicate a path toward an album of substance that withal had its ethos tied to the songwriting of DMB in the '90s. These songs were to be a bridge from 1 era to the next. Nearly didn't go far to 2005 specifically, but all thankfully have kept on to varying degrees in the years since. Here's the best version of "Crazy Easy," which is punctuated past an unexpected extended outro, the only one of its kind.
31. Monkey Man (The Lillywhite Sessions). This is no half-baked, used upward and then thrown out studio cut. "Monkey Man" is an alert, sinewy composition — its outro communicable flares of some Radiohead influence. Unlike a few other LWS songs, the lyrics are not improvised; Matthews quite obviously sat down and wrote out some practiced copy here. It's too infamously never been played live. If such a day always arrives, it would register as ane of the most stunning and satisfactory moments the ring could e'er deliver to its fan base.
thirty. Hullo Again (Stand Up). This is like "#27's" scarier large blood brother. The best neo-country song DMB ever did. Merely a 2-steppin' confessional nearly drowning the dear of your life. What'south the trouble? Information technology packs a punch then pulls out another half-dozen haymakers.
29. Dancing Nancies (Under the Tabular array and Dreaming). Existentialism laced with enlightenment padded by the sounds of violin and tenor saxophone. The man wrote it at 23 years erstwhile, proving withal again that so many centre-opening, ear-angle songs across our history were written past people in their late teens and early on 20s. Fascinating thing, that.
28. Squealer (Earlier These Crowded Streets). An anti-Hobbesian strain that is one of the few songs truly threaded through Tinsley's violin lines. When people describe DMB's sound on the whole as existence hard to pinpoint or identify in a genre, "Grunter" goes a long style to defining that lack of definition. All I know is: it just makes me experience good whenever I heed to information technology.
27. Drive In Drive Out (Crash). Forcefulness of nature, one of the ten all-time Beauford songs out in that location. Snarling vocals, and a bridge that aurally replicates the feeling of being on a StairMaster on its fastest setting. This song should close shows.
26. Raven (Disrepair Stuff). An ace in the pigsty. Who doesn't welcome "Raven" at a show? No person of this globe. The 2000/improvised versions are held in high regard by hardcores, but even the Busted Stuff rework stands tall. The stammer-rhythm chorus is yet another example of how this band takes time to claiming itself and add together wrinkles to songs that most others simply wouldn't.
25. Rapunzel (Before These Crowded Streets). What a tonic this melody is. Matthews hasn't been able to restrain himself from writing well-nigh how not bad sex is for the past two and a half decades, merely he never did information technology to greater success and taste than on "Rapunzel," which pulls off danceability in v/iv fourth dimension and features one of the more than adrenalized sax solos Moore ever put to tape. It's also got a top-five all-around showing from Beauford on whatsoever tape. We can rev this up right at the outro.
24. Snow Exterior (Away From the World). When Lillywhite teamed support with DMB for AFTW, hopes were cautiously high. The record doesn't comes close to the heights of the Big 3, simply "Snowfall Outside" proved beyond a doubt that the ring and Lillywhite still had the goods and chemical science to create together. The meridian of the studio cut feels like everything'southward beingness pulled from off the ground.
23. Captain (Busted Stuff). I'k still partial to the '97 Dave and Tim performances, when this was known as "Crazy," simply it's a knockout still all the same. Slick-every bit-ice drum part, palpitating bass line, great chord voicings and a sax line that lingers in the room, bouncing from wall to wall.
22. The Vocal That Jane Likes (Call up Two Things). The distillation of all the fun facets to what DMB's music represents. Another one that needs to be played at the band's concluding show, whenever that is. Another one lessened by lack of a violin.
21. Lying in the Hands of God (Large Whiskey & the GrooGrux Rex). Wonderful studio cutting and a song that'south become a behemothic in the live setting. Lessard'south subterranean bass contrasted against Matthews' raised B guitar, both parts laced together by soprano sax. It'south stellar songwriting, with lyrics just ambiguous enough to raise its level.
20. Don't Potable the Water (Before These Crowded Streets). Matthews has said that this vocal might well be the one he considers his all-time. He has a instance, though patently disagreement arrives here. Lyrically, it's a clever, serious-sounding sendup of all the carnage and bloodshed that spoils our country's soil. The persecution and murder of Native Americans that dates back centuries. Information technology'south in drop D tuning and climaxes with an aroused narrator bellowing "I live with my hatred, I live with my jealousy." And this was the lead single! Musically, it'south a powerhouse, no way around it. It'south also adaptable in any setting, and Alanis Morissette'south guest spot on the record makes it piece of work all the more than, adding to the craze.
19. Spoon (Earlier These Crowded Streets). The best anthology closer DMB has always done and the caboose on the strongest five-song run on any record in DMB'south discography. Audio-visual versions, rare though they are, also evangelize. Dynamic, limber, and as heavy as it is light.
18. Blueish Water Baboon Farm (unreleased). Has non been played in its total/proper grade since 1995, just this is unquestionably a DMB epic. Vivid, potted lyrics and stretched out solo sections for violin and sax that take the song into the mesosphere. A brooding ii-chord structure (E small, C), "Blue H2o" is frayed at the edges —and that only makes it improve. Boyd Tinsley never sounded better than on this song; information technology suits his strengths and weaknesses as a violinist perfectly. Matthews has teased and one-half-played it over the years, but diehards still await and hope for a full-fledged return.
17. The All-time of What'south Around (Nether the Table and Dreaming). UTTAD's pb runway is contagiously optimistic and perhaps the ideal song to introduce this band to a stranger. The hey-la grouping-singalong catastrophe that melds with a carefree sax solo is vintage DMB.
16. Warehouse (Under the Tabular array and Dreaming). Minor-to-major shift from verse to chorus, a perennial fan favorite and welcomed at every single show from time eternal. Its title is derived from the famous pinkish warehouse in Charlottesville, where the band played its get-go officially billed gig in 1991.
15. Recently (Remember Two Things). A pliable tune about early-20s infatuation that illustrates 1991-1993 DMB every bit purely equally any other vocal in the archives. Ageless DMB, and a existent fun one on guitar.
xiv. Bartender (Busted Stuff). Been a concert behemoth for two decades now. "Bartender" was the song that signaled the shift off of BTCS and toward whatever was going to come up next. It debuted in acoustic sets long earlier a total-band version was ever heard, and what fans got was a reassuring example that DMB could exist for the long haul. The definitive version of the vocal , ironically, comes on the night of Moore'south death in 2008, when DMB opened its concert at Staples Center with it.
13. Minarets (Think Two Things). Boasting ane of Matthews' all-time vocals, "Minarets" is a signature song for DMB's individuality amongst otherwise sensible acknowledgement as a mainstream rock band. Anoint upward the band, for starting in 2014 it fell back in love with this outright classic and played it more than than 80 times since — which is a higher book of plays than "Minarets" received from 1996-2013 combined.
12. The Last Stop (Before These Crowded Streets). A nine-pes-tall roughshod of a vocal that dials it up to xi to blare near the pitfalls of mankind'south penchant for war. Information technology's as clamored for at concerts equally much, or more than than, any other song in DMB'south catalog. The build-up and release of "The Terminal Stop's" key-change reprise is one of the paramount live experiences the ring has to offering.
xi. You Never Know (Busted Stuff). Among the x-or-and then best lyrical efforts of Matthews' life, "Y'all Never Know" came along at a time when a significant portion fan base was dispirited over the abandonment of The Lillywhite Sessions in favor of Everyday. "You Never Know" debuted a few months in advance of its inclusion on 2002'due south Busted Stuff and was a pivotal sign that the band hadn't lost its fastball.
10. 2 Step (Crash). As big every bit it is nimble, "Two Step" is a band-defining song. Beauford is in fifth gear from start to finish, the up-beat rhythm ceaselessly pushing alee. It's evolved many times since its birth in 1992, a attestation to how strong a vocal information technology is . The studio cutting — which sounds so different from what the song is today — is a great dark driving song.
9. Lie in Our Graves (Crash). Would you not like to be sitting on top of the world with your legs hanging costless? As Matthews has bluntly put it a few times before: "this is a song nearly being expressionless." And it's ebullient! Tailor-made for guest spots or the core v all the aforementioned, "Graves" has produced virtually 2 dozen distinct, unique, must-listen versions over the past 28 years.
8. The Dreaming Tree (Before These Crowded Streets). The song that Steve Lillywhite says is his greatest achievement in the studio with the ring. He has a practiced example. It'south a triumph all around, from songwriting to studio technique to instrumentation and skill therein. Storytelling Dave at his finest. Lessard'due south lissome bass part at the heart of this beautiful elegy.
7. The Stone (Before These Crowded Streets). No vocal in DMB's inventory has a more than satisfactory switch in moods from poetry to chorus than "The Stone," a ruminating slice whose pregnant has never been fully explained. All for the meliorate. (For all its capacity, this solo version remains amid the best e'er.) Information technology'south only a damn skillful song with a quintessential Matthews riff narrating the manner and a hammer-wielding ending in the alive setting.
half-dozen. JTR (The Lillywhite Sessions). The combustibly joyful outro to this beloved fan favorite — for diehards and casuals alike — might feature the best section of music the band's ever written. The guitar part is effervescent, the song greater than the sum of its parts. I don't think the band realizes how great the song actually is, and its cut for The Lillywhite Sessions, even if incomplete by definition, cannot be improved upon. LeRoi Moore from the heavens.
5. Seek Up (Remember Two Things). There is no ameliorate vocal to open a bear witness — no matter the venue, no matter the season — than "Seek Up." The centre of the song is bookended by a tedious-boil, sax-led intro and a ruminative violin-guided escape road before culminating in a signature Dave-wail climax . This is how you introduce yourself to 20,000 people on a summer evening. What'due south more, there is a case to be made this is Matthews' all-time lyric, beginning to end.
4. Ants Marching (Under the Tabular array and Dreaming). At i,362 known performances every bit of Apr 2020, this is far and abroad the most usually played song in Dave Matthews Band history — as it should exist. It's never been the same without Moore on the tune, but it is a consummate DMB vocal. Anthemic, and in the live setting, every single member gets a run a risk to solo or have the spotlight on them. It's the vocal well-nigh associated with DMB, and it should be the final vocal the band ever plays. Lights down, you upwardly and die.
3. Typical State of affairs (Under the Tabular array and Dreaming). The moment that hooked me for good came inside the first five seconds of hearing Moore's flute solo on UTTAD for the very first time. A ghostly guitar riff, a grinning chorus, a head-bopping seven/4 jam in the alive setting. Distinctly DMB, "Typical Situation" is irrepressibly uplifting and doesn't fully get its due for being an A-plus songwriting attempt.
two. Beat out (Earlier These Crowded Streets). A grand slam of a song. The all-time combination of lyrics, musical arrangement, studio production and melody in DMB history. Also has the signature bass line of Lessard's career and is among the more than colorful drumming arrangements Beauford'due south come upwardly with. How many classic songs wait until more than two minutes into a song before hitting the first chorus? "Shell" pulls it off. Jazz, stone, folk, blues all fused into the best love song of DMB'southward oeuvre.
i. #41 (Crash). Obscure but poignant and powerful lyrics. Interesting chords, evocative vocals and as mutable a jam as any vocal DMB has ever or will e'er come up with. It's just every bit expert in a Dave and Tim setting as information technology is with 10 people playing it in an xviii,000-seat arena. We're talking well-nigh a tune that in one case went 32 minutes — and rightfully and then. The cut off Crash is practically impeccable and, from a studio standpoint, encapsulates almost every facet of what makes DMB so talented, enticing and ultimately long-lasting. The definitive DMB song, and I think the ring knows it.
DMBracket: The best songs in Dave Matthews Band history
Now, the really fun part.
As a college basketball writer, how could I non subsequently bracket out the rankings, correct? Here is the last product, with my thanks to talented graphic designer Brian Hodges, who also created the Records & Riffs podcast cover art, for helping bring my idea to something tangible. Clicking on the epitome below volition enlarge it and enable it to be printed, and then go to boondocks and take fun.
Putting together a bracket volition inevitably lead to gripes over seedings and snubs — as it should! — and and then I made sure to leave one 12 seed and one 16 seed slot open in the play-in matchups for voters to accept 2 write-ins of their choice. The seedings stand for with my rankings to a higher place. Oh, and since the subclass pertains particularly to DMB songs, I went ahead and didn't include anything from Some Devil that would have otherwise qualified for an at-large bid.
The bracket breaks down past anthology like this:
UTTAD: 11
Crash: 10
BTCS: nine
Unreleased/LWS: 9
Busted Stuff: 8
Remember Two Things: 6
Come Tomorrow: 4
Big Whiskey: three
Away From the World: iii
Lillywhite Sessions: 2
Everyday: two
Stand up Up: 1
There was some balancing: no album has ii songs seeded in the pinnacle iii in whatsoever quadrant, and albums were mostly evenly carve up between the regions. Long live the Matthews Band.
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Source: http://www.mattnorlander.com/blog/2020/3/22/every-dave-matthews-band-song-ranked
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