I'll never forget laying in my bedroom at night listening to the radio. Throughout my elementary years, and into my Jr. high experience, I listened to a "Top 40" station in northern Indiana (U93). Consider that this was back when U93 advertised itself as "today's best music, and none of the rap" (a description that very suddenly changed somewhere in my high school years). Anyway, back to the story: me, laying in my bedroom, listening to the radio. Every night I would lay there listening, and I have a ton of songs which stick with me. How else could I remember epic band names like Toad the Wet Sprocket or Primitive Radio Gods or The Gin Blossoms? Perhaps the song I most remember on the radio was Billy Joel's last big hit, "River of Dreams." But I'll never forget hearing one particular song, which opened with a light strumming of an acoustic guitar. The guitar play went on for what seemed life forever, softly building into the first lyric of the song: "Satellite."
My introduction to Dave Matthews Band was the song "Satellite." I loved its simplicity, its softness, and it tied in with my love of looking to the heavens, established at a young age in the woods of Effingham, IL. I can't remember how soon after I first heard "Satellite" I obtained the cassette of Under The Table and Dreaming, but I was quickly consumed with the album. From the first song, "Best of What's Around" through the last track, "#34," the album played to perfection. At the age of 8 I knew that this album was excellence, and then, at the age of 10, I was quick to purchase the second album by Dave Matthews Band, Crash. These two cassette tapes made countless trips with me in my walkman, and I learned them both front and back.
The band's 1998 release, Before These Crowded Streets was a critical success, but a bomb for me. Now at the ripe old age of 12, the album was too complex for me to fully understand. It was the first album by DMB that I purchased on CD (I had also purchased the band's first release, Remember Two Things, on cassette), and I quickly updated to CD versions of and Under the Table and Crash. Only once I reached college did I fully delve back into Crowded Streets and begin to realize how it may have been the most complete studio album DMB put out. When viewed through a more mature lens there is no doubt that it deserves a place alongside the first two studio releases.
But from Crowded Streets on DMB seemed to be lacking something. Admittedly, they are a touring band, and the songs they play live are almost always far superior to their studio versions. Still, the 2001 release of Everyday was lacking in many ways; 2002's Busted Stuff had some great songs, but wasn't on the same level as the first three albums. By 2005 I was psyched for new stuff ... and was hugely disappointed by Stand Up, an album that admittedly plays decently live, but leaves a ton to be desired in the CD player. It seemed that something was missing, and that it had been since 1998. Then we heard that a new album was to be released in 2007 ... then in 2008. It kept getting pushed back. Rumors of Dave leaving the band were spread. One began to wonder if a three album arch was all the group had together, and if their love of touring each summer had drained them of the ability to produce a quality album.
But it appears the demise of the band, however rooted in truth it may have been, was overstated. Through the tragedy that was the untimely death of saxophonist LeRoi Moore, the band persevered. The release date was confirmed, and for the first time in four years (honestly it felt much longer than that) there was a new album out. Big Whiskey and the GrooGrux King was a "must purchase the day it comes out" event for me. I bought it, tore the plastic off, and popped it in my car's CD player. I listened to it inside on my old stereo I probably haven't used in four years. I eventually put it on my IPod. It led me to make an MP3 disc of all of DMB's studio albums for my car's MP3 player, but somehow I keep coming back to Big Whiskey.
The album is, quite honestly, the one we've been waiting for. It is on par with the first three releases, and I can't recommend it highly enough. From the opening Sax solo the album grabs you. The album has a song for almost every mood. Perhaps the most unlikely, as well as the most impressive song is "Time Bomb." The song plays just like a Pearl Jam song, down to the explosion at the end as Dave wails out in Eddie Vedder form. The electric guitar solos on the album are unlike anything we've seen from the group, and all the parts you expect from DMB are there. Except, of course, Moore. But, as Dave sings:
"It's why I am still here dancing with the GrooGrux King. We'll be drinking big whiskey while we dance and sing. And when my story ends, it's gonna end with him. Heaven or hell, I'm going down with the GrooGrux King."
And so, for the first time in my life, I will head to Verizon Wireless to see both nights of the DMB stay in Noblesville. I am so excited I can't hardly sit still. Even if this is all there is, this band has solidified their place in mainstream American music. They are, in my opinion, the definitive band of the past fifteen years. In an era of pop, R&B, and bad rap they have persevered. I can't recommend this album highly enough.
Album Rating: 10/10
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