Middle Aged Dummies - Artist - Round 3 - #1's have been posted! (2 Viewers)

[MAC_32]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

 

[KarmaPolice]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

For me, they suffer a bit from being EVERYWHERE in the dorms. Similar to comments ive had about Beasties, Nirvana, and a couple others. Feels like poeple had 4 CDs and played them on a loop.

My comment above wasnt that i dislike the songs, more that im also good never hearing them again.

 

[Uruk-Hai]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

The "hates jam bands" thing is one of the reasons I can't stand genre labels. People automatically assume things just because of a bucket that an artist has been thrown into.

I'm not crazy about his voice, but it's far less irritating to me than others. Probably wouldn't want to listen to it on a 24-hour loop, though - but that's true for a lot of singers whose records I enjoy.

 

[KarmaPolice]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

The "hates jam bands" thing is one of the reasons I can't stand genre labels. People automatically assume things just because of a bucket that an artist has been thrown into.

I'm not crazy about his voice, but it's far less irritating to me than others. Probably wouldn't want to listen to it on a 24-hour loop, though - but that's true for a lot of singers whose records I enjoy.

Maybe i am missing something not seeing them live, but i never understood DMB being labeled a jam band based on the albums abd sounds ive heard.

 

[Yo Mama]

For STP, my top 7 was a clear top tier - it was just a matter of how to rank that tier.

Seems like a good place to recap my list so far.

Core (1992) - 5 songs so far
Crackerman (10), Sin (13), Naked Sunday (22), Creep* (24), Dead & Bloated (26)

Purple (1994) - 5 songs so far
Dancing Days** (9), Pretty Penny (15), Still Remains (18), Unglued (21), Lounge Fly (25)

Tiny Music . . . (1996) - 5 songs so far
And So I Know (8), Tumble in the Rough (17), Lady Picture Show (20), Adhesive (27), Big Bang Baby (30)

No. 4 (1999) - 2 songs
Sour Girl (12), Atlanta (29)

Shangri-La Dee Da (2001) - 5 songs
Days of the Week (11), Hello It’s Late (14), Wonderful (16), A Song for Sleeping (19), Too Cool Queenie (23)

Other / Thank You compilation (2003) - 2 songs
All in the Suit That You Wear (28), Plush*** (31)



* MTV Unplugged version
** Bonus Track
*** Acoustic version

 

[simey]

If he never did anything else, JJW should be revered for writing this. The vocal melody is so unique and it's one of the great story-songs of all time.

I like a story that Todd Snider tells about he and Jerry Jeff being in Santa Fe. He said that it was about 2 am and they were walking to their hotel, and they heard Mr. Bojangles being played and sung somewhere on the street. They followed the sound and came upon a homeless guy playing Mr. Bojangles with a banjo, and he had a harmonica around his neck. He had an old winter hat on the ground as if for tips, but it was empty, as was the street he was playing on. As Snider tells it, “Jerry Jeff and I stood there and watched this guy sing, in front of a closed-down old blues bar, and I could feel us both getting choked up. And I was asking myself, ‘Should I tell this guy that he’s playing Jerry Jeff’s song, and that Jerry Jeff is standing right here? But, no, I figured that if Jerry Jeff wanted to let this guy know who he was, he’d tell him. He chose not to. When the song was over, Jerry Jeff said, ‘That sounded great,’ and then he put a $uckload of cash—every bit of cash he had on him—into that guy’s hat. And then we walked off to the hotel, and I just couldn’t leave the moment alone. ‘Maybe the highlight of my life,’ I said. Jerry Jeff smiled and said , 'Boring life so far, kid.’"

 

[simey]

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

I can have mixed feelings about them, and it is all based on a time I saw them live and they were awful. They win by a country mile on being the worst concert I've ever been to. The band was not getting along, and they let it show, and they just sucked. It really turned me off to them. The three old ladies that sang off-key at my grandmother's funeral gave a much better effort than the DMB did that night. In fairness, I've seen them before when they were very good, and I love DM and Tim Reynolds as a duo at the Farm Aids. That one ****ty show has stuck with me, though. I have enjoyed many of their songs in this countdown, and in the Covers countdown.

 

[Eephus]

People who've read my posts in music threads over the years know how much I abhor the super brightly tuned 90s snare drum sound that features in a lot of DMB tracks (including #8). I've gotten over it a little and have enjoyed some of Dave's songs in the countdown in spite of the drums but it remains a turnoff for a lot of music that came out during the decade.

 

[Eephus]

Strand of Oaks #8 - "Ruby" (2019)

"Ruby" is one of Tim's poppiest efforts with its retro dad rock sound. In another era like the mid 70s, a song like "Ruby" would get played on the radio but unfortunately that didn't happen much in 2019. It did however lead to his only network TV appearance to date performing on the Late Show assisted by Amanda Shires and Jason Isbell.

It's another love song but a happy one this time. In spite of its Pop aspirations, it's one of the more complex songs he's written with five different musical themes including a lovely little piano coda that he expands upon when he plays the song live.

Ruby

Song · Strand of Oaks · 2019

open.spotify.com

 

[MAC_32]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

The "hates jam bands" thing is one of the reasons I can't stand genre labels. People automatically assume things just because of a bucket that an artist has been thrown into.

I'm not crazy about his voice, but it's far less irritating to me than others. Probably wouldn't want to listen to it on a 24-hour loop, though - but that's true for a lot of singers whose records I enjoy.

Maybe i am missing something not seeing them live, but i never understood DMB being labeled a jam band based on the albums abd sounds ive heard.

Double digit minute renditions of their 5 minute album cuts are DMB concert staples

 

[Yambag]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

For me, they suffer a bit from being EVERYWHERE in the dorms. Similar to comments ive had about Beasties, Nirvana, and a couple others. Feels like poeple had 4 CDs and played them on a loop.

My comment above wasnt that i dislike the songs, more that im also good never hearing them again.

I was in college in VA when they hit it big so I think part of it was being overplayed. Another could be his voice, which was quite different at the time. I often subscribe to the theory that the radio songs were often the ones I liked the least off their albums and had a "sound" (What Would You Say, Ants Marching, etc.) that some could not stand. So if you didn't give an album a listen, you thought those songs encompassed what they were which was very far from the truth. This happened to me as I despised the radio songs, but wound up working at a CD store that was playing the full albums, which is how I became a fan.

 

[KarmaPolice]

People who've read my posts in music threads over the years know how much I abhor the super brightly tuned 90s snare drum sound that features in a lot of DMB tracks (including #8). I've gotten over it a little and have enjoyed some of Dave's songs in the countdown in spite of the drums but it remains a turnoff for a lot of music that came out during the decade.

Are there popular 90s bands that avoided that sound?

 

[Eephus]

Are there popular 90s bands that avoided that sound?

Since they're in the news, Oasis.

Guns N' Roses took the unconventional approach of not recording anything during the period that the **** drum sound was everywhere only to come out with even ****tier sounding drums on Chinese Democracy.

 

[Eephus]

This picture of Dave standing on a beach in 2003 miraculously just appeared in my Twitter timeline.

 

[simey]

This picture of Dave standing on a beach in 2003 miraculously just appeared in my Twitter timeline.

 

[Mt. Man]

The playlist for the #8s was a bit more familiar than usual, with a number of well-done covers added to a slew of hits from the most of the artists I know quite well.

Selected (and shuffled) #8s :
Jezebel - Iron & Wine
Breaking the Law - Judas Priest
Second Hand News - Susanna Hoffs
Cover From The Sun - Destroyer
Mr. Bojangles - Jerry Jeff Walker
Blue Flower - Mazzy Star
Ruby - Strand of Oaks
Just Between You and Me - April Wine
Silver Bird - Justin Hayward (/Moody Blues)
And So I Know - STP
Riding Bikes - Shellac (/Steve Albini)

Shuffle Adventures:
One of more intriguing combos (with a flow to it) came from Mazzy Star’s “Blue Flower” followed by “Soul Child” from Fanny.

 

[John Maddens Lunchbox]

Sweet​

#8 - Action​

- YouTube

Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.

m.youtube.com

Producer - Sweet
Writer - Sweet
Chart Positions - UK #15, Australia #4, Germany #2, US #20
Album - Give Us a Wink
Year - 1975
Lead Vocal - Brian Connolly
Steve Priest Vocal - Backing Only

Notes - This was the first track where they fully broke free from Chinn/Chapman and its a belter. Fox on the Run was originally produced by Chinn/Chapman, but rerecorded and reproduced by the band in secret. That the rerecorded version was a massive hit gave the band the confidence to move on.
Action has been covered or revered by numerous Glam Metal acts of the 80s.
The lyrics refer to Sweet's negative treatment as pop stars, particularly by the music press, and to the demands of the music industry. The track features a masked "backwards vocal" with the words "You kiss my arse".

Once again Sweet complain that Queen directly ripped off one of their tracks. Here….I will let Brian explain….eventually.

“The first verse has a striking resemblance to the hard rock section of Queen's "Bohemian Rhapsody", which was not released for another four months.[citation needed] Lead singer Brian Connolly called it a "blatant rip-off"

Next Up - We start a great run of Chinn/Chapman written songs that pretty much represent the Glam movement. Our #7 song is the last written by the songwriting duo and interrupted a run of top 5 songs in the UK

This is a great song and it's from my favorite Sweet LP. I don't suppose "Blind Mice" is coming up, is it?

White Mice? That clocked in at #52 on my list

Back to the Sweet jealousy of Queen
The main point of contention between Action/Bohemian Rhapsody is the line
"So you think you can stop me and spit in my eye" as sung in Bohemian Rhapsody compared to
"So you think you'll take another piece of me" as sung in Action?

Brian May was a noted fan of Sweet and saw the band numerous times live in the early days
The interview with Andy Scott mentions an encounter with Brian May at an airport

- YouTube

Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.

m.youtube.com

Queen went their own way after a Day at the Races, Sweet with Off the Record
Before that there were definite parallels and as both had the same influences ie Led Zeppelin, Deep Purple, The Who etc, similarities were bound to happen.
I think they both influenced each other, but because Quuen became more successful, Sweet were definitely more jealous.

 

[KarmaPolice]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

The "hates jam bands" thing is one of the reasons I can't stand genre labels. People automatically assume things just because of a bucket that an artist has been thrown into.

I'm not crazy about his voice, but it's far less irritating to me than others. Probably wouldn't want to listen to it on a 24-hour loop, though - but that's true for a lot of singers whose records I enjoy.

Maybe i am missing something not seeing them live, but i never understood DMB being labeled a jam band based on the albums abd sounds ive heard.

Double digit minute renditions of their 5 minute album cuts are DMB concert staples

Yeah, I could see how that could grate on casual fans.

It ties into the general (and sometimes incorrect) lazy categorizations of some artists, but if I am honest some of my negative reactions or biases toward artists are due to the people I associate with listening to them. To be fair, super fans of any artist can be irritating, but there are certain ones that have a reputation of being worse than others.

For example, I never gave Floyd an honest shot until I was an adult because I tended to hate the people I know who listened to them a ton.

 

[KarmaPolice]

Are there popular 90s bands that avoided that sound?

Since they're in the news, Oasis.

Guns N' Roses took the unconventional approach of not recording anything during the period that the **** drum sound was everywhere only to come out with even ****tier sounding drums on Chinese Democracy.

Hmm. Who are the biggest offenders or is it ubiquitous enough that the list is too long for you. I either don't hear it or maybe subconsciously don't want to because I have a feeling it's in a bunch of stuff I love .

My current similar irritation and battle is with my son and modern rap he listens to. There is an annoying "hi hat" sound that I hear in damn near everything and I hate it with a passion.

 

[KarmaPolice]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

For me, they suffer a bit from being EVERYWHERE in the dorms. Similar to comments ive had about Beasties, Nirvana, and a couple others. Feels like poeple had 4 CDs and played them on a loop.

My comment above wasnt that i dislike the songs, more that im also good never hearing them again.

I was in college in VA when they hit it big so I think part of it was being overplayed. Another could be his voice, which was quite different at the time. I often subscribe to the theory that the radio songs were often the ones I liked the least off their albums and had a "sound" (What Would You Say, Ants Marching, etc.) that some could not stand. So if you didn't give an album a listen, you thought those songs encompassed what they were which was very far from the truth. This happened to me as I despised the radio songs, but wound up working at a CD store that was playing the full albums, which is how I became a fan.

When I think harder about it, this tends to be how I was (minus the working at the store). I had 100s of CDs in college and would usually listen to full albums, so I gravitated to tracks that weren't played to death. But there are still "those" albums for me - Crash, Nevermind, Ill Communication, etc. that I still struggle with because they were on a loop in the dorms. Or maybe it's just that some of those uber popular albums had so many different singles and songs that blew up that it felt like I heard the albums over and over?

 

[-OZ-]

I've also never understood the hate for DMB. Have never been a big fan, but nothing about the music - just that his voice grates a bit on me (which I can understand from the Rush haters). I have been to Charlottesville, VA more times over the years than I can count, so I do feel some sort of connection with the band

Honestly, I was a huge fan through college and later. But they seemed to fall off quite a bit.
FWIW, my strava feed this year consists of a different artist each week, a different lyrics for each workout. DMB Was first starting last week. (Started after my birthday on the 17th). Largely due to this playlist.
This week is Old dominion, next week will be all too obvious when you think about someone sleeping through September.

 

[Eephus]

Hmm. Who are the biggest offenders or is it ubiquitous enough that the list is too long for you. I either don't hear it or maybe subconsciously don't want to because I have a feeling it's in a bunch of stuff I love .

That snare sound was common in a lot of post-Grunge music and Metal/Nu Metal bands of the same period. It seemed to be mostly an American phenomenon because it's virtually nonexistent in Britpop. St. Anger is probably the ultimate bad snare album but for me that's a different tone than the one we're talking about here.

To be fair, the mid-90s were my trough as a music fan so very few of those records signify for me like they do for younger folk. Like I said earlier, I've mellowed on my musical prejudices in my old age and try to approach everything with open ears.

 

[Tau837]

Dave Matthews

Tau837

#41 #41 Provided to YouTube by RCA Records Label#41 · Dave Matthews BandCrashâ 1996 BMG MusicReleased on: 1996-04-30Drums, Percussion, Composer: Carter BeaufordBass ... www.youtube.com

"#41" first appeared on the 1996 DMB album "Crash". It's known for its introspective lyrics, intricate musical composition, and has become a staple of the band's live performances.

This is a deeply personal song for Dave. The lyrics explore themes of forgiveness, longing, and self-reflection. Although Dave has never fully explained the song's meaning, it's widely believed that "#41" is about a falling out with a former associate or friend, reflecting on a sense of loss and the hope for reconciliation. The song's ambiguity allows listeners to apply their own interpretations, which has contributed to its enduring appeal.

The opening lines set a reflective and somewhat melancholic tone: "Come and see, I swear by now I'm playing time against my troubles / I'm coming slow but speeding..." The lyrics suggest a contemplation of life's struggles and the passage of time. The narrator seems to grapple with regret and the desire to mend a broken relationship. As the song progresses, there's a sense of searching for peace and resolution: "I wanted to stay, I wanted to play, I wanted to love you / I'm only this far, and only tomorrow leads the way." The repetition and emotional delivery of these lines during performances give them a cathartic quality, as if Dave is expressing a longing for closure or understanding.

"#41" is characterized by its rich and layered instrumentation, typical of DMB's style. The song features a distinctive, repetitive riff on the acoustic guitar that provides a gentle yet driving rhythm throughout. This foundation is complemented by LeRoi Moore's saxophone melodies, Boyd Tinsley's violin, and the rhythm section led by Carter Beauford's dynamic drumming.

The song's structure is complex, with variations in tempo and dynamics that create an ebb and flow, mirroring the emotional journey of the lyrics. The band often extends "#41" into lengthy jams during live performances, allowing each musician to showcase their improvisational skills. These live versions can vary significantly, sometimes featuring guest musicians or incorporating different musical influences like jazz or blues.

"#41" has been played every year since its debut and has been a regular feature of both DMB and Dave & Tim setlists. They have performed song 900 times live in concert, and there are 59 live releases.

The song's enduring popularity is a testament to its universal themes of longing, forgiveness, and the search for meaning, all of which are underscored by the band's rich musical arrangements. "#41" remains a powerful example of DMB's ability to blend introspective songwriting with dynamic live performances, making it a standout in their extensive catalog.

I linked the studio version in the playlist. Here are a couple other excellent versions:

• Live at Red Rocks 1995
• Live at Luther College 1996 (Dave and Tim)

 

[KarmaPolice]

Hmm. Who are the biggest offenders or is it ubiquitous enough that the list is too long for you. I either don't hear it or maybe subconsciously don't want to because I have a feeling it's in a bunch of stuff I love .

That snare sound was common in a lot of post-Grunge music and Metal/Nu Metal bands of the same period. It seemed to be mostly an American phenomenon because it's virtually nonexistent in Britpop. St. Anger is probably the ultimate bad snare album but for me that's a different tone than the one we're talking about here.

To be fair, the mid-90s were my trough as a music fan so very few of those records signify for me like they do for younger folk. Like I said earlier, I've mellowed on my musical prejudices in my old age and try to approach everything with open ears.

Oh boy, this will be an adventure tonight. I just listened to #41 and a couple others then listened to Oasis and understand what you are getting at.

Is this a production thing, tuning thing, what? It either sounds like there is a mic right on the snare, or it's tuned to a point where it almost sounds like a tom after I specifically listened for it.

 

[KarmaPolice]

THIS is what I am talking about with the "high hat" sound at the beginning of this song that I hear all over when the kids are playing their tunes at work.

NSFW warning.

 

[Raging weasel]

THIS is what I am talking about with the "high hat" sound at the beginning of this song that I hear all over when the kids are playing their tunes at work.

NSFW warning.

I hate that sound too but didn't know what it was. I assumed it was artificial

 

[Leroy Hoard]

My great 's,

The Tea Party: Transmission
Sweet: Action
Justin Haywood: Silver Bird
Brian Setzer: Gene & Eddie
Strand Of Oaks: Ruby
Judas Priest: Breaking The Law
The Cure: Fascination Street
J J Walker: Mr. Bojangles
The Doors: The Crystal

 

[KarmaPolice]

THIS is what I am talking about with the "high hat" sound at the beginning of this song that I hear all over when the kids are playing their tunes at work.

NSFW warning.

I hate that sound too but didn't know what it was. I assumed it was artificial

I don't know what it is, but it reminds me of a high hat on a synthesizer or something, so I just call it that.

 

[Raging weasel]

I call it the rattlesnake shake lol

 

[Eephus]

I don't know what it is, but it reminds me of a high hat on a synthesizer or something, so I just call it that.

I think those are Roland TR-808 sounds or at least they've been around that long.-

 

[KarmaPolice]

Ok, you are right about the sound of that snare on St. Anger. It even has a bit of an echo on it.

 

[Mrs. Rannous]

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed.

I find his voice to be very irritating. He never seems to open it up and all I hear is monotone. It just grinds on for me. I just nope on out.

Not the worst stuff in the world, but not for me.

 

[Mrs. Rannous]

The main point of contention between Action/Bohemian Rhapsody is the line
"So you think you can stop me and spit in my eye" as sung in Bohemian Rhapsody compared to
"So you think you'll take another piece of me" as sung in Action?

So they aren't at all alike? That's the problem?

Delusional.

 

[Mrs. Rannous]

Really love "Sway" by Blue October. Very pretty.

 

[KarmaPolice]

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed.

I find his voice to be very irritating. He never seems to open it up and all I hear is monotone. It just grinds on for me. I just nope on out.

Not the worst stuff in the world, but not for me.

Now we know how you get through these playlists so quickly.

 

[Mrs. Rannous]

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed.

I find his voice to be very irritating. He never seems to open it up and all I hear is monotone. It just grinds on for me. I just nope on out.

Not the worst stuff in the world, but not for me.

Now we know how you get through these playlists so quickly.

I did actually sample a good many of them to see if there was a difference among them. Nope.

 

[John Maddens Lunchbox]

The main point of contention between Action/Bohemian Rhapsody is the line
"So you think you can stop me and spit in my eye" as sung in Bohemian Rhapsody compared to
"So you think you'll take another piece of me" as sung in Action?

So they aren't at all alike? That's the problem?

Delusional.

In their defence, they were on a lot of drugs at the time lol

 

[MAC_32]

Next week will be all too obvious when you think about someone that sleeps though September.

Got floor seats for my 11 yr old and I to see them in Pittsburgh Sunday. Most heart warming part, he's more jacked about it than I am. Well, I am jacked for everything except that September song anyway

 

[Tau837]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

I really didn't know there was a bunch of 'hate' directed at DMB. I guess I don't go to those forums or read those media sources or whatever. They have been extremely commercially successful. They have been nominated for a total of 14 Grammys for a total of 8 songs and 3 albums and won once, for "So Much to Say." (If you looked at their entire catalog, I don't think you would pick that song as their Grammy... it's not even in my top 41.)

I know DMB jams a lot in concert, but that doesn't really describe their studio work, so I don't really think of them as a jam band. I have seen them in concert several times, and I get that they typically do pick a couple songs and draw them out with a lot of jamming by the different band members, but that is live in concert... seems perfectly normal.

I have always liked Dave's voice, but I realize that is a taste that varies across the entire spectrum of artists for different people. I think he has a bit more range than he may be given credit for.

I'm not sure why their singles would be associated with 'hate'. According to Wikipedia, they have released around 40 singles over the past 30 years or so. I agree they didn't always release their best songs as singles, same as many artists IMO... and, certainly, some of their songs were grossly overplayed ("Crash Into Me" comes immediately to mind). So what?

I'm surprised they don't get more love for the fact that they have always incorporated violin and saxophone into their music, something that isn't exactly common. And IMO Dave is very underrated as a guitarist, he is truly great. As is Tim Reynolds.

Anyway, I'm puzzled by it. I get that people like what they like, so not saying I expect everyone to like their music, but just don't really get hating on it.

 

[Pip's Invitation]

I spent a lot of time in the Phish scene, and there's a segment of those folks that hates DMB because they "don't jam enough" and/or they play "frat boy music". There's also a segment of those folks that overlap with the DMB fanbase. Some of the very first internet flame wars I witnessed in the '90s were Phish fans arguing about DMB.

 

[Pip's Invitation]

Known and liked songs from #9 include Mayfield, Roxy (remember it well from my MTV-obsessed tween days), Judas Priest (ditto), Chesney, The Cure (remember it well from my high school dances), Iron and Wine, The Doors and EWF.

Thoughts on some of the others:

Blue October's Blue Skies has in spots a similar melody to the Irving Berlin song of the same name, but its music is VERY different.

Fire in the Head is another Tea Party jawn that could have fit on the final Screaming Trees album due to its Lanegan-esque vocals and Eastern influences.

Fever of Love sounds a lot like ELO, but with no strings and a more aggressive vocal.

Bug Like an Angel's chorus sounds ... choral. I wasn't expecting that given the simplicity of the verses.

Look Around did what every song with that phrase in it should do -- pay homage to Dear Prudence at the end.

Take Your Chances is pretty energetic by Moody Blues-personnel standards. Was not expecting to hear cowbell right off the bat. Only when the synths kick in do you realize this is a Moodies-adjacent thing.

Mystery Train is one of those songs that's impossible to screw up. Setzer of course far exceeds that.

Rest of It reminds me a bit of '80s acts like The Alarm. The guitar solo is excellent.

Into Dust is gorgeous.

It's About Time rocks surprisingly hard for a Beach Boys song. Its Wikipedia entry compares it to Santana and I can see that.

Graffiti is another Chvrches song that gives me Taylor Swift vibes.

A propulsive beat, a constant squawking saxophone, a lot of stuff going on in the background ... with Dream Lover, Destroyer has recreated the sound of ... early Roxy Music.

Neon Knights has some incredible riffage and nimble bass work. And oh hey, Dio is singing about dragons.

Tonite is another April Wine song that I became familiar with in the past few weeks because the Spotify algorithm keeps feeding it to me. The opening sounds like it could be a passage from a Boston song, but then it takes a more metallic turn. Neat.

 

[Tau837]

I spent a lot of time in the Phish scene, and there's a segment of those folks that hates DMB because they "don't jam enough" and/or they play "frat boy music". There's also a segment of those folks that overlap with the DMB fanbase. Some of the very first internet flame wars I witnessed in the '90s were Phish fans arguing about DMB.

Maybe that's why I immediately liked it once I heard it... I was in a fraternity. Though I didn't hear any of their music until a few years after I graduated...

 

[simey]

Before I slip into unconsciousness, I'm gonna do an 8 for 8 list...

- "The Crystal Ship" is another one of my favorites from The Doors.
- Love the horns, singing, and message in "This is My Country" by The Impressions.
- I think "Just Between You and Me" is the first song I ever heard by April Wine. This song (and another that I don't think has been listed yet) are my favorites from the album.
- Dig that bass and organ in "Soul Child" by Fanny, and I dig that bass that drives "Fascination Street" by The Cure.
- Roxy Music surprises me again. "Ladytron" is weird, progressive, and experimental. Did any of you watch the youtube video? Far out!
- "Ruby" by Strand of Oaks is good. I had a feeling I was gonna like it when the intro started.
- I like the fuzzy wuzzy guitar in "Blue Flower" by Mazzy Star.
- "After The Love Is Gone" closed out the 70s, and reminds me of my sister hot rolling her hair before school with the music playing in the background.

 

[KarmaPolice]

#41 is one of the songs that's makes me wonder why DMB gets so much hate (not here but in general). What a great tune.

I thought that same thing last night, but then listened to all of Crash and can understand more. Many of the main tunes i don't live from that one as much.

What do you guys think it is, though?

I'm not a big DMB fan (I doubt I'd recognize more than a dozen songs) , but I was shocked when I started noticing how many people despised them. The music isn't offensive or badly performed. They're not covering Billy Joel songs (I don't think ).

One part that just auto hates jam bands. Another part that can't get past his voice. And a last part that associates their music more with their singles and less with the other album cuts that most of their fans gravitate towards. Warehouse, 2 Step, and #41 are the 3 standouts for me so far. Top of my head I can name at least 5 others in that same group, but are they on Tau's list at the expense of singles? We'll see.

I really didn't know there was a bunch of 'hate' directed at DMB. I guess I don't go to those forums or read those media sources or whatever. They have been extremely commercially successful. They have been nominated for a total of 14 Grammys for a total of 8 songs and 3 albums and won once, for "So Much to Say." (If you looked at their entire catalog, I don't think you would pick that song as their Grammy... it's not even in my top 41.)

I know DMB jams a lot in concert, but that doesn't really describe their studio work, so I don't really think of them as a jam band. I have seen them in concert several times, and I get that they typically do pick a couple songs and draw them out with a lot of jamming by the different band members, but that is live in concert... seems perfectly normal.

I have always liked Dave's voice, but I realize that is a taste that varies across the entire spectrum of artists for different people. I think he has a bit more range than he may be given credit for.

I'm not sure why their singles would be associated with 'hate'. According to Wikipedia, they have released around 40 singles over the past 30 years or so. I agree they didn't always release their best songs as singles, same as many artists IMO... and, certainly, some of their songs were grossly overplayed ("Crash Into Me" comes immediately to mind). So what?

I'm surprised they don't get more love for the fact that they have always incorporated violin and saxophone into their music, something that isn't exactly common. And IMO Dave is very underrated as a guitarist, he is truly great. As is Tim Reynolds.

Anyway, I'm puzzled by it. I get that people like what they like, so not saying I expect everyone to like their music, but just don't really get hating on it.

In the music world, isn't the bolded sometimes enough to get unwarranted hate from the masses? Moreso than other forms of art that is mainstream to me it feels like there is this weird balancing act that musicians have to do. We (not the people in here, the general "we") seem to expect them to make good music, but god forbid you make good enough music to make a bit of money or become popular. I would guess there might be more of that in the circles that DMB fans run in. What I mean is that I get the impression that "jam bands" are thought of as being for the fans, the concerts, the experience. If one of those artists coded as such gets on the radio, in the mainstream, and makes money - I'd guess that would put a bullseye on them?

Just thinking out loud here, I could be off. I just seem to hear stuff like "sell out!" way more in music than say writers or people associated with movies. Probably because with albums and artists we consume them over and over to the level we don't with other media, so in a way they become "ours" in our heads, so there is built in tension.

On top of that comes the variety of reasons why people don't click with some of our artists in MADs. Voice, genre style, snare drum, etc.. that's built into any artist any of us select.

 

[Uruk-Hai]

In the music world, isn't the bolded sometimes enough to get unwarranted hate from the masses? Moreso than other forms of art that is mainstream to me it feels like there is this weird balancing act that musicians have to do. We (not the people in here, the general "we") seem to expect them to make good music, but god forbid you make good enough music to make a bit of money or become popular. I would guess there might be more of that in the circles that DMB fans run in. What I mean is that I get the impression that "jam bands" are thought of as being for the fans, the concerts, the experience. If one of those artists coded as such gets on the radio, in the mainstream, and makes money - I'd guess that would put a bullseye on them?

Just thinking out loud here, I could be off. I just seem to hear stuff like "sell out!" way more in music than say writers or people associated with movies. Probably because with albums and artists we consume them over and over to the level we don't with other media, so in a way they become "ours" in our heads, so there is built in tension.

This is almost exactly how I see this stuff. I get cross-eyed when I hear things like "they sold out" or "once they got popular, I didn't like them anymore".

 

[Leroy Hoard]

In the music world, isn't the bolded sometimes enough to get unwarranted hate from the masses? Moreso than other forms of art that is mainstream to me it feels like there is this weird balancing act that musicians have to do. We (not the people in here, the general "we") seem to expect them to make good music, but god forbid you make good enough music to make a bit of money or become popular. I would guess there might be more of that in the circles that DMB fans run in. What I mean is that I get the impression that "jam bands" are thought of as being for the fans, the concerts, the experience. If one of those artists coded as such gets on the radio, in the mainstream, and makes money - I'd guess that would put a bullseye on them?

Just thinking out loud here, I could be off. I just seem to hear stuff like "sell out!" way more in music than say writers or people associated with movies. Probably because with albums and artists we consume them over and over to the level we don't with other media, so in a way they become "ours" in our heads, so there is built in tension.

This is almost exactly how I see this stuff. I get cross-eyed when I hear things like "they sold out" or "once they got popular, I didn't like them anymore".

Odd that such "fans" want to tell others how much money they should be able to make.

 

[Uruk-Hai]

In the music world, isn't the bolded sometimes enough to get unwarranted hate from the masses? Moreso than other forms of art that is mainstream to me it feels like there is this weird balancing act that musicians have to do. We (not the people in here, the general "we") seem to expect them to make good music, but god forbid you make good enough music to make a bit of money or become popular. I would guess there might be more of that in the circles that DMB fans run in. What I mean is that I get the impression that "jam bands" are thought of as being for the fans, the concerts, the experience. If one of those artists coded as such gets on the radio, in the mainstream, and makes money - I'd guess that would put a bullseye on them?

Just thinking out loud here, I could be off. I just seem to hear stuff like "sell out!" way more in music than say writers or people associated with movies. Probably because with albums and artists we consume them over and over to the level we don't with other media, so in a way they become "ours" in our heads, so there is built in tension.

This is almost exactly how I see this stuff. I get cross-eyed when I hear things like "they sold out" or "once they got popular, I didn't like them anymore".

Odd that such "fans" want to tell others how much money they should be able to make.

Isn't it, though?

 

[-OZ-]

In the music world, isn't the bolded sometimes enough to get unwarranted hate from the masses? Moreso than other forms of art that is mainstream to me it feels like there is this weird balancing act that musicians have to do. We (not the people in here, the general "we") seem to expect them to make good music, but god forbid you make good enough music to make a bit of money or become popular. I would guess there might be more of that in the circles that DMB fans run in. What I mean is that I get the impression that "jam bands" are thought of as being for the fans, the concerts, the experience. If one of those artists coded as such gets on the radio, in the mainstream, and makes money - I'd guess that would put a bullseye on them?

Just thinking out loud here, I could be off. I just seem to hear stuff like "sell out!" way more in music than say writers or people associated with movies. Probably because with albums and artists we consume them over and over to the level we don't with other media, so in a way they become "ours" in our heads, so there is built in tension.

This is almost exactly how I see this stuff. I get cross-eyed when I hear things like "they sold out" or "once they got popular, I didn't like them anymore".

Odd that such "fans" want to tell others how much money they should be able to make.

Well you know, that band that I’m cool for liking makes me less unique when others like them, because my taste in bands is the only thing making me unique.

 

[KarmaPolice]

In the music world, isn't the bolded sometimes enough to get unwarranted hate from the masses? Moreso than other forms of art that is mainstream to me it feels like there is this weird balancing act that musicians have to do. We (not the people in here, the general "we") seem to expect them to make good music, but god forbid you make good enough music to make a bit of money or become popular. I would guess there might be more of that in the circles that DMB fans run in. What I mean is that I get the impression that "jam bands" are thought of as being for the fans, the concerts, the experience. If one of those artists coded as such gets on the radio, in the mainstream, and makes money - I'd guess that would put a bullseye on them?

Just thinking out loud here, I could be off. I just seem to hear stuff like "sell out!" way more in music than say writers or people associated with movies. Probably because with albums and artists we consume them over and over to the level we don't with other media, so in a way they become "ours" in our heads, so there is built in tension.

This is almost exactly how I see this stuff. I get cross-eyed when I hear things like "they sold out" or "once they got popular, I didn't like them anymore".

Odd that such "fans" want to tell others how much money they should be able to make.

Or what music to make and play.

 

[Zegras11]

7's PLAYLIST

		#7 -
Blue October	-OZ-	Oh My My - Acoustic https://www.youtube.com/watch?v=Zg4RQ6CsxgI
Fanny	Pip's Invitation	Butter Boy Butter Boy Song · Fanny · 1974 open.spotify.com
The Tea Party	Scoresman	Lifeline Lifeline Song · The Tea Party · 2014 open.spotify.com
Sweet	John Maddens ****ing Lunchbox	The Sixteens - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. m.youtube.com The Six Teens Song · Sweet · 1974 open.spotify.com
Oingo Boingo	KarmaPolice	Heard Somebody Cry Heard Somebody Cry Song · Oingo Boingo · 1985 open.spotify.com
Belle and Sebastian	kupcho1	I Don't Know What You See In Me I Don't Know What You See In Me Song · Belle and Sebastian · 2023 open.spotify.com
Mitski	Ilov80s	Why Didn't You Stop Me? Why Didn't You Stop Me? Song · Mitski · 2018 open.spotify.com
The Slambovian Circus of Dreams	Yambag	Halo Halo Song · The Slambovian Circus Of Dreams · 2022 open.spotify.com
The Moody Blues	Charlie Steiner	Who Knows - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. www.youtube.com
Stone Temple Pilots	Yo Mama	Sex Type Thing Sex Type Thing - 2017 Remaster Song · Stone Temple Pilots · 1992 open.spotify.com
Brian Setzer	Mrs. Rannous	You're The Boss You're The Boss Song · The Brian Setzer Orchestra · 1998 open.spotify.com
Curtis Mayfield	Don Quixote	Keep On Keeping On, by Curtis Mayfield - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. youtu.be Keep on Keeping On Song · Curtis Mayfield · 1971 open.spotify.com
Bryan Ferry/Roxy Music	BinkytheDoormat	Street Life - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. www.youtube.com
Strand of Oaks	Eephus	Little Wishes (Darker Shores version) Little Wishes Song · Strand of Oaks · 2013 open.spotify.com
Dave Matthews	Tau837	Spoon Spoon Provided to YouTube by RCA Records LabelSpoon · Dave Matthews BandBefore These Crowded Streetsâ 1998 BMG MusicReleased on: 1998-04-28Composer, Lyricist: Davi... www.youtube.com
Mazzy Star	landrys hat	Look On Down From the Bridge Look On Down From The Bridge Song · Mazzy Star · 1996 open.spotify.com
Kenny Chesney	MAC	Get Along - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. www.youtube.com
The Beach Boys	zamboni	"Don’t Worry Baby" Don't Worry Baby - Remastered 2001 Song · The Beach Boys · 1964 open.spotify.com
Susanna Hoffs	Zegras11	Girls Talk Girls Talk Song · Susanna Hoffs, Matthew Sweet · 2013 open.spotify.com
Judas Priest	Raging Weasel	Better by You, Better Than Me Better by You, Better Than Me Song · Judas Priest · 1978 open.spotify.com
The Cure	Juxtatarot	A Letter to Elise A Letter To Elise - 2022 Remaster Song · The Cure · 2022 open.spotify.com
Iron and Wine	Tuffnutt	Each Coming Night - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. www.youtube.com
Jerry Jeff Walker	simey	My Old Man My Old Man Song · Jerry Jeff Walker · 2006 open.spotify.com
The Doors	jwb	The Unknown Soldier The Unknown Soldier Song · The Doors · 1968 open.spotify.com
Chvrches	JML’s Terrible, Horrible, No Good, Very Secret Identity	Graves - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. m.youtube.com Graves Song · CHVRCHES · 2018 open.spotify.com
Earth, Wind, & Fire	Uruk-Hai	Mighty Mighty - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. www.youtube.com
Destroyer	The Dreaded Marco	The Raven The Raven Song · Destroyer · 2020 open.spotify.com
Andrew Bird	Mister CIA	Skin Is, My Skin Is, My Song · Andrew Bird · 2005 open.spotify.com
Steve Albini	Oliver Humanzee	Shellac - Doris - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. youtu.be
Ronnie James Dio	Mt. Man	After All (The Dead) After All (The Dead) - 2008 Remaster Song · Black Sabbath · 1992 open.spotify.com
April Wine	Falguy	You Could Have Been A Lady You Could Have Been a Lady Song · April Wine · 1972 open.spotify.com - YouTube Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen. www.youtube.com