I Think Dave Matthews Went Too Far

Published July 26, 2001, in CandidCritic.com.

Review by Matthew Webber

In most of the interviews Dave Matthews gave prior to the release of his new album, Everyday, he talked about how his band was locked in a creative rut with longtime producer Steve Lillywhite, how superproducer Glen Ballard (Alanis Morissette, No Doubt) opened his dormant emotions, how he and Ballard wrote the songs for the album quicker than any songs Matthews had ever written and how happy he was with the process, the songs and life.

Sadly, one of the problems with Everyday is how elated Matthews is. The other is that it’s essentially a Dave Matthews solo project.

Matthews was never one of those suicidal-sounding songwriters like Superunknown-era Chris Cornell or his-entire-life-era Trent Reznor. With lyrics like the ones that began his last album, Before These Crowded Streets, "Open wide, oh so good I’ll eat you," no one could accuse him of taking himself, or life, too seriously.

But he wasn’t exactly a member of the glee club either. Some of his best songs sang of missing, wanting or otherwise not having. His biggest hit, "Crash Into Me," expressed his near-obsessive longing for the beautiful woman of his "boy’s dream." In "Spoon" he refused to forgive the woman who "hung [him] out to dry."

As sad as these songs were, they were also exuberant in their love and hope. "Crash Into Me," for all of its bittersweet music, was a beautiful love song after all.

But now he’s that bouncy cheerleader who hides her family problems behind her smile and who you want to smack every time she says the word "like." He sings about dreams, love and probably unicorns. He wants you to know that he did it, he did it, he did it, yeah, and he’s as jolly as a rancher you’ll all be buying his album.

Worse than Matthews’ newfound enjoyment of butterflies is his relegation of one of the most talented bands in popular music to studio players. Ballard fancies himself a George Martin or Phil Spector-caliber arranger/producer who can orchestrate a hit song as easy as putting on his pants. He chose to write every part for every band member, thereby stifling their own creative impulses, all for the sake of stuck-in-your-head pop music.

I’ve got to admit "I Did It" is one of Matthews’ best singles ever and it’s lodged itself into next to "American Pie" and "Take On Me" in that section of my brain that interjects distracting pop melodies into the most serious of thoughts, but it’s conspicuously short and, um, missing the band.

In fact, there’s not a single jam or solo that’s long enough that you kinda sorta start to get tired of it. Every song sounds as if Ballard used an egg timer to keep the band from experimenting; as soon as the buzzer goes off, the song’s over.

Violinist Boyd Tinsley and saxophonist Leroi Moore are particularly discouraged from really letting go and adding their personal stamps to the music. In most of the songs, you can’t even hear them.

Admittedly, Matthews and Ballard crafted some of the most enjoyable and radio-friendly tunes of both men’s careers – which according to interviews with Matthews was the point.

Unfortunately, they missed the point of why people listen to the Dave Matthews Band. Yeah, songs like "Stay (Wasting Time)" and "Ants Marching" are catchy as hell, but it’s in the occasional album jam and every live performance where the band truly delivers.

Matthews and Ballard created a good album for Dave the Adult Contemporary Solo Artist. Here’s hoping Matthews dumps Ballard, re-teams with Lillywhite, and creates a great album for Dave and His Band.

Or else let’s hope they release those missing Lillywhite sessions soon.