Last June Dave Matthews Band released their ninth studio album, Come Tomorrow. It is always a delight to listen to a new Dave album, as few in the industry so consistently produce such top notch music. Unlike some bands who might suddenly try a drastic change in style, making new albums somewhat hit or miss, (Radiohead and Sufjan Stevens come to mind) DMB manages to maintain the sound and the style that is so distinctly theirs while also branching out and trying new things.
Come Tomorrow, as a ninth album ought to be, is a good mix of classic DMB sounding tracks with others that are more characteristic of Dave’s later songwriting style - slower tunes with high haunting melodies. Other songs have more of the feel of Dave Matthew’s solo work with fewer instruments.
Dave has always been known to collaborate with talented musicians, and Come Tomorrow has a great line up. Tim Reynolds always adds so much to the albums he plays on, and he does not disappoint on this latest. His easy going and somewhat minimalistic solo on Samurai Cop is so perfect for the opening track, setting such a great tone for the whole album. It’s also good to hear Butch Taylor on the piano again, and Jeff Coffin and Rashawn Ross on the sax and trumpet really fill out the sound. Their contribution is almost the defining characteristic of the classic DMB sound. Losing Boyd Tinsley for this album (he contributed to a few tracks but is not on the tour, having left the band to pursue other things) was unfortunate, as he was always an integral part of the sound, but it also guides the evolution of the band, as sometimes people come and go.
Song by song, here’s my reaction to the album as a whole.
Samurai Cop
A great opening track! Beautiful imagery of a birth and growth into life, as seen from the eyes of a parent. Tim’s lingering lead notes really give the song a dramatic effect. His brief solo is the perfect bridge to the suddenly subdued final verse. “Innocent kiss, black magic bliss…”
And I love the words in the chorus. “Let’s not forget these early days, remember we begin the same. We lose our way in fear and hate, oh joy begin.”
Can’t Stop
Classic DMB song, with a groovy riff to start off, and a crashing crescendo of horns when the chorus hits. Always loving those girls, Dave is makes it pretty plain that he just can’t stop. As long as you got that love, your sound’s gonna show it. For fans who like the older music, this one has that feel. Sounds and styles evolve, but never lose sight of your roots!
Here On Out
A slow, acoustic love song, with a beautiful melody and sweet message to that one he so loves. Some nice orchestration compliments the latter verses, and Dave’s slow falsetto on the ending bridge is the most memorable part of the song. In that regard it is somewhat reminiscent of the song Sweet on the previous album, Away from the World. Poignant and emotional.
That Girl is You
This song has a catchy but simple intro, with new instruments coming in every few bars, and the melody just builds and builds into a swell crescendo, where Dave really belts it out like he likes to do. As with so many other songs, Dave is singing about how much he loves that girl.
“I saw a girl, and the way she move, it changed the way, I see the world…that girl is you!”
This one may be a little harder to sing along to, but it will get you up and dancing.
She
This song, which sounds like something from Stand Up, is a classic woman-revering tune, acknowledging both on the delights and the potential dangers of the powerful feminine force. Wah peddle, distorted electric guitar, plus the bass-heavy riff give the song a more aggressive sound, though also somewhat funky. Definitely a groove.
Idea of You
A pretty song with a strong chorus, filled out with horns and a nice use of the piano. This is another representation of Dave’s evolving sound. I get hints of middle DMB career stuff, like the song You Never Know.
Virginia in the Rain
This slow, chill song glides along peacefully, both musically and lyrically. It muses on the good times of childhood, which one oughtn’t rush, Dave suggests. “Don’t grow up too fast, just turn up the music and dance and dance.”
“Let’s make believe this is gonna last forever. Don’t seem long enough....forever.”
Again and Again
Funky Groove, love your lady, more like a Dave solo (less DMB power), but a really rocking sound all the same.
Black and Blue Bird
A pretty, upbeat acoustic guitar melody. Philosophical and poetic. “God is troubling when you consider believers that would welcome the end of the world.”
The chorus has a very catchy melody, and this song stays in my head more than any of the others. “Ashes, stardust, look at us, crawling out the mud. Let’s go around the block, we make the most before the jig is up.”
Butch on the keys, Jeff Coffin on the sax, nice solo before final verse.
“On the sidewalk the dandelion is reaching up towards the sun.” I love the dandelion imagery, symbolizing (for me anyway) the new paradigm emerging from out of the rubble of the old.
Come On Come On
A slower love song. Reminiscent of Everyday. Knowing Dave, it’s likely a reference to cunnilingus. Pretty, but not the most exciting song on the album.
Do You Remember
A nice ditty, with some fancy drum work by Carter, and a good danceable beat. Horns and slide guitar (plus some synthesized sounds, it would seem) almost give it an island sound in places. Classic theme of indulging in nature and soaking in all the goodness of life kind of lyrics. Summer of Love, baby. “The color of water and the color of sunlight is pouring all over us.”
Come Tomorrow
A great choice for the title track. This song contains the strongest and clearest message: “Let the children run the show,” he says. Our world is a mess, and the children, whose minds are yet unfettered by a life of being conditioned to our culture, have a better chance of coming up with solutions than we do. They will inherit this world, so we should give them a chance to do something beautiful with it. “Come tomorrow we get everything, so as long we survive today, come tomorrow we gonna find a way.”
“We should let the children lead the way,” he says. You can’t get more direct than that. Hear hear, Dave!
This song is a good representative of Dave’s emerging style. Diverse instrumentation (some beautiful strings), but in smooth sequence, with the guitar and rhythm leading the song.
When I’m Weary
Almost a hymn, with Dave on the piano, and some beautiful strings behind the emotional melody. A nice way to close out the album.
I wrote this article when the album first came out, but owing to a down computer, I am just now getting it published. In the two months that have elapsed, I have probably listened to it twenty or thirty times, and it’s definitely my favorite new music of this year. Many thanks to all the great musicians out there who continue to inspire us, and to all the guys at Dave Matthews Band who have been providing some of the best music out there for two and half decades. Keep ‘em coming, fellas!
