Artist bio

See also: Tim Reynolds, Dave Matthews

It sucks to like an artist before he gets big. But it sucks even more to like an artist before he gets big, commercialized, uncreative and loathefully attractive to throngs of pre-teen girls. Yes, Dave Matthews has a great voice. Yes he has a great band. And damnit, he was once able to pen inspired pop songs. But rather than evolving into an artist you love to follow, Dave has evolved into a frat-house circus monkey you love to hate. Essentially, he and his band hit their zenith in 1994 with Under the Table and Dreaming and its been downhill since. The cheesy videos. The collaboration with Santana. The attack on the bootlegg industry. The guy's become a loser. While 2002's Busted Stuff was a slight improvement over his most recent efforts, the NATN editorial team doesn't hold much hope of him ever returning to our favor.

Albums by this artist

Everyday (2001)

Before These Crowded Streets (1998)

Live At Red Rocks (1997)

Crash (1996)

'Recently' (1994)

Under The Table And Dreaming (1994)

Remember Two Things (1993)

Dave Matthews Band

Live At Red Rocks

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» BEN FRENCH | CO-DIRECTOR

Dave Matthews Band Live At Red Rocks RCA/Bama Rags, 1997 RiYL: Sting, Phish's A Live One, Widespread Panic

After two succesful major label releases -- Under The Table and Dreaming (1994) and Crash (1996) -- the Dave Matthews Band became the poster child for MTV's buzz bin while criss-cross touring its way around the country. With Live At Red Rocks, the band finds itself returning to the record shelves with a live release that highlights one of its many quality performances and capitalizes on its mainstream bankablity.

For the most part, Red Rocks provides listeners with a run-of-the-mill sampling of his band's constantly solid live abilities. The songs are all crafted well, and the musicianship is certainly up to par. Still, something is lacking. Including outstanding versions of "Seek Up," "Dancing Nancies," "Warehouse," and "Two Step," this release proves DMB can navigate its way through some tricky solos, a few smooth transitions and the usual heavenly voicings by the band leader himself. But these set standards don't make the cut for an exceptional live album.

Matthews, prone to re-releasing songs, needs more than one complete new number on a double-album set to satisfy the fans putting up the money for the record. Should responsible record purchases feel obligated to shell out $20 only to get the third released versions of "Dancing Nancies," "Warehouse," "Tripping Billies," "Recently," and "Ants Marching?"

God forbid Matthews should have to write a new song (Can anyone say "creative lapse?").

Dave should have selected a show that sports at least one rare treat for die-hard fans -- maybe DMB could have pulled out a night with "Help Myself." Or the band could have chosen a show with a roots-rock all-star guest for added punch (sorry, but an appearance by guitarist Tim Reynolds -- who appears on each DMB release -- is by no means rare). I fear Matthews selected the show for its name instead of its content.

Take my advice: Don't buy the Red Rocks show when CD bootlegs of performances from the same year -- many of much better quality -- are available at your local record store. If you have the means, check out the two February 1995 New York City shows at the Roseland with guest appearances by Blues Traveler frontman John Popper and Phish guitarist Trey Anastasio.

BEN FRENCH | Ben founded NATN in the winter of 1998-1999 with fellow IU alums Troy Carpenter and Jonathan Cohen. During the day time, he's working for Nielsen Business Media, publisher of Billboard. Ben's favorite acts include Bruce Springsteen, The Clash, Sonic Youth, Elvis Costello, Talking Heads, Rolling Stones, and the Beach Boys.