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Dave Matthews Band — Come Tomorrow (June 8th, 2018)

Dave Matthews Band — Come Tomorrow (June 8th, 2018)

     Dave Matthews Band — Come Tomorrow (June 8th, 2018)  Dave Matthews Band — Come Tomorrow (June 8th, 2018)••♥        Jiná lýtka — jiný směr. Milovaný zpěvák naší zpěvačky I.M. se svým devátým albem. Jednou ze silných stránek Dave Matthewse v jeho textech je “vášnivý respekt k ženám; což je hlavním důvodem, proč jeho koncertní publikum je mnohem více pohlavně smíšené než většina “jam~bandových” zástupů. Ženy v jeho písních jsou přesvědčivé, krásné, mystické a... — poněkud tělesné. “Come On Come On” — dva velkolepé, houpavé akordy, zesílené smyčcovou sekcí, adresované “krásné, překrásné dívce” — kde prohlašuje: “Chci tě udělat jenom” ve “velké, velké lásce”, ale jde na to skrz zbožňování, ne pod tlakem, ne urputně. V písni “Again and Again” zaujme modální riffing a šumivý šestibeatový impulz, řízen sliby oddanosti a spokojenosti: “Vidím soumrak ve všem, ve všem,” zpívá pan Matthews.
••♥        DMB na albu spolupracoval s několika producenty. Během sessions, které se konaly v Charlottesville, Seattle a Los Angeles (celkem 8 studií), pracoval s Johnem Alagiem, Markem Batsonem, Robem Cavallem a Robem Evansem. Celkově na albu participuje 78 lidí. Titulní skladba Come Tomorrow obsahuje přispění hostující zpěvačky Brandi Carlile. Něco na tomto albu je prapodivného. Mám podezření, že Matthewse něco děsí. Tato nespokojenost se spojuje s ponurým viděním a příchodem zítřka a je také vhodně formulována samotným Matthewsem, jehož okořeněné a typicky zbarvené vokály působí pocitově dost unaveně. Tento takřka ‘kožený’ zpěv je pro DMB zcela nový, stejně jako de facto chybějící houslista Boyd Tinsley, který odešel z kapely během dokončení tohoto alba pod tíhou obvinění ze sexuálního zneužití. Bez Tinsleyho nebo pozdního LeRoiho Moora Dave Matthews Band nezní tak špinavě ani zuřivě, ale tento štíhlejší, resp. subtilnější sound pro Matthewse ve středním věku je ušit na míru. Stále je ve své kůži pohodlně a přesto neklidně. Album Themes: Freedom Introspection Reflection Comfort Hanging Out Open Road Relaxation The Great Outdoors
Location: Charlottesville, Virginia, United States
Genres: Rock jam band jazz fusion folk rock funk rock pop rock alternative rock
Recording Location:
•   Haunted Hollow, Charlottesville, VA
•   London Bridge Studio, Seattle, WA
•   Studio X
•   Synergy Studio, Seattle, WA
•   The Barn, Maple Valley, WA
•   The Church, Seattle, Wa
•   The Mill
•   The Village, Los Angeles, CA
Album release: June 8th, 2018
Record Label: Bama Rags/RCA
Duration:     54:36 + 62:43 => 117:19
Tracks:

01. Samurai Cop (Oh Joy Begin)      4:22
02. Can’t Stop     4:44
03. Here On Out     3:19
04. That Girl Is You     3:17
05. She     3:52
06. Idea of You     4:45
07. Virginia In the Rain     6:10
08. Again and Again     4:26
09. Bkdkdkdd     0:27
10. Black and Blue Bird     3:34
11. Come On Come On     4:40
12. Do You Remember     4:17
13. Come Tomorrow     4:46
14. When I’m Weary     1:57
Come Tomorrow — Bonus Disc
01. So Right     6:23
02. Beach Ball     3:24
03. #34     6:28
04. Why I Am     5:15
05. Minarets     8:11
06. Little Thing     5:15
07. Alligator Pie     5:00
08. #40     3:29
09. Rhyme & Reason     7:57
10. Drunken Soldier     11:21

Producer: John Alagía, Mark Batson, Rob Cavallo, Rob Evans
Written by:
÷     David J. Matthews     1, 3, 4, 8, 9, 12
÷     Mark Batson / Carter Beauford / Stefan Lessard / David J. Matthews / LeRoi Moore / Boyd Tinsley     2, 6
÷     John Alagia / David J. Matthews     5
÷     Carter Beauford / Stefan Lessard / David J. Matthews / Doug McKean     7
÷     Jeff Coffin / David J. Matthews / Doug McKean / Rashawn Ross     10
÷     Mark Batson / David J. Matthews     11, 13, 14
Personnel:
Dave Matthews Band
♠     Carter Beauford — drums, vocals
♠     Jeff Coffin — saxophone
♠     Stefan Lessard — bass guitar
♠     Dave Matthews — acoustic and electric guitars, lead vocals
♠     Tim Reynolds — electric guitar
♠     Rashawn Ross — trumpet
Additional musicians:
♠     LeRoi Moore — saxophone on "Can't Stop” and "Idea of You”
♠     Boyd Tinsley — violin on "Idea of You”
Production:
♠     Producer — John Alagía, Mark Batson, Rob Cavallo, Rob Evans
♠     Mastering engineer — Brad Blackwood
AllMusic Review by Stephen Thomas Erlewine; Score: ****
♠     Come Tomorrow arrives six years after Away from the World, by far the longest span of time separating albums in Dave Matthews Band history. During those years, DMB did what they always do: they toured every summer. This time, the group started chipping away at a new album, reuniting with many of the producers and engineers they worked with in the past. Steve Lillywhite, who helmed Away from the World, may be absent, but Rob Cavallo, the producer behind Big Whiskey & the GrooGrux King, is here, along with the R&B~savvy Stand Up producer Mark Batson and John Algia, who worked with DMB prior to their 1994 major~label debut, Under the Table and Dreaming. This laundry list of collaborators may suggest there were an awful lot of cooks in the kitchen for Come Tomorrow, yet the album is remarkably cohesive, representing a moody shift away from the settled sunniness of Away from the World. ♠     Darkness is no stranger to Matthews — even his sunnier records have their share of meditative numbers — but Come Tomorrow is a cousin to Some Devil and Busted Stuff, two albums that appeared in the dawning years of the 21st century that found the singer~songwriter questioning his purpose after the first flush of success. On this collection of songs, a handful of which are nearly a decade old, Matthews isn’t quite as gloomy and unsettled as he was during the days after Y2K — he throws in a handful of randy vamps and slow jams to puncture the mood — but there’s a sense that something is nagging at Matthews. That unease binds Come Tomorrow and is also articulated nicely by Matthews himself, whose weathered vocals feel appropriate weary. This leathery singing is new for DMB, as is the de facto absence of violinist Boyd Tinsley, who departed the band during the completion of this record under a cloud of sexual misconduct allegations. Without Tinsley or the late LeRoi Moore, Dave Matthews Band don’t seem as loopy or rangy as they did in their prime, but this leaner sound suits a middle~aged Matthews, who is comfortable in his skin yet restless in his mind.
Credits:
••      Nico Abondolo Bass
••      Tawatha Agee Vocals (Background)
••      John Alagia Composer, Engineer, Executive Producer, Guitar, Guitar (Bass), Guitar (Electric), Mixing, Moog Bass, Organ (Hammond), Piano, Producer, Vocals (Background)
••      Candice Anderson Vocals (Background)
••      Julian Anderson Assistant Engineer, Engineer
••      Mark Batson Clavinet, Composer, Fender Rhodes, Moog Bass, Piano, Producer
••      Carter Beauford Composer, Drums, Water Bucket
••      Steven Becknell French Horn
••      Charlie Bisharat Violin
••      Brad Blackwood Mastering
••      Chris Bleth Clarinet
••      Aaron Born Product Manager
••      Robert Brophy Viola
••      Lindsay Brown Product Manager
••      Sharon Bryant~Gallwey Vocals (Background)
••      David Campbell String Arrangements
••      Brandi Carlile Vocals
••      Rob Cavallo Organ, Producer, Wurlitzer
••      Billy Centenaro Mixing
••      Andrew Ching Assistant Engineer
••      Jeff Coffin Composer, Sax (Baritone), Sax (Tenor)
••      Pedro Collini Engineer
••      Luis Conte Percussion
••      Beatrice Coron Cover Art
••      Mario Deleon Violin
••      Andrew Duckels Viola
••      Matt Dyson Engineer
••      Karen Elaine Viola
••      Rob Evans Additional Production, Assistant Engineer, Engineer, Mixing, Producer
••      Joe Fatheringham Trumpet
••      Aaron Fessel Engineer
••      Bruce Flohr A&R
••      Matt Funes Cello
••      Gary Grant Flugelhorn, Trumpet
••      Tamara Hatwan Violin
••      Jerry Hey Horn Arrangements
••      Dan Higgins Sax (Tenor)
••      Michelle Holme Package Design
••      Alex Iles Trombone
••      Patrick Jordan Assistant
••      Alan Kaplan Trombone, Trombone (Bass)
••      Ann Kingston Assistant
••      Oliver Kraus String Arrangements, Strings
••      Chris Kress Engineer
••      Eleanor Kuhl Product Manager
••      Stephen Kujala Flute
••      Timothy Landauer Cello
••      Songa Lee Violin
••      Natalie Leggett Violin
••      Stefan Lessard Bass, Composer
••      Dane Little Cello
••      Dave Matthews Bass, Fender Rhodes, Guitar, Guitar (Acoustic), Guitar (Baritone), Guitar (Electric), Percussion, Piano, Vocals, Wurlitzer
••      David J. Matthews Composer
••      Doug McKean Composer, Engineer, Mixing, Producer
••      Serena McKinney Violin
••      Joseph Meyer French Horn
••      Steven Miller Engineer
••      LeRoi Moore Composer, Sax (Alto), Sax (Tenor)
••      Grace Oh Violin
••      Alyssa Park Violin
••      Andy Park Assistant Engineer
••      David Parmeter Bass
••      Sara Perkins Violin
••      Sean Quackenbush Engineer
••      Tom Rasulo Assistant Engineer
••      Bill Reichenbach Trombone, Trumpet (Bass)
••      Tim Reynolds Guitar, Guitar (Electric)
••      Michelle Richards Violin
••      Steve Richards Cello
••      Rashawn Ross Composer, Flugelhorn, Horn Arrangements, Trumpet, Trumpet (Bass), Vocals (Background)
••      Amy Sanchez French Horn
••      Wesley Seidman Assistant Engineer
••      Jason Shavey Engineer
••      Tereza Stanislauv Violin
••      Rudolph Stein Cello
••      Arthur “Buddy” Strong Organ (Hammond)
••      Butch Taylor Piano
••      Boyd Tinsley Composer, Violin
••      Josephina Vergara Viola
Review
By Jon Pareles, June 6, 2018
••      For Dave Matthews, “dad rock” isn’t a put~down. “Come Tomorrow,” the ninth studio album by the Dave Matthews Band and its first since 2012, earnestly embraces fatherhood, commitment, lifelong romance and hope for the next generations.
••      The album starts with a song welcoming a new child, “Samurai Cop (Oh Joy Begin),” carried by pealing guitars that echo the reverent gravity of U2. (Like U2, the band is including a copy of the new album with concert tickets, a strategy that will boost its chart rankings.) And the album ends with “When I’m Weary,” an orchestral hymn that acknowledges “dark dark days” but vows, “You remind me to keep on trying.” A gloomy streak runs through Mr. Matthews’s back catalog, yet willed optimism fills the songs on “Come Tomorrow,” while cynicism and irony are nowhere within earshot.
••      From end to end, it’s an album of love songs: love progressing through childhood crushes, adult lusts, parental nurturing and benedictions for unknown descendants. The title song on “Come Tomorrow,” a crisp march reinforced by a string section, starts with an old man bemoaning the state of the world even as a “little kid” starts figuring out how to save it. “All the girls and boys will sing/Come tomorrow we fix everything,” goes a chorus.
••      The music provides convolutions. Folk~pop, funk, metal, jazz, math~rock and pop from South Africa (where Mr. Matthews was born) all show up in the 14 tracks on “Come Tomorrow.” The band can converge on a riff or fan out in intricate counterpoint, and its agility makes odd, shifting meters and Mr. Matthews’s leaping vocal lines — baritone below, uncharted above — sound natural. The interplay of the core band — particularly Mr. Matthews’s acoustic guitar picking, Stefan Lessard’s springy bass lines and Carter Beauford’s pinpoint drumming — easily opens out to arena scale on the album, as electric guitars chime in and string and horn arrangements swell.
••      A six~year gap between studio albums hasn’t tempted the Dave Matthews Band to try to update (or obviously computerize) its sound. The instruments are still hand~played, and the grooves still sound like they were created through jamming, not programming. “That Girl Is You” unfolds from introduction to obsession over a four~chord syncopated guitar riff, with Mr. Matthews playing nearly every part in the studio, yet there’s an improvisational volatility to his voice — breathy and cagey, then rounded and courteous, then agitated and scratchy, then shrieking in wild~eyed falsetto. It works; he gets the girl.
••      The album was recorded gradually, in multiple studios with multiple producers. Two songs that have long been evolving in the band’s live sets, “Can’t Stop” and “Idea of You,” include alto saxophone from LeRoi Moore, a founding band member who died in 2008. “Idea of You” — a jammy song about a childhood crush lingering to become an adult romance — is also the only track on the album with the violinist Boyd Tinsley, who left the band in February after two decades, citing health reasons; he later faced allegations of sexual harassment. (Mr. Tinsley has denied what he called “false accusations.”)
••      One of Mr. Matthews’s strengths has been his lyrics’ passionate respect for women; it’s a major reason his concert audiences are far more gender mixed than most jam~band crowds. The women in his songs are compelling, beautiful, mystical and carnal all at once. “Come On Come On” — two stately, undulating chords fortified by a string section and addressed to a “beautiful, beautiful girl” — declares, “I just wanna make you” in a “great great love” but comes across as worshipful, not pushy. In “Again and Again,” modal riffing and a limber six~beat pulse drive promises of devotion and satisfaction: “I see everything in you tonight,” Mr. Matthews sings.
••      “Do You Remember” echoes Shangaan pop from South Africa — thumb~popping bass, hopping vocal lines, stuttering guitars and horns — while the lyrics sketch a romance that began young, with children’s games, and grew up to “making love in the back seat.” Mr. Matthews also contemplates childhood joys — “We will rope swing and river swim” — in “Virginia in the Rain,” a jam~like six~minute song with Tim Reynolds deploying multiple electric guitars in a thoughtful dialogue and Mr. Matthews crooning, “Don’t grow up too fast.”
••      The realization that life is cyclical is a long view, a fatherly view. Mr. Matthews has decided he’s not going to be the grumpy old man he sings about in “Come Tomorrow,” but he doesn’t sugarcoat things either; each song notes the fears and sorrows it’s determined to overcome. The music does that, with consolation in its melodies and a life force in its rhythms.  ••      https://www.nytimes.com/
Website: https://www.davematthewsband.com/
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Dave Matthews Band — Come Tomorrow (June 8th, 2018)

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