For this review, I decided to go back 15 years and take a look at Dave Matthews Band’s second album, Crash. Though it wasn’t their first, it was the breakthrough that introduced them to a large audience and proves to be their most popular to this day.
The album starts off with a nice, clean acoustic guitar. Virtually from the start, the hallmark Dave Matthews sound can be heard permeating the track. One of the things that I liked about this track is the great groove set up by the rhythm section. Better still, are the funky horn parts, which augment the song’s arrangement beautifully. The second song is deeper both lyrically as well as sonically. This is indicated beginning with the song’s intriguing introduction. I enjoyed this song’s exotic sound as well as its fade out ending which seems to come out of nowhere. The next track, Crash is one of the band’s best-known songs and one of my long time favorites. I particularly like Mathews’ improve-style lyrics at the end of the song. I find it reassuring to know that this track (the only one I knew well enough to sing before hearing this album) won’t be the only decent one. Track four is titled Too Much. The Phil Collins-style, big horn intro is recognizable, though I couldn’t previously put a title to the song. The band sound is reminiscent of Chili Peppers funk albeit much softer. I also enjoyed the saxophone in this piece. Because this band involves a larger ensemble, it is able to take greater leeway in terms of soloing, improving, etc. #41 is track number five. This number takes a softer turn from the ones preceding it. I’m not entirely sure how to classify Matthews’ style of music without using some generic, non-descriptive term such as ‘soft rock’ or ‘adult contemporary’. Regardless, they do tend to incorporate elements of light jazz into their music, which I like. The end of this track segues right into the next song with a seamless transition that is barely noticeable unless closely listened to. Although this track takes a while to get into, it builds up nicely, especially towards the end.
The second half of the album starts off with a bang! The horns provide accented punches, the guitars give the track a driving rock, and Matthews’ voice growls out the verse’s lyrics. One of the best parts about this track is the band lets go a little more and rocks out a bit, particularly in the instrumental section. Track eight is titled Let You Down and sees a return to acoustic guitar and a softer, more understated sound. The next song, Lie in Our Graves is more of the same. The lyrics echo the standard DMB mentality of ‘live for today ‘cause you don’t know what tomorrow will bring’. Musically, the track provides little in the way of something new as well. Cry Freedom is the aptly titled song ten. Just as the titled states, it is a song that describes a person’s inability to stay complacent while human rights are being violated on a large scale around the world. While the tune itself is not great (this is the most orchestrated track thus far which is nice), I do like music that carries a social message calling attention to the atrocities thrust upon humankind. I found track eleven, Tripping Billies, to be rather redundant as well. It utilizes the same Phil Collins big horn intro reminiscent of track number four. Also, the lyrics pretty much echo the exact same sentiments as song nine. I would have to say I prefer this song to the ninth one however, because it is catchier. The final number on the album is titled Proudest Monkey. I like this one. It has a nice soft, slow groove that provides a solid finish to the album. I also rather enjoyed the slide whistle sound effect, which was scattered throughout the track. Unfortunately the nine-minute song drags on a bit too long especially with the same material repeated in a slow fade during the last four minutes.
Overall, I thought the album was decent. Nothing phenomenal, but a good listen none the less. One of the chief problems I found with it was it lacked a great deal of variety. Alternating between acoustic guitar ballads and funky, upbeat horn tunes can only take you so far. Also, at close to 69 minutes, the album is a good two songs and fifteen minutes too long. There is nothing wrong with a 69-minute album if there is enough material, however in this instance there is not. Would I put this album on during a backyard barbeque? Yes. Would I cite it as a classic for the way it’s shaped the course of music? No.
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