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Dave Matthews Band: Come Tomorrow

 A l b u m   D e t a i l s


Label: Bama|Rags Records
Released: 2018.07.08
Time:
 54:34
Category: Progressive Rock
Producer(s): John Alagía, Mark Batson, Rob Cavallo, Rob Evan
Rating:
Media type: CD
Web address: www.davematthewsband.com
Appears with: Boyd Tinsley, Jeff Coffin
Purchase date: 2018
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Samurai Cop [Oh Joy Begin] (D.J.Matthews) - 4:22
[2] Can't Stop (M.Batson/C.Beauford/S.Lessard/D.J.Matthews/L.Moore/B.Tinsley) - 4:43
[3] Here On Out (D.J.Matthews) - 3:18
[4] That Girl Is You (D.J.Matthews) - 3:16
[5] She (D.J.Matthews/J.Alagia) - 3:51
[6] Idea of You (M.Batson/C.Beauford/S.Lessard/D.J.Matthews/L.Moore/B.Tinsley) - 4:44
[7] Virginia in the Rain (C.Beauford/S.Lessard/D.J.Matthews/D.McKean) - 6:09
[8] Again and Again (D.J.Matthews) - 4:25
[9] bkdkdkdd (D.J.Matthews) - 0:27
[10] Black and Blue Bird (J.Coffin/D.J.Matthews/D.McKean/R.Ross) - 3:33
[11] Come On Come On (D.J.Matthews/M.Batson) - 4:39
[12] Do You Remember (D.J.Matthews) -  4:17
[13] Come Tomorrow (D.J.Matthews/M.Batson) - 4:46
[14] When I'm Weary (D.J.Matthews/M.Batson) - 1:56

 A r t i s t s ,   P e r s o n n e l


Carter Beauford - Drums, Water Bucket, Vocals
Jeff Coffin - Baritone & Tenor Saxophone
Stefan Lessard - Bass Guitar
Dave Matthews - Bass, Fender Rhodes, Acoustic, Baritone & Electric Guitar, Percussion, Piano, Vocals, Wurlitzer
Tim Reynolds - Electric Guitar
Rashawn Ross - Flugelhorn, Trumpet, Bass Trumpet, Background Vocals, Horn Arrangements

Brandi Carlile - Vocals on [13]
LeRoi Moore - Tenor & Alto Saxophone on [2,6]
Buddy Strong - Hammond B3 Organ on [10]
Butch Taylor - Piano on [2,6,11]
Boyd Tinsley - Violin on [6]

John Alagia - Engineer, Executive Producer, Bass & Electric Guitar, Mixing, Moog Bass, Moog Synthesizer, Hammond B3 Organ, Piano, Producer, Synthesizer, Background Vocals
Mark Batson - Clavinet, Fender Rhodes, Moog Bass, Piano, Producer
Rob Cavallo - Organ, Producer, Wurlitzer
Rob Evans - Additional Production, Assistant Engineer, Engineer, Mixing, Producer, Wah Wah Pedal
Nico Abondolo - Bass
David Parmeter - Bass
Dan Higgins - Tenor Saxophone
Luis Conte - Percussion
Tawatha Agee - Background Vocals
Candice Anderson - Background Vocals
Sharon Bryant-Gallwey - Background Vocals

Jerry Hey - Horn Arrangements
Steven Becknell - French Horn
Chris Bleth - Clarinet
Joe Fatheringham - Trumpet
Gary Grant - Flugelhorn, Trumpet
Alex Iles - Trombone
Alan Kaplan - Bass Trombone
Stephen Kujala - Flute
Joseph Meyer - French Horn
Bill Reichenbach - Trombone, Bass Trumpet
Amy Sanchez - French Horn

Oliver Kraus - String Arrangements, Strings
David Campbell - String Arrangements
Timothy Landauer - Cello
Songa Lee - Violin
Natalie Leggett - Violin
Dane Little - Cello
Matt Funes - Cello
Tamara Hatwan - Violin
Charlie Bisharat - Violin
Robert Brophy - Viola
Mario Deleon - Violin
Andrew Duckels - Viola
Karen Elaine - Viola
Serena McKinney - Violin
Grace Oh - Violin
Alyssa Park - Violin
Sara Perkins - Violin
Michelle Richards - Violin
Steve Richards - Cello
Tereza Stanislauv - Violin
Rudolph Stein - Cello
Josephina Vergara - Viola

Doug McKean - Engineer, Mixing, Producer
Pedro Calloni - Engineer
Matt Dyson - Engineer
Aaron Fessel - Engineer
Chris Kress - Engineer
Steven Miller - Engineer
Sean Quackenbush - Engineer
Jason Shavey - Engineer
Julian Anderson - Assistant Engineer, Engineer
Andy Park - Assistant Engineer
Tom Rasulo - Assistant Engineer
Wesley Seidman - Assistant Engineer
Andrew Ching - Assistant Engineer
Billy Centenaro - Mixing
Brad Blackwood - Mastering
Beatrice Coron - Cover Art
Bruce Flohr - A&R
Michelle Holme - Package Design
Aaron Born - Product Manager
Lindsay Brown - Product Manager
Eleanor Kuhl - Product Manager
Patrick Jordan - Assistant
Ann Kingston - Assistant

 C o m m e n t s ,   N o t e s


Recordeet at the 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.

2018 LP Bama Rags Records - 88985-41242-1
2018 CD Bama Rags Records - 88985-41242-2



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.

Rating: 5/4.

Stephen Thomas Erlewine - All Music Guide



Though his star shone brightest in the Clinton era, Dave Matthews doesn’t seem too interested in indulging much Nineties nostalgia. His first album in six years features just a few of DMB’s least-attractive jam-funk impulses: “Can’t Stop” rides a rote groove and sentiment (“I’m like a junkie for you, babe”), and on the faux-metal stomper “She,” Matthews unconvincingly growls the line, “She hyp-mo-tized me with her groove.” Mostly, though, he explores the mature, singer-songwriter side he’s developed during recent work like 2012’s Away From the World, getting quiet, contemplative, and unusually sweet on songs both lush (“Here On Out”) and comparatively spare (“Black and Blue Bird”). Other highlights include the towering, horn-heavy “Idea of You,” which might be the band’s most radio-ready song since “Crash Into Me” – it’s also Matthews’ most assured vocal performance on Come Tomorrow, and its chorus stretches for days. Then there’s the oddly titled, Coldplay-esque “Samurai Cop (Oh Joy Begin),” whose name presumably comes from the so-awful-it’s-good 1991 cult film, but whose lyrics offer a tender ode to child-rearing over Carter Beauford’s crisp drumming and Tim Reynolds’ bright guitar solo. Like the bulk of Come Tomorrow, they balance Matthews’ newly refined living-room sensitivity and his band’s big-tent musicality.

Rating 4.5/5

Josh Modell - May 29, 2018
© Copyright 2018 Rolling Stone



The long-running jam band’s ninth album centers on hard-earned optimism but smooths out much of what makes Dave Matthews’ music engaging.

Since forming in Charlottesville, Virginia, in the early ’90s, Dave Matthews and his band have excelled at making cargo-shorts party music, blending acoustic folk, jazz fusion, bluegrass, and funk. Songs like “Ants Marching” and “Crash Into Me” were streamlined and direct enough to become alternative rock radio staples and get airtime on MTV, but it was the band’s improvisation-heavy live shows—where songs routinely stretched into double-digit runtimes—that earned a devoted jam following. DMB songs weren’t as intricate as those of Phish, or as overtly southern as Widespread Panic, but they were sprawling and accessible. In a post-Dead world following the death of Jerry Garcia in 1995, people were eager for exploratory music with distinct pop leanings, and Dave fit the bill.

More than 25 years later, DMB still draws substantial crowds, and stands as one of the most service-driven bands in rock. Along the way, Matthews’ songs have become cultural shorthand for the rejection of irony and cynicism. On shows like “Futurama,” “Parks and Recreation,” “Community,” and “The Office,” the band is referenced lovingly via sly inside jokes. Greta Gerwig’s 2017 coming of age comedy Lady Bird goes even further, praising “Crash Into Me” in a pivotal scene, if not prompting a critical reevaluation of the band’s music—which was always more complex and compelling than the rock press gave it credit for—then at least suggesting the band earned points for having a lot of heart.

Of course, darker undercurrents also run through the DMB catalog. His father, John Matthews, died when he was only ten, and his sister Anne was murdered by her husband shortly before the release of the band’s major-label debut Under the Table and Dreaming in 1994. In 2008, saxophonist LeRoi Moore died following complications from an ATV accident. These deaths make their way into his songs. For all the sunny melodies, few pop songwriters sing as frequently and with as much clarity about death than Matthews.

The best Dave Matthews Band songs live in this tension, balancing loose-limbed jams with heavy concerns: from environmentalism to colonialism, apartheid to capitalism not making space for human dignity. “I’ll write a funky song about lust and sex and it makes you want to dance,” Matthews told Vulture’s David Marchese in May. “I feel like that’s okay. But I also have to write songs about the dilemmas of being alive.”

Come Tomorrow aims to split the difference down the middle. DMB has been playing most of these songs for years, and a few—“Can't Stop” and “Idea of You”—have been featured in setlists for more than a decade. Though it features performances from all members of the classic lineup, including the late Moore and violinist Boyd Tinsley, who was dismissed from the band in May following sexual misconduct allegations, it augments the core group with a wide cast of players providing strings, synthesizers, and percussion.

More doesn’t always equal more. The band’s potent musical wanderlust is muted here. Opener “Samurai Cop (Oh Joy Begin)” dully borrows runs from the U2 arena rock playbook; “That Girl Is You” finds Matthews trying out an exaggerated falsetto over overly polite roots pop stomp; on “Here On Out,” a sticky sweet ballad, Matthews is joined by Disney-esque strings and horns. Dave Matthews Band sounds best when it’s weird; the bummer on these songs is how bored the band sounds.

But even as a cadre of producers smoothes out the band’s crunchiest tendencies, glimpses of the DMB’s ambitious musicianship shine through. These outliers aren’t always successful. The metal-tinged “She” sputters, and the absurd funk interlude “Bkdkdkdd” doesn’t fit right, but they do at least indicate the band’s musical restlessness. When things do click into place, on the doe-eyed “Idea of You,” the swelling “Come On Come On” and the Rhodes-sprinkled ballad “Virginia in the Rain,” Matthews makes good in Bruce Hornsby or Sting fashion, playing intricate singer-songwriter songs with the added heft of his remarkable rhythm section, drummer Carter Beauford and bassist Stefan Lessard. The best songs here feel like they could have fit in nicely on Matthews’ lone solo album and his best work of the millennium, 2003’s Some Devil; they’re lyrically lightweight, but musically charged and gleaming.

Matthews says Come Tomorrow is an album about love of the future, hope, family, the planet, and lust. But in seeking transcendence—and opting out of explicit political themes—Matthews sometimes settles for pat answers. On “Come Tomorrow,” where he’s joined by guest vocalist Brandi Carlile, his hope for future generations comes dangerously close to sounding like “everything’ll be OK,” a curious message in a time when things clearly don’t feel that way:

    All the girls and boys will sing
    Come tomorrow we fix everything
    So as long as we survive today
    Come tomorrow we go and find a way

Matthews doesn’t hide entirely from worry on the record. “The odds are against us,” he sings on “Do You Remember,” admitting that headlines make him “crazy” on “Black and Blue Bird” and that “there’ll be dark, dark days” on closer “When I’m Weary,” but his nursery rhyme cadence on the title track feels phoned in, like he isn’t buying what he’s selling. It’s treacly enough to make you long for the relative sharpness of his tender eco-ballad “One Sweet World.”

On the band’s first few albums, Dave built song cycles around contrast. He wrote about navigating the world, evidencing his pacifist Quaker upbringing, and offsetting those songs with worshipful odes to sex, wine, dancing, and abandon. The blend was never entirely even—chances are more fans remember Judah Friedlander sweetly hugging strangers in the “Everyday” video than have dug into the song’s roots as an ode to the assassinated anti-apartheid activist Chris Hani—but when it worked, it suggested joy and struggle in a kind of conversation. On Come Tomorrow, Matthews manages to carve out a peaceful place that’ll certainly be conducive to balmy summer nights in arenas all around the country. But by extolling vague hopes for the future, he fails to account for the tumultuous present. “There’s gotta be a way to make it work,” he sings on “Black and Blue Bird.” The best Dave songs imagine how it might, and Come Tomorrow needs more of them.
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Rating 4/5.

Jason P. Woodbury - June 16 2018
Pitchfork.com



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.

Jon Pareles - June 6, 2018
© 2018 The New York Times Company



Come Tomorrow is the ninth studio album by Dave Matthews Band, and was released on June 8, 2018. The album is their first since 2012's Away from the World.

Working between tours at studios in Seattle, Los Angeles and Charlottesville, Dave Matthews Band chose to record with several different producers, including John Alagia, Mark Batson, Rob Cavallo and Rob Evans.

Nine of the 14 tracks on Come Tomorrow were played live prior to the official album announcement on April 25, 2018. "Do You Remember" was debuted at Farm Aid in 2017, "Again and Again" appeared on DMB setlists in 2016 as "Bob Law", "Samurai Cop" had been a regular at Dave solo, Dave & Tim acoustic and full band shows since 2016, "Here on Out" was played live just once before the announcement and that came on the Seasons of Cuba PBS-televised special in 2016 with Dave being backed by the Chamber Orchestra of Havana. The band had regularly featured "Black and Blue Bird" and "Virginia in the Rain" at shows since 2015.

The longest-tenured songs on the album, however, are "Cant Stop" and "Idea of You", both of which had been in the band's rotation since 2006. An extended version of "bkdkdkdd" was previously performed live under the title "Be Yourself".

The cover art for the album is by Béatrice Coron.

Come Tomorrow debuted at number one on the US Billboard 200 with 292,000 album-equivalent units, making it the biggest sales week for a rock album in over four years, and the biggest sales week for an album in 2018, with 285,000 copies sold.

Wikipedia.org



Coole Altersmilde statt Testosteron-Rock-Bomben.

Im Februar nahm Boyd Tinsley, Violinist der Dave Matthews Band, eine Auszeit. Familie und Gesundheit gingen vor, hieß es. Im Mai platzt die Bombe: Tinsley sieht sich Missbrauchsvorwürfen ausgesetzt. Er soll sich an einem Musikerkollegen vergangen haben. Matthews reagiert schnell: Tinsley fliegt nicht nur aus der Band, sondern taucht bis auf eine Ausnahme ("Idea Of You") nicht auf dem ersten Studioalbum seit "Away From The World" 2012 auf. Für die Streicher engagiert er Session-Musiker.

"Come Tomorrow" klingt vom Titel her wie eine Mischung aus dem Beatles-Track "Come Together" und dem Ramones-Smasher "Here Today, Gone Tomorrow". Der darin anklingende Carpe Diem-Gedanke und das Gemeinschaftsgefühl umschreiben den Grundtenor der Lyrics sehr gut. Die großen Gesten gehören der Vergangenheit an. Verarbeitete der gebürtige Südafrikaner auf "Don't Drink The Water" die Apartheid in seinem Heimatland, treten anstelle gesellschaftspolitischer Themen persönliche Ansichten und Erfahrungen. Einfluss nimmt Matthews mittlerweile über Spenden oder der Unterstützung des Demokraten Bernie Sanders.

Die Platte weist einen Reifeprozess auf, der an manch guten Whiskey erinnert. Mehrere Produzenten, u.a. Rob Cavallo (Green Day, Phil Collins) und John Alagia (Ben Folds Five, Lifehouse), kümmerten sich um das Destillat und kitzelten aus dem Multi-Coloured-Sound die unterschiedlichsten Nuancen hervor. Ex-Barkeeper Matthews und seine Crew erprobten viele Songs bei ihren energetischen Live-Shows. Manche Versionen spielten sie nahezu identisch ein, etwa das radiotaugliche "Idea Of You", das mit einem schicken Live-Bootleg-Intro beginnt.

"Black And Blue Bird", live gerne auf acht Minuten gedehnt, braucht auf Platte nur knapp die Hälfte der Zeit, um den Hörer einzufangen. Im Wiegenlied-Tonus spielt Matthews ein Akustikgitarren-Pattern im 5er-Metrum und unterlegt diesen tricky Teil mit einer originellen Gesangsmelodie. Allein diese Stelle rechtfertigt den Kauf dieser Platte. Ähnlich wie auf "Away From The World" überwiegen die ruhigen, elegischen Stücke. Die restlichen Mucker um Gitarren-Ass Tim Reynolds und Drum-Wunder Carter Beauford agieren merklich im Hintergrund. Da wundert es kaum, dass Hip Hop- und R'n'B-Produzent Mark Batson (Beyoncé, Jay-Z) den prägnantesten Solospot - ein Synthie-Riff im Song "She" - einhämmerte.

Vom Esprit satter Testosteron-Bomben wie "Shake Me Like A Monkey" vom Überwerk "Big Whiskey & The Groo Grux King" oder "Ants Marching" sind Stücke wie "She" und "Don't Stop" weit entfernt. Klarer Fall von Altersmilde, schließlich überschritt Matthews im letzten Jahr die 50er Marke.

Neben "Black And Blue Bird" bleiben einige markante Matthews-Momente hängen: Die sinfonische Hymne "Come On Come On", das Ideenfeuerwerk und mutmaßlich nach einem gleichnamigen US-Trash-Film benannte "Samurai Cop" oder das mit einem gleißenden Refrain gesegnete "Again And Again". Diese Tracks beweisen, dass die Jamrock-Institution auch auf Platte noch genug Relevanz abliefert.

Yan Vogel - laut.de-Kritik

 

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