But unsurprisingly Walker-with backing from drummer Ryan Jewell, bassist Andrew Scott Young, and saxophonist Nick Mazzarella-makes the album completely his own. On paper it’s a hard sell the last thing I want to do with my time is sit down with 74 minutes of Dave Matthews material. He described DMB to me as “sick,” further explaining that they essentially sound like “Dream Theater around a campfire.” Another person riding the Dave train these days is experimental-pop-jazz-folk singer and guitarist Ryley Walker, who decided to undertake the bizarre task of covering Dave Matthews Band’s The Lillywhite Sessions-a shelved but widely bootlegged 2001 full-length recorded with producer Steve Lillywhite-from front to back. Earlier this year-after the Bob Weir and Phil Lesh show at the Chicago Theatre, of all places-I ran into Doug Kaplan, who helps run Chicago avant-garde label Hausu Mountain. Any time listeners start exploring different genres, that sort of progression is inevitable, but there’s one act among these groups that’s been picking up way more newfound appreciation than I’d expect: Dave Matthews Band, the musical equivalent of a pair of beige cargo shorts. ![]() ![]() I’m guilty of that myself, and with the Dead acting as my gateway drug, I’ve become aware that more and more local weirdos are opening their minds to other alumni of the jam band circuit as well. A handful of years ago it became socially acceptable for punks and freaks-the types of people who’d spent their entire lives raging against hippies and wooks-to get into the Grateful Dead.
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