DMB’s first single off its first major-label record. Typical Situation (Under the Table and Dreaming). 90. Lie in Our Graves (Crash). “Bye-you!” Doctors recommend this in small, sparing doses. Sentimental? 72. It’s in drop D tuning and climaxes with an angry narrator bellowing “I live with my hatred, I live with my jealousy.” And this was the lead single! Song is dead and never coming back but it’s going on this list, dammit. Quarantining, and the abrupt end of all sports across the globe, accelerated the project. Vivid, potted lyrics and stretched out solo sections for violin and sax that take the song into the mesosphere. Pay for What You Get (Under the Table and Dreaming). The band did revive it in early 2020, prior to the COVID-19 pandemic sideswiping the planet. Covers were not eligible. Whether this song actually exists anymore remains a little bit of a mystery, as it was clearly manipulated on Come Tomorrow as a segue track and renamed "bkdkdkdd.". Break For It (unreleased). Shake Me Like a Monkey (Big Whiskey & the GrooGrux King). Matthews on ukulele. Album-opening track and a really nice later-career effort from Matthews, who’s grown prone to writing about being a father and husband. Raven (Busted Stuff). Put a pair of good cans over your ears, close your eyes and you can practically envision Matthews in a club playing this with almost all the lights off in a soundcheck environment. Look at it. It’s also infamously never been played live. 112. 101. Crazy Easy (unreleased). #34 (Under the Table and Dreaming). England and Wales company registration number 2008885. It’s stellar songwriting, with lyrics just ambiguous enough to raise its level. A Dream So Real (unreleased). Rapunzel (Before These Crowded Streets). 107. "Warehouse" Track Info. Trouble (Some Devil). 151. 44. The song that Steve Lillywhite says is his greatest achievement in the studio with the band. There are many defining versions, but Live at Luther College’s cut is still one of the best. Sweet (Away From the World). Boasting one of Matthews’ best vocals, “Minarets” is a signature song for DMB’s individuality amid otherwise sensible acknowledgement as a mainstream rock band. 4. Have always wanted to know the story and circumstances behind when and how Matthews wrote this song. 36. In light of this song not making the cut for Busted Stuff — and never knowing for sure whether it was even laid down for that album — it’s been refreshing to see the two-fisted 12-string tune about sex, love and a little bit of gibberish keep itself around (albeit sparingly) in the 20 years since it debuted to rave reviews on the 2000 summer tour. The best compliment one can pay to this song is that, although it was written sometime in late in the 2010s, at its core, you can close your eyes and easily hear this being something a 24-year-old David John Matthews could have written. Random one - or two-offs played by Dave (a la “Falling Off the Roof”) aren’t logged, but any song with at least three live plays was considered, and some were included. Big Eyed Fish (Busted Stuff). He has a case, though obviously disagreement arrives here. Dave Matthews Band first charted 4 years after their formation or first release. — and so I made sure to leave one 12 seed and one 16 seed slot open in the play-in matchups for voters to have two write-ins of their choice. You can practically balance it on your shoulder. For years, this song’s strength was perceived by its rarity. You could wrangle up six or seven lyrics that will ultimately be most prominently associated with DMB, and though it’s not entirely original, “eat drink and be merry, for tomorrow we die” is neck and neck with “Two Step’s” “celebrate we will, for live is short but sweet for certain” at the top of the list. It’s the perfect lead-in to “#34.”. In between a couple of albums fronting his main band in the early part of the millennium, Matthews also found room for his first solo effort. What You Are (Everyday). Tricky to rank because there are two versions of the song; being that the “faster” version is what was cut and stuck to Come Tomorrow, it’s what gets evaluated. The hey-la group-singalong ending that melds with a carefree sax solo is vintage DMB. This tune, creatively, is cut off abruptly on the LP, a practice the band has mimicked in shows ever since the song debuted. — was played on New Year’s Eve in 1996. Matthews taps into his inner Paul Simon and delivers a later-career gem. I think I’m lower on this one — much lower — than the average DMB devotee. #-----PLEASE NOTE-----# #This file is the author's own work and represents their interpretation of the# #song. 85. There was some balancing: no album has two songs seeded in the top three in any quadrant, and albums were mostly evenly split up between the regions. 39. Unlike a few other LWS songs, the lyrics are not improvised; Matthews quite obviously sat down and wrote out some good copy here. The Dave Matthews Band Forms. This Grammy-nominated tune was later covered by Stevie Nicks. Not that that's a bad thing. 9). Includes a band history, tour schedule, latest news and articles, video and audio clips, lyrics and an online store. 164. Jeff Coffin has his own amazing style, but he’s done a good job over the years tapping into Moore’s MO when taking solos on this beautiful song. 55. But this version of Dave playing it solo on a baritone guitar, in 2007, is the best one. Anthemic, and in the live setting, every single member gets a chance to solo or have the spotlight on them. Just a playful song about skepticism of what the world tells you is true, that’s all. Warehouse (Under the Table and Dreaming). 156. Spotlight (unreleased). Matthews wrote this because of the love he saw from his grandparents, and it’s a fine little tune. 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