Quote:
Originally Posted by Titotimmy
Yeah I love the “musical director” angle. Took a lot of direction to keep the sexy MF outro for 6 years
|
I never understood that. DMB was fine without him. In my opinion DMB was at their best when they acted as a sum of all its parts. They didn’t need a musical director. A vision, sure, but it’s their collaborative efforts that created their best music. There’s a lot of talk about how sets suck, need a violin, the horns are too loud, Carter is too fast, Tim is too loud...to me one of the things that detracts their sound is the Loss of openness to play freely and as a unit. The horn parts are so sectioned and trite. Grey Street for example. Roi weaved in and out of that song with ease, whereas the section took that flow and improv style and made it these soulless horn section parts that are just played with no feeling.