Big Whiskey and the GrooGrux King is Dave Matthews Band’s most crucial release in their history thus far. 4 years have elapsed since Stand Up, an album that had more than a hint of influence from the R & B based producer Mark Batson. It was a record that the hardcore fan base were quick to dismiss for the manner in which diverted from the sound that DMB was famous for. The question was asked many times in the lead up to this release – could Rob Cavallo, previously renowned for his work with Green Day amongst others, help the band recapture the classic fusion of rock, jazz and roots that the band made their own in the late 90s. And could they create a record that was a fitting tribute to LeRoi Moore, whose passing last August was a powerfulalteration to the landscape of the band?

The answer to the first question is a resounding yes – and to be honest, at the same time, he’s guided them into a different musical feel. Big Whiskey is a great rock album – laced with complex electric sounds courtesy of Tim Reynolds (in his first studio appearance with DMB since Before These Crowded Streets in 1998), and solidly intricate drumming from Carter Beauford. I’d say that his percussion on this album is his best studio work, and more than makes up for the simplistic routine rhythms that he seemed to be forced to complete on the Stand Up album. There is a tasteful use of string ensembles on tracks such as Dive In (a thinly veiled appraisal of global warming and how the world is being forever changed by what humans are doing to it) and Baby Blue (an emotive song where Dave pours out his heart in remembrance of a lost friend). Spaceman floats effortlessly, with its whimsical acoustic riffs, banjo accompaniment, and electric guitar work reminiscent of Red Hot Chili Peppers’ Under the Bridge. In contrast, songs such as Squirm and Time Bomb transform powerfully from quietly reflective musical ideas to heart pumping climaxes – Squirm could easily find itself being played over the end credits of a blockbuster movie with its swelling string orchestration and Eastern countermelody lines.

There are many highlights on the album – the most surprising of which has to be Alligator Pie. This song can simply called fun – Dave’s vocals are at times incomprehensible and very much resemble the scatting that he, but the tempo of the piece changes several times from a groovy danceable tune, driven by Danny Barnes guesting on banjo and electric slide guitar work, to a deliberate, almost disjointed feeling bridge, which gradually speeds back up to the original tempo. Whilst undoubtedly influenced by New Orleans and southern rock, one can hear John Butler Trio-esque influences in the banjo and drumming. Much of the album is indeed radio friendly, but at the same time takes up complexities and a musical basis that evokes DMB’s studio work under Steve Lillywhite’s production. It really is a mixed musical journey from beginning to end.

And it is at the beginning and end of the album where the tribute to LeRoi Moore is at its most evident. The opening track, Grux, is dominated by a LeRoi saxophone melody delicately accompanied by the band, whilst a hidden track at the end of the album features the band accompanying a repeeated LeRoi riff.There are hallmarks of LeRoi’s influence and subtleties on the album in plenty of spots on the album.

If there was anything to be critical about when it comes to evaluating the album (and there isnt much at all), it’s probably that the album’s songs do not consistently serve as a complete showcase of the band members. Some fans have been critical, for example, of the apparently diminished role of violinist Boyd Tinsley, who is prominent in some songs (the first single, Funny the Way It Is, features a solo from him during the song), but seemingly gone in others. I think it points to the changing face and sound of the band – it’s not necessarily indicating that Boyd’s work is being negated, but perhaps that his violin is being used more in a supporting pseudo-harmonic manner. He will certainly see plenty of action in live shows, where these songs will be fleshed out and expanded to showcase the solo capabilities of the band’s instrumentalists.

So will this album work in Australia, a place where DMB have yet to really put their foot down and make an impact as big as their rock contemporaries? Is it too late for this, their seventh studio effort, to draw new fans in and persuade them to explore the back catalogue of the band, in which lies arguably the cream of their repertiore? I say yes – resoundingly. As I’ve indicated before, Warner Music’s promotion will be key, as will the existing fan base. Having the album entrenched at #3 in iTunes as I type this review is certainly a good start, and the follow through on radio, and TV when Funny the Way It Is is released here as a single, should be solid.

Finally, where should the hardcore DMB fan sit? Undoubtedly this is a far better, polished, and thought out album than Stand Up. Gone are the poppish, simple beats and formulatic instrumentation, replaced with a sound that can change from grandiose and epic in one song, to contemplative and tender in the next. An album that can cover these extremes, and do it well, deserves critical acclaim. Big Whiskey and the GrooGrux King does this, and does it with more than mere competence. But how is the album, as a complete work, compared to the fan base’s Big 3 (Under the Table and Dreaming, Crash and Before These Crowded Streets)? It’s very hard to say – this album captures the band in a far more advanced stage than 1994’s UTTAD, and 98’s BTCS, and the product of this advancement is a sound that is more complex and evolved than when DMB were only just beginning to make an impact on the US national scene. But at the same time, it captures some of the emotion, rawness, and musical/lyrical nuances that was so prevalent in these older albums. Whether it captures enough of it is a subjective thing for each fan, but to me, it’s just enough to make this album mean something big in the life of DMB.

Big Whiskey and the GrooGrux King is to Dave Matthews Band what Rubber Soul is to The Beatles – a necessary step and maturity that does not forsake that which the band gained its fame for. And, of course, a great album.

RATING: 8.5/10