[note: This is the second in a series of regular commentary about DMB from Brandon L. Take a moment to review his introductory article.]
 From '92 to 2005, there have been over 100 guests that have played on stage with DMB. From Bela Fleck to Carlos Santana, from Warren Haynes to Paul Simon, from Al Green to John Popper. Legends, amazing vocalists, masterful musicians, all whom have graced the stage playing on DMB originals to cover songs, and even on tunes which that particular guest wrote.
It's not that hard to come up with 25 great moments with guests, but to pick the better performances from all is something that isn't very easy. Sometimes we get really great guests and the name alone will jump out at us, like Bob Weir playing with D&T on 3/14/99, but sadly, that guest spot didn't wield anything more than a fumbled version of Watchtower. Then, other times you get musicians who are unheard of like DMB's old caterer Mitch Rutman who glided through the few guest spots he made from '98 - '00.
DMB has shown they don't need a guest to create a great show. They don't need an appearance from someone to kick out a solid or great performance. But...sometimes those guests come along and awaken something in the band and an energetic tune becomes a ball of fire, or a bleak song becomes a dark cloud of self-reflection.
From sax solos to banjos, from electric guitars to keyboards, from bass solos to vocal compliments; just about every DMB song has featured a guest at one point or another. Some years are more guest-heavy than others but one thing is for sure, the friends DMB have made over the years through these guest spots will continue on and we'll see more of some of these amazing musicians and artists. But for now...here are some of those artists and musicians greatest contributions on stage with DMB:
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During the early years DMB seemed to branch out a bit more on stage. They didn't have constraints and they seemed unafraid to fool around with certain tunes. Nothing was really set in stone at that point and songs could take on different variations of arrangements, and sometimes certain songs could be taken in an entirely different direction. This was the case with the 12/31/93 performance of True Reflections.
The young Virginia-based hip-hop group Tri-Poetics were extremely popular with the college crowd the same time DMB were emerging onto the scene. The two groups had crossed paths a few times throughout '93 and a few guest appearances had resulted but it was this NYE rap from the Tri-Poetics that set a strong vibe and tone for the rest of the night. Showing that they didn't really have bounds or preference, DMB showed the looseness of their songs and how even hip-hop was able to be layered on top of their grassroots sound.
A smooth jazz musician who gained critical fame playing with Chic Corea, Steve Wilson was already a major player and factor in the jazz scene when he was asked to join DMB on stage for a few songs in the summer of 2000. What Wilson brought to Two Step was a flavor of jazz that was just itching to come out. It was fluid and soft, and the build to the climax was a structure that seemed as if it were written specifically for Two Step and that jam. Carter's ability to read musicians has always been one of the many attributes he brings to the table, and he makes no mistakes here as he follows and lays down a solid backing for Steve Wilson to just feed off of.
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Not very often do we hear a flute take the tone of a dark song and make it even darker, but on this performance of Blue Water, Richard Harding somehow manages to transfer the blackest of emotions and piece it all together for a haunting version. This is just one of those performances you have to actually hear to understand. This wouldn't be the last time a flute was added to a DMB tune to create a dark image, but it was the last and only time it was done on Blue Water.
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In certain parts of Minarets there are these moments of beautiful confusion. Roi and Boyd playing furiously, while Dave singing/wailing away with Carter and Stefan pounding through. Rusted Root's sound could have fit in a dozen of DMB's tunes but it was the choice of using them for Minarets that just fueled the song's worldly vibe and essence. Some reviews of DMB list their sound as "world beat".
I always laughed at that and heard nothing that would indicate such a sound...until I heard this performance. Minarets was most wide song DMB had at the time. It gave a view into their ability to stretch beyond certain styles and with Rusted Root, who are champions of that sort of play, they were able to take this performance of Minarets even further into the realm of that middle-eastern style of sound.
What this performance of Smooth Rider did was show the looseness of some of the SU tunes. Randolph was able to create an atmosphere much like the RR '05 Bayou. The energy and excitement he brings to the stage is hard to top. What stands out here is the interaction between Carter and Randolph.
The intro hosts a slow noodling of notes from Randolph and Carter, and then Carter comes in and starts messin' with his blocks. Before you know it, Randolph is matching that sound with muted notes and the song begins. With some interpolations, Robert Randolph takes the groove-laced song and gives it the rock edge it needed.
A solid amount of great guitarists have appeared with DMB, many of which have jammed on this particular song. That just goes to show you how open the jam is on Jimi Thing which allows enough room and space for a guitarist to have free reign. Durham comes in with smokin' licks and great backing riffs.
The thing about Durham's appearance here is how well he blends through the entire performance. He's not just sitting there waiting for his solo. He's using every minute on stage as if he's a part of the band just performing his set arrangement. The solo is slick with a rock edge that keeps Jimi's rough side alive. Even during Dave's scat, Mike is still adding texture and backing. These are types of guest spots you love, the ones where the artist is all over the song and not just confined in their solo.
Sadly, there have only been a very few vocal guest spots from female singers, but when those spots appear, those artists make the performance all worth the while. Dionne's gorgeous voice and range are placed on top of the classic '95 E1 slot of Typical. "She my new hero", Dave says with a grin. Although the wording may a bit over dramatic you have to think how amazed Dave was with the angelic touches that Farris gave to this Typical. Dionne Farris not only compliments the song but she also complimented Dave as well. The two of them singing together on this version often gives me goose bumps. It's a beautiful performance of just two voices and a guitar.
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With the Flecktones just starting to make waves in the DMB fanbase, Bela Fleck, who seems to be the most universal guest DMB has ever had, was asked to join the band on stage for DMB's "anthem" - Ants Marching. Already familiar with the tune from prior guest performances, Bela's touches are precise. There's no feeling around or trying to mesh. Bela's additions on this performance made him seem like a veteran of the song. Dueling with Boyd was something very interesting to see since it was Boyd who gave DMB the little bluegrass/country feel they had(which wasn't much).
Without question this guest appearance was one of, if not THE, funkiest solo taken on stage during a DMB tune. In my honest opinion, I really feel like Roi was somehow inspired by the guest spots of Maceo and especially this WWYS. Roi has always had some really funky licks on WWYS but it wasn't until after this performance(the following tour), where Roi's solos really took on a more energetic vibe with a brighter dose of funk laced within. The guest spots that inspire are the performances that last forever.
Next week: Part II: Tracks 16-8, Smooth Rider?
Trusted Stuff is a regular column on Dave Matthews Band written by Brandon L. You can share your thoughts and questions about this piece in the comment thread below.
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