Реферат: Dmb Red Rocks Essay Research Paper Imagine

back. As hopeless as he is, he will keep up. He will come and be pushed away until he

succeeds.

Lover Lay Down follows Drive In, Drive Out. This is basically a love ballad. It

remains quiet and features great playing by Moore. A majority of this song is Beauford

and Matthews playing together. Tim Reynolds provides background fill noises to

complete the sound. This is a very sweet, quiet love song.

Spring sweet rhythms dance in my head, slip into my lovers arms…

Don’t be us to shy, for knowing is no big surprise

That I will wait for you, I will wait for no one but you

It is these sweet lyrics that really make the song so great. This is basically about love. It

talks about someone that is so in love; all he wants is his object of affection. He will wait,

no matter what, for her. This song goes into great detail about what he would do for her,

and to be with her. This is the best love song by Dave Matthews Band.

One a different note, Rhyme and Reason is the next song. This features

Beauford and Matthews, once again. This time, however, it is on a faster, harsher song

with negative undertones. Matthews, Beauford, and Lessard dominate the beginning of

this song. Moore and Tinsley come in together in several places and play the exact same

part. It makes for a full sound. Compared to Lover Lay Down, this is on the other end of

the spectrum.

This songs meaning is basically wrapped around drug use. During the whole song,

Matthews pleads for sanity. “My head won’t leave my head alone, and I don’t believe it

will, until I am six feet under ground.” This chorus part basically is him complaining about

the confusion and terror going on inside his head. “Needle to my vain, needle to my vain,

take this needle from my vain my friend.” He is now pleading for someone to take the

drugs away. By taking the “needle from his vain”, it will silence his head and make him

better. This song deals negatively with effects and negative feelings about drugs.

To switch up the pace once again, a happier tune follows. This is the thirty-sixth song

that they wrote, called #36. It starts with a long drum solo by Beauford, which greatly

shows of his percussion skills. After more than two minutes of Beauford’s solo, the rest of