Before I started this article I really liked "#41". It's like "Crash Into Me" in that it's a rich hippie's version of a smooth-jazz song about sex, only it's so specific it's actually told from the perspective of a penis, singing to the various genitalia and orifices of, presumably, a woman. The studio version provides the skeleton to every version after it, most of which follow a standard pattern:
- intro crescendos into singing section
- singing section
- normal voice
- falsetto
- normal voice
- big falsetto
- normal voice
- violin jam
- saxophone jam
- slower-than-it-needs-to-be outro
Two and a half hours later I'm kind of sick of it at this point but it's still one of the best songs in their catalog. Even now it will still always be #3 in my heart.
1. "#41 (Live At Wrigley Field - 09/11/2010)" from Live At Wrigley Field - Sounds lethargic at the beginning, like they're playing in a fog of molasses. Not too keen on all the extra horns at the beginning of the "jam"--this isn't Tommy fucking Dorsey! But fortunately the drums and bass are what make this song what it is. Around 8:18 it gets damn near metal with the rhythm section which I think Dave could always use more of. This is the best version just because of that.
2. "#41 (Live At Radio City Music Hall In New York, NY - 04/22/2007)" from Live At Radio City by Dave Matthews And Tim Reynolds - I think these acoustic versions with Tim are more enjoyable because they don't jam for so long that you forget the original song you actually like. This song should be no longer than six minutes unless there's just cause (of which there usually isn't).
3. "#41 (Live At Mile High Music Festival In Commerce City, CO - 07/20/2010)" from Live At Mile High Music Festival - For the most part a solid version up until they throw a phaser on the sax solo. Ugh. No thankey!
4. "#41 (Live At Luther College In Decorah, IA - 02/06/1996)" from Live At Luther College by Dave Matthews And Tim Reynolds - The "original" acoustic version is more by-the-book than any of these versions except the original on
Crash. This is okay because it means the crowd doesn't do that stupid-as-fuck "EVERY DAY" chant and Dave and Tim aren't comfortable with spacing out to Pluto yet. Also it's not the worst thing in the world to hear Tim shred on acoustic, if only for a few seconds. Also, #datAdamSandlervoice at the end.
5. "#41 (Live From The Continental Airlines Arena in East Rutherford, NJ - 09/11/1999) from Listener Supported - This rote, straightforward, guitar-solo-less version could stand to be 4 minutes shorter. If you don't go big, go home.
6. "#41 (Live at The United Center in Chicago, IL - 12/19/1998)" from Live In Chicago 12.19.98 At The United Center - This version benefits from Tim Reynolds softly telling LeRoi to fuck off during his sax solo. Then, right when you want Tim to melt your face, Victor Wooten comes in with a thin, diminutive bass solo that's impressive but not what you wanted. It's like getting a hand job after being set up to do a2m.
7. "#41 (Live From Scranton)" from Crash: Spotify Live Series - Weaves in and out of different jazz variations without getting so "jazzy" that people start turning over their lawn chair to go get more Sierra Nevadas. I love when Dave gets to the "I wanted to stay, I wanted to play..." section because he doesn't always hit the notes flush the first time. Like this version, he sounds like a teenage boy trying to sound like a man and failing at both. Halfway through the guitar shredding--a much welcomed addition to this song!--there's that fucking horn section again. Goddamnit, turn it down guys, this isn't Count Basie!
8. "#41 (Live At Red Rocks Amphitheater In Morrison, CO - 09/11/2005)" from Weekend On The Rocks - What's with all these 9/11 shows? What's the connection?! Dave is Illuminati!!!! This version has a trumpet in the jam section which is a total waste, especially considering they had a pedal steel player at these particular shows. I do kind of like how the Rhodes underneath in the jam makes it sound like they're trying to turn this into a quiet storm but of course it falls way way short of that. Then there's the crowd response yelling "every day"--no thanks guys. How about "fucking play"?
9. "#41 (Live At Piazza Napoleone In Luca, Italy - 07/05/2009)" from Europe 2009 - Tim pulls out his dirty tone and breathes a heavier breath into what is typically a smooth song. I think it works but I could see people in the crowd biting their thumbs at the band. They still bite thumbs in Italy, right? In the jam after the brief violin section they bring out the Weather Channel Local On The 8's horns, which probably drove the crowd in Italy out of their minds. Then LeRoi digs himself into a hole a has to have Carter and Stefan pull him out with the standard #41 go-to ending. The double-kick pedal comes out. It feels dead inside. Finally Tim comes back with a Guitar Center tone and an echo pedal only to be
interrupted backed up by the Weather Channel horns. Um, yay?
