Once upon a time a band came out of the mid-Atlantic with a sound unlike anything else on the market. Blending elements of rock 'n' roll, bluegrass, country, jazz and classical music, the band exploded into a highly successful touring force, selling tickets and CDs en masse and catching the attention of a diverse group of music lovers ready to sink their teeth into something new.
Such was the early life of the Dave Matthews Band, and in that era life was good. The music was compelling and despite naming the group after their front man, the primary focus was not on an individual, but on the band.
The other members of the band, whose talent is immeasurable, soon started playing second fiddle to the marginally talented "Dave" as the groups albums slowly turned their focus away from the beautiful violin and horn work and focused primarily of cheesy chord-driven schlock. It was soon after the release of the album "Crash" that the Dave Matthews Band lost its edge and conformity set in.
Now, from out of the shadows comes violinist Boyd Tinsley, whose high-energy performances with the band were one of the basic elements that made the whole sound fresh to begin with.
Tinsley's solo debut, "True Reflections," is a modestly sweet foray into a piece of what made that band so good in the beginning. "True Reflections" is a mellow, intelligently paced album with enough good vibes and sweet melodies to accommodate any laid-back afternoon.
DMB fans will easily recognize the album's title track, which appeared on the band's live album "Listener Supported." The song fares better in its studio form, from its subtle opening lyric "When you look into a mirror/do you like what's looking at you/now that you've seen your true reflection/what on earth are you gonna do," sung with a deep bluesy tone over a hi-hat rhythm. It's a song with some great structure, from its deep-bass to the razor-sharp violin solos. Matthews shows up for background vocals, but is thankfully used sparingly.
Even when covering the Neil Young and Crazy Horse classic "Cinnamon Girl," characterized by its signature, crunching guitar riff, Tinsley keeps it leisurely, opting wisely to construct his own interpretation of the song, by incorporating some beautiful violin work into the mix and singing the vocals with tender care and attention to harmony.
Tinsley seems content to keep it humble, offering an album full of grooves perfect for kicking it. What the talented artist has crafted is something rare - a solo album that is not self-indulgent.
