The dB's - Stands for Decibels
#17
By Steve Caisse
January 1981
The dB’s
Stands For Decibels
Genre: Power Pop
Allen’s Rating: 4 out of 5
Steve’s rating: 4.25 out of 5
Highlights:
Black and White
Big Brown Eyes
Bad Reputation
There are a handful of bands that while they may not have moved many units, or became household names, leave a lasting mark on the music scene just the same. One of those bands is Big Star, who would lay the groundwork for late ‘70s power pop and early ‘90s indie rock. One band you can directly connect to them is The dBs – another band whose influence would outsize their wallets. The dBs will then connect you to REM – who would be a wee bit influential themselves. That jangle may originate in the pubs of Liverpool but the American version grew up between Memphis and Winston-Salem before moving to Athens, GA.
Hailing from Winston-Salem, NC (by way of New York) – the classic form of the group was only around for a few years and two albums. The group had two distinct songwriters in Chris Stamey and Peter Holsapple. Hosapple, also known for being in REM’s touring band in the late’80s, tends to write the straight-ahead rock tunes, while Stamey (formerly of Sneakers) takes his arrangements on interesting journeys through ‘60s psychedelia. The end result is an album that covers a lot of sonic territory but stays true to being hook-laden garage pop. If there is one complaint, the vocals are on the nasal side, and there are plenty of notes that would never survive in the current Autotune era.
The opening track “Black And White” is certified power pop classic that as all the elements that define the sound. Plenty of Rickenbacker jangle with arranging that continually keeps you on your toes.
“Big Brown Eyes”: Everything you are looking for in a power pop song. I’m surprised this one hasn’t been covered by someone. Rick Springfield could have taken this all the way up the charts.
“Bad Reputation”: No, not the Joan Jett tune, but if you are a fan of early REM – the influence this song had on the band will be obvious.
“She’s Not Worried”: A collage of ‘60s psychedelia with a heavy Pet Sounds vibe, but with plenty of mid-Beatles weirdness, too – like the backwards piano solo. If this is your thing, don’t miss out on giving this song a spin. XTC will take some what is here and run with in a few years later.
Overall, this is a strange little album and a lost classic. The band is not shy about their influences, but they are also pushing the envelope and creating something quite new from the tools of their predecessors. The production is pretty barebones, but the song arranging is as inventive as anything a four-piece is putting out at this time. Truth is, while the songs are quite good, they are not 1980 radio friendly. Part of that makes them special – most of it means that they’d have a tough time continuing to have a recording contract. Ultimately, that was their fate. In the end, it’s another band that deserved better. At least we have all the other bands that were aware of that.
https://open.spotify.com/album/0eZNXtJQgAt61MTRm2I8NL?si=zaEnbF5dRsGLC5yFhjV6Hg
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