The dB's - Classic or Dud

Ministry, now there's some power pop for ya.

"Amplifier" is definitely classic. Repercussion as a whole... not a dud, but certainly not on the power pop essentials list.

Yeah, those are the ones I like best off "Repercussion."

"The Fight" off the first one is a dud, I think.

As far as the Shoes go, I like them fine, especially the very first one. I guess my problem with it, though, is that they seem like a gloss on the real thing rather than the real thing itself.

And my power-pop aesthetic for what it's worth has not so much to do with "rocking." I want rocking, I'll listen to any number of other things. The Knack just seem one-dimensional to me. As does Cheap Trick, whom I've grown to like more the last few years. For my taste the whole power-pop thing is about not-exactly-rocking, you know? Seems to me there has to be a certain ruefulness about it, which is why I like Big Star or the Everlys so much. I don't see power-pop as a populist form, actually, which when you think about it is strange since the whole thing does kind of derive from the attempt to keep the Beatles alive, who were the most popular group ever (at least of their time).

That's a good comment about the first dB's album, "fucking with my head." That album is insidious in the best possible way, formalism gone nuts.

if you knew me well enough, "fucking with my head" is how i describe pretty much every record i love.

but yes, it is insidious! i remember the first time i heard "black and white" i didnt think much of it and then out of nowhere, i found myself singing it at the most random moments.

I forgot Nick Lowe's "Labour of Lust," which is pretty classic power-pop. "Cruel to Be Kind" is such a great single, and insidious...I mean, what is that weird sound that recurs in that song?

And yeah, Maria, I am pretty much enamored of the insidious...I don't know how much more insidious you can get than "Tearjerkin'" or "Cycles Per Second" or "Espionage" off that first dB's album. I need something offputting in pop a lot of the time; I've always had a blind spot when it comes to straightforward, rocking stuff...I find the Beach Boys insidious, and the Byrds and Love and the Zombies too, they're my favorite '60s groups.

Thursday, Dec. 6, the dB's will be special guests of Yo La Tengo, whose annual Hannukah shows at Maxwell's in Hoboken, NJ, have become an institution. They are $30 benefit shows, on sale now, and likely to sell out.

I yield to no one in my love for the dB's. But as far as power-pop in the 80s (and 90s), all must bow before the mighty Green.

And damn, looks like I'll have to snap up a YLT ticket.

Wasn't Gene Holder in Yo La Tengo? Damn, this is definitely one of those shows I wish I could attend. (It's also my birthday.)

Like This has now been reissued and is pretty damn cheap now.

I saw Stamey playing bass for Yo La Tengo in late 1985.

They're also at Southpaw in Dec. The show they did at Bowery Ballroom earlier this year was fun, but Holsapple has lost range in his voice. Or more charitably, was not having a great night vocally.

That's the Green that usta have Rudy Giuliani's ghostwriter playing bass in the '80s, right Sara?

I saw the dB's once in the '80s (post-Stamey) and once since (first reunion w/ Stamey?).

That's the Green that usta have Rudy Giuliani's ghostwriter playing bass in the '80s, right Sara?

The very same. Ken Kurson was the bassist/ghostwriter. He also had a brief career co-leading the Lilacs (2 singles and 1 LP).

i went to a Built to Spill show with Ken.

SEARCH: "I Thought You Wanted To Know."

Right up there with "Another Girl, Another Planet" if you ask me.

"Black and White" puts a shiver up my spine everytime I hear it. That guitar hook and the way Rigby pounds around it. Mindbending!

SEARCH: "I Thought You Wanted To Know."

The B side of this is a killer too...

more like Stands for Douchebags amirite

'moving in your sleep' is the most romantic song i know

heard "From A Window to a Screen" for the first time in a long time this morning. ah, the sound of being 26...

First two albums twofer is as classic as they come, merely good with some great moments thereafter.

years ago, i covered the entire "repercussion" album out of boredom. gotta go find that...

First two albums twofer is as classic as they come, merely good with some great moments thereafter.

xpost: this is a false opinion! (sorry,i'm kidding) But, Like This is bloody brilliant. "Spy in the house of Love" is one of the best songs from the 1980's that most people don't know, IMO

i have a bootleg somewhere with mainly holsapple demos recorded in the run-up to "like this". it was pretty good, much better than the finished product imho.

that sounds cool. why you no like like this, though? is it the 80's production values?

it's ok i guess, but i really like the stamey/holesapple combo. without stamey, it all sounds a bit..samey. see what i did there?

I take it back: Like This is fantastic really, just not quite on a par with the previous two. 'The Sound Of Music' is OK but pretty ordinary.

I just realised the drumming on stands for decibels is the best drumming ever.

it is pretty great, yeah

The version of "Spy in the House of Love" on Ride the Wild Tom Tom is worth seeking out, I think it's my favourite dB's song alongside "Moving in Your Sleep". Why didn't Holsapple write another twenty like those?

I just realised they put out a single for record store day ("Picture Sleeve") and that they've got an album in the works. the single is a Chris Stamey gem and the drummer does the b-side which is also nice.

I listened "A Spy in the House of Love" last night.

I hate being like, "whoah, that dude got old," because it will happen to me -- soon -- but whoah, Peter Holsapple is unrecognisable: https://www.youtube.com/watch?v=tqvZRw7XqZc

I never really listened to these guys outside of a few key tracks (always meant to check out their debut), but man, the new one is pretty ehhhhh.

I mean, its well played, but it really sounds pretty tame and AORish? Like there's no spark or anything, just competently played songs with pretty corny lyrics.

I dig it, it hits all the right spots in my head. They sound so happy playing together and they know how to craft a tune.

agree with both heated and boing - love me some db's - and while i like the new one in spots it is kinda ehhhh - pains me to type that too

weirdly, because them becoming a constantly-touring act isn't really a possibility I don't think, the songs on this one sound like they'd really open up & kick ass live - like the road would really get them into a great pocket. I like this album a lot, really enjoy the tunes, but -- well, when what you're playing is a sort of 60s-inflected melodic rock you've sort of agreed to table concerns about "vitality" or "spark" in favor of just showing your wares

Yeah, I mean, I totally recognize that they are really great musicians and know what they're doing, I'm just pretty sure what they are doing right now, in 2012, doesn't hold my interest.

I dunno, I think it's a surprisinly good album, certainly superior to The Sound Of Music. Stamey's songs are particularly good. I think it has quite a bit more edge than their solo careers have had of late. The only time it descends into cheese is 'She Won't Drive In The Rain Anymore' which suggests someone's been hanging out with too many Blowfish.

only great track on the new dB's is "Send Me Something Real." the old Television-Richard Lloyd heave-ho on guitars. the rest, some good, a few rather pallid. their subject is the same old middle-aged angst and I don't think they do it very interestingly, for the most part.

when what you're playing is a sort of 60s-inflected melodic rock you've sort of agreed to table concerns about "vitality" or "spark" in favor of just showing your wares

I don't see that there's any reason whatsoever why this has to be so.

Well, I'm 45 and the lyrics on the new one speak to me, the sound is warm and invigorating and I'm drawn in. How much does ones distance from an albums themes factor into it's enjoyment?

I'd be totally willing to overlook the clunky lyrics if I was being drawn in by anything else, but it just felt so, almost, clinical, to me. But thats not really the word I want to use either, I'm really struggling to explain why I don't really enjoy this album. It has something to do with this smirking ex-coworker of mine that would totally have found this to be the most clever thing ever and would take great pride in pointing out to me how "smart" they are. Admittedly, a lot of this is my projection, but I'm not enticed by anything here, beyond a could of great hooks that are too good to fuck up.

I'm old enough to have bought the first 2 dB's albums on vinyl when they came out--1981--via mail order. So the middle-aged angst aspect of it is about someone my age. I think they are honest about it and I think they've earned the right to examine their plight, such as it is. I do love "Send Me Something" and enjoy the rest of the album, but it lacks the spark of the old dB's--even Like This had more bounce to it. I actually think Holsapple has gained as a singer, altho his yelping voice is still strangely callow. I saw Stamey and Holsapple a while back and thought they were great, and their last duo album was pretty good, and addressed the middle-aged angst thing pretty well. I respect these guys a lot, but their new record reminds me why I think rock 'n' roll is music that young people should do, if not necessarily music for young people...

Well, yeah, in my mind it's a step down from "Like This" and "Sound Of Music" (which I adore) but taken on it's own merits, it's a very satisfying listen. I guess I'm just a sucker for the Stamey/Holsapple team because I think their two collaboration albums are great too whereas their solo work is very missable.

Will Rigby's song with "when I replied to your reply to my reply to your reply to my reply to your letter" is one of my favorites.

Experience is limited to the debut...but it still sounds amazing to me!

http://devonrecordclub.com/2015/03/22/the-dbs-stands-for-decimals-round-79-toms-selection/

From another thread, The dB's Stands For Decibels/Repercussion--what's the cream of the crop?:

So this band-approved rarities site has posted a free .zip of Repercussiontracks performed live and otherwise; mp3s or wavs, your choice: http://dbs-repercussion.blogspot.com/

― dow, Wednesday, February 25, 2015 6:07 PM (3 weeks ago) Bookmark Flag Post Permalink

Wowza, thx.

― EPMD Conference 2015 (James Redd and the Blecchs), Wednesday, February 25, 2015 10:09 PM (3 weeks ago) Bookmark Flag Post Permalink

"Band-approved rarities site"? Well, that's kind of unofficially the case, I suppose. There are members of The dB's that cooperate with me, and others that hold their noses at the mention of the blog (I won't name specific names here...)!

In any event, I'm glad to have folks here know about the blog. Poke around. There's a ton of rare dB's, Let's Active, and related groups.

Cheers,

Rob-in-Brevard
http://dbs-repercussion.blogspot.com/

― Robinbrevard, Saturday, February 28, 2015 6:42 AM (3 weeks ago) Bookmark Flag Post Permalink

https://yeproc.11spot.com/media/catalog/product/cache/12/image/9df78eab33525d08d6e5fb8d27136e95/c/h/chris_stamey_-_euphoria_sm_2.jpg

from Yeproc:

"It’s called Euphoria because, to me, euphoria lives inside an electric guitar--that's the place I find freedom, passion, exhilaration: in the spaces between the notes, in the distance between the frets. I found this record inside the same dilapidated old Silvertone lipstick guitar that I'd written my first records on." - Chris Stamey

With Euphoria, Chris Stamey returns to the guitar-driven rock band dynamic to deliver 10 stellar songs rooted in his trademark sound: Strong hooks, expansive production, solid musicianship, wonderful harmonies and unexpected twists. Where his last album, Lovesick Blues, was built on slower tempo acoustic chamber pop, Euphoria, hums with upbeat songs, centered around the electric guitar. Focus tracks include, “Invisible,” “Where Does the Time Go,” and “Universe-sized Arms” a track Ryan Adams wrote and sent to Chris to record. Guests on the album include Norman Blake (Teenage Fanclub), Pat Sansone (Wilco, The Autumn Defense), and long-time friend and collaborator Mitch Easter (Let’s Active)

01. Universe-sized Arms

02. Where Does the Time Go?

03. Invisible

04. Make Up Your Mind

05. Euphoria

06. Awake in the World

07. Dear Valentine

08. When the Fever Breaks

09. You Are Beautiful

10. Rocketship

Bonus Tracks (on CD and Digital Download included in LP package)

Draggin' The Line (Bonus Track)

Euphoria Cont'd (Bonus Track)

Where Does the time Go (Groovy Radio Mix) (Bonus Track)
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"It’s called Euphoria because, to me, euphoria lives inside an electric guitar--that's the place I find freedom, passion, exhilaration: in the spaces between the notes, in the distance between the frets. I found this record inside the same dilapidated old Silvertone lipstick guitar that I'd written my first records on." - Chris Stamey

With Euphoria, Chris Stamey returns to the guitar-driven rock band dynamic to deliver 10 stellar songs rooted in his trademark sound: Strong hooks, expansive production, solid musicianship, wonderful harmonies and unexpected twists. Where his last album, Lovesick Blues, was built on slower tempo acoustic chamber pop, Euphoria, hums with upbeat songs, centered around the electric guitar. Focus tracks include, “Invisible,” “Where Does the Time Go,” and “Universe-sized Arms” a track Ryan Adams wrote and sent to Chris to record. Guests on the album include Norman Blake (Teenage Fanclub), Pat Sansone (Wilco, The Autumn Defense), and long-time friend and collaborator Mitch Easter (Let’s Active)

Also blurbs from No Dep and Blurt.

Sorry, didn't mean to include all that after the track list!

I think they are but "I Thought You Wanted to Know" has been slightly remixed, at least.

Mark Caro did some podcast interviews with Peter Holsapple and Chris Stamey. Holsapple's is two hours and broken up into two separate podcasts:

https://www.caropop.com/caropopcast/episode/299b4741/peter-holsapple-pt-1
https://www.caropop.com/caropopcast/episode/26268249/peter-holsapple-pt-2

https://www.caropop.com/caropopcast/episode/39fa4bc8/chris-stamey

Found this too, a guest column from 2008 dissecting how Like This flopped (a great album IMHO) - wish the NY Times would bring back this series.

https://archive.nytimes.com/opinionator.blogs.nytimes.com/2008/11/18/anatomy-of-a-flop/

^good read, thanks for the link

Yes, great stuff, thanks!

Holsapple wrote a similar article which was published in some sort of music anthology, more of a post-mortem of his entire career. He included the anecdote about dancing in the control room, thinking he had written a hit record, but also mentioned such issues as their first two albums not being distributed in the States.
Unfortunately, I gave the song another listen just now, and i was interesting to pick up on the details he wrote about, but I really can't see the song, whoever was singing it, as better than "quite good".

Great piece! Glad he got Butler in there too.

Put these on wrong thread, wrong board, even:
Wow, so Bearsville folded in 1984, same year Like This was "released," two years before Albert died. I remember reading that Dylan supposedly called Sally G. soon after and yelled about what Albert still owed him. She was on the cover of Bringing It All Back Home and in Don't Look Back and saw about the catalog until 2010, according to wiki; as of the wiki posting, Ehino is or was the distributor.

― dow, Friday, July 15, 2022 4:20 PM (eighteen minutes ago) bookmarkflaglink

Rhino! Think I'll see what Bearsville product is readily available.

― dow, Friday, July 15, 2022 4:22 PM (seventeen minutes ago) bookmarkflaglink

Sorry, she was running it *from* 2010!

Bearsville Records was founded in 1970 by Albert Grossman. Artists included Todd Rundgren, Elizabeth Barraclough, Foghat, Halfnelson/Sparks, Bobby Charles, Randy VanWarmer, Paul Butterfield's Better Days, Lazarus, Jesse Winchester, and NRBQ. The label closed in 1984, two years before Grossman's death. Sally Grossman, Albert Grossman’s widow, was running Bearsville Records from 2010 until her death in March 2021, at the age of 81.[1]
Bearsville's initial distributor was Ampex Records. From 1972 until its folding, the label was distributed by Warner Bros. Records in most countries. In the UK it was distributed by Warner until 1979, and then Island until 1981; its last few British releases were licensed to independent labels Avatar and Lamborghini. Rhino Records currently distributes the Bearsville catalog.

Many of the artists on the roster recorded at Grossman's Bearsville Studios.

also Notable Artists, discography etc---warning says roster unverified, but I've seen some of the records, have a few:
https://en.wikipedia.org/wiki/Bearsville_Records

I've always been interested in the circumstances behind his departure from R.E.M. - it's evidently difficult for him to discuss, but I noticed he didn't state exactly how his request for a credit on 'Low' saw him leave the band.

I’ve always favored the first 2 dB’s albums over Like This. Pretty sure I bought them as a two-for sometime in the mid 80s.

xp it's possible it was an awkward situation where even he wasn't clear on every single detail of how it went down. Think about Lindsey Buckingham's recent departure from Fleetwood Mac - it was clearly one person's demand, but it's not like the others were all that communicative with Buckingham when it went down, even with their long history together. The best was a private "sorry it happened that way, I didn't want this to happen and wish I could do something" from Christine who was probably on the best terms with him. It happens in every profession, unfortunately, but at least Holsapple was able to restore his friendships with Mills and Buck (and maybe the other two) down the road, and not so late that there was barely any time to experience that renewed friendship again.

Re: the dB's albums, I love the debut the most, but I love the second and third albums too - I don't want to knock any of them to elevate the others. I'll have to revisit the fourth and fifth albums some day, I didn't think they were as good as the previous three, but I could find more to like about them now.

So---the dB's were a little older, prob setting an example (incl. what not to do, esp. biz snares to avoid), inspirational, even, in terms of artistic development in a direction of shared interest---plus they're from NC, not that far from Athens, there are connections vis Mitch Easter and so on: Holsapple, more than other sometyme R.E.M support players, was likely an imposing figure, without meaning to be pushy---earnest and articulate, so maybe the suggestion the more off-putting for its plausibility, the chords etc. voiced in a way unforeseen by writer(s)---some others of the inner four maybe saying, "hey that sounds..." maybe not wanting to quite say "better," or maybe insisting on it---
And maybe we get towards other musical insecurities, like Lou Reed in the face of Cale or Quine (also Fernando Saunders said that, after his "New Age" solo was mentioned in concert reviews, Lou took it away). David Lee Roth assembling one of the flashiest bands ever for his first solo album and tour, then acting all threatened----could to a whole thread about that kind of thing, maybe---

May have to put this on more than one thread, considering range of guests:

The Salt Collective, 'LIFE' produced by the dB's Chris Stamey

The Salt Collective releases the power pop supergroup's beautiful mystery LIFE on May 5, 2023

An immensely collaborative new album has miraculously brought together an international "supergroup” joining SALT and their guests Matthew Caws (Nada Surf), Matthew Sweet, Juliana Hatfield, Richard Lloyd (Television), Anton Barbeau, Susan Cowsill (Cowsills), Mitch Easter, Matt Douglas (Mountain Goats), Chris Stamey, Peter Holsapple, Gene Holder and Will Rigby (the dB's).

This new album is produced by Chris Stamey (the dB's) and recorded at Fidelitorium (Kernersville, NC), Ferber Studios (Paris), and Modern Recording (Chapel Hill, NC), as well as at artisan studios.

SALT is a Paris-based collaborative music project led by French guitarist and songwriter Stéphane Schück around a core group formed in the 80s with Benoit Lautridou (drums) and Fred Quentin (bass), SALT offers shivering songs based on transcendently melodic guitars and vocals.

NEW TODAY TO SHARE - Video of "Asylum" (featuring Matthew Caws of Nada Surf and Juliana Hatfield)

Of the immensely creative ambitious follow up, maverick maximum pop recording maven and artist Chris Stamey says, “In the midst of chaos, upheaval, and uncertainty, the impulse to make art remains strong. Matthew Caws sings of having “found asylum [on] this hillside,” and in many ways this recording project became a similar place of sanctuary for an extended musical family during a time when we didn’t know what new calamity the next day might bring. Life persists, hope remains. Always, it was helmed and inspired by the ceaseless optimism of Stéphane Schück, who shepherded and cheered each stage of its circuitous evolution.”

www.xopublicity.com

PORTLAND / DETROIT / SEATTLE / LOS ANGELES

@xopublicity (twitter, instagram, snapchat)

Peter Holsapple and Chris Stamey are playing a show in March for Trouser Press's 50th anniversary:

https://www.ticketweb.com/event/peter-holsapple-and-chris-stamey-the-bowery-electric-tickets/13456803