Retro Reviews: The dBs: Repercussion

 I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The dBs – Repercussion (1982)

***1/2

Producer: Scott Litt

Musicians: Chris Stamey, Peter Holsapple, Gene Holder, Will Rigby, Andy Clark, Chris Gower, Dick Hansen, John “Irish” Earle

Songs: Living A Lie, We Were Happy There, Happenstance, From A Window To A Screen, Amplifier, Ask For Jill, I Feel Good (Today), Storm Warning, Ups and Downs, Nothing Is Wrong, In Spain, Neverland

Reviewed by Matthew Anthony Allair

    The dBs second album has been released, soon off the heels of the first. It’s hard to access if this will have a niche audience or not. The band is signed and distributed by Albion Records, there’s a great proliferation of smaller, independent labels, but their limited distribution systems can affect of reach of good or great bands. Yet Scott Litt has helmed the project and strikes a balance between their more polished numbers and the raw, unwashed pieces. Chris Stamey and Peter Holsapple are the driving force of the band. The ethos of Punk has always been about adolescent rebellion, but new wave has helped pull back in more nuanced ideas within the song craft, teen age angst can only go so far before one looks around and starts to ask questions.

    The pop instincts of the band are in full force with the opener “Living A Lie” with keyboards and a full horn section, with an honest, self-aware lyric. With “We Were Happy There”, the drums and bass are really accented, and in spite of keyboarding coloring, there’s a rawer feeling yet palatable, while having an odd resolve. “Happenstance” takes a darker direction with a relationship song and parental dependence with an interesting turn, as well as dysfunctional manipulation. Things are brought down with the quieter and atmospheric “From A Window To Screen”, this also has some of the best harmony vocals, and moody lead guitar work. “Amplifier” has a great rhythm that belies the darker lyrics, but one can’t tell if this is based on a true story, or if the self-pity is satirical Either way it has some of the most vibrant playing. There’s some more jagged guitar work on “Ask For Jill”, with a bass that acts like a great counterpoint. The added keyboards and bells give it some sheen with the sarcasm of the lyrics. The challenge is, how does the second half holds up?

    The more acoustic “I Feel Good (Today)” has a lot of coloring, either guitars or cello, and manages to shift in some interesting directions, and ir almost takes a nod to Syd era Pink Floyd at moments. “Storm Warning” takes things in a fresher direction with shifting rhythms and great dynamics. Their ethos returns with the cynical “Ups and Downs”, but the playfulness keeps it interesting which is just enforced from the keyboards. The slower “Nothing Is Wrong” has a kind of lament within the harmony’s, this is the closest they get to a blues dirge in spirit, but not really. “In Spain” crashes in with a dynamic edge, and interplay between the drums the band has a synergy The closer “Neverland” has a true thrift and a great hook and brings the album home. 

    Is the band Punk, New Wave, power pop, or new hybrid? hard to say, but this feels different and maybe a little ahead of the trends. While some of the lead vocal work is a little uneven, and they work best in harmony, the sum is greater than the parts. This could have a great impact on the music scene, possibly in the way that the Velvet Underground held an impact, but time will tell if they find an audience. This is worthwhile for anyone seeking something catchy yet different.