Sat. Nov 16 •LOS ANGELES• Zebulon
2478 Fletcher Dr. Showtime: 8:00 p.m. Tickets: $44.55
https://link.dice.fm/The-dBs-Zebulon-November-16
second night added after 11/17 sold out

photo by Lindsay Metivier
INFLUENTIAL INDIE ROCKERS THE dB’S ANNOUNCE
TOUR DATES FOR THE FIRST TIME IN 12 YEARS
FEATURING THE BAND’S ORIGINAL LINE UP
TOUR DATES FOR THE FIRST TIME IN 12 YEARS
FEATURING THE BAND’S ORIGINAL LINE UP
BAND ADDS SECOND LOS ANGELES DATE AFTER FIRST SELLS OUT
WILD HONEY FOUNDATION SPONSORING BOTH L.A. DATES
(NON-PROFIT AUTISM RESEARCH/TREATMENT ORGANIZATION)
Spin Magazine debuted the video for the iconic track “Black and White” and featured the band here
The band’s debut album Stands for deciBels saw a physical reissue on Propeller Sound Recordings on June 14, its first-ever US vinyl release. The second album Repercussion will have an October reissue release.
CHAPEL HILL, NC – Eclectic indie power pop fans rejoice! The dB’s have announced their first set of tour dates in 12 years and featuring all original members – Peter Holsapple (vox, guitar), Chris Stamey (vox, guitar), Gene Holder (bass) and Will Rigby (drums).
The foursome grew up in Winston-Salem, NC, and helped define what would become the rich North Carolina indie-rock scene but emigrated to New York in the late 1970s and formed the band, frequently appearing at CBGB, Maxwell’s and other influential venues.
Propeller Sound Recordings issued the debut album Stands for deciBels on all digital platforms on June 7 and the CD and vinyl reissue (its first time on vinyl in the US) on June 14. The CD edition includes the bonus track “Judy,” a single not included on the original release.
The video for the high-energy lead track “Black and White” was premiered by Spin Magazine alongside a feature. The video is also available for viewing along with current touring and additional info here.
Media quotes for the reissue:
“…The dB’s set a high standard for power pop in the 1980s. In so doing they helped to set the template for the decade’s college rock upsurge. Scratching noggins, the question is posed: how could a band this catchy, energetic, and resistant to cliché be ignored in the land that nurtured them, and not once but twice, as their sophomore album Repercussion (also released in 1981 by Albion) was also an import only affair in the USA… As much of the scene had caught up with The dB’s, their debut still sounded fresh. And so it is today.” – THE VINYL DISTRICT (GRADE A)
“Stands for deciBels… released in January 1981... was an immediate hit… with critics… A similar fate would befall The dB’s second album, Repercussion. Released months after the debut, it too earned rapturous reviews, earning a place among the era’s best and most influential albums within indie-, college- and/or alternative-rock.” – SPIN
“…Their debut has lost none of its aggressively quirky freshness during its 43 years in the can.” – MOJO
“The dB’s were a band clearly ahead of its time. Borne from the echoes of what was then the resurgence of Power Pop, reborn and rebranded in order to capture the original essence of a ’60s sound, the dB’s went on to claim that temple as their own, and in turn, influence any number of bands that would follow.” – GOLDMINE MAGAZINE
“Stands for deciBels, the 1981 debut from The dB’s, didn’t make much of a commercial impression, but it enthralled a small legion of college-rock loyalists soon to swoon over bands like R.E.M., whose members are among the many who cite the LP as an inspiration.” – MAGNET MAGAZINE
“…An alluring mash-up of post-punk, powerpop and ’60s British pop, The dB’s embraced the possibilities of synthesized sound but allied it to melodic pop without drowning the feel of a song in its futuristic promise.” – SHINDIG
Stands for deciBels was produced by the band in association with the late Alan Betrock, founder of the seminal post-punk publication New York Rocker, with Don Dixon, Scott Litt and Martin Rushent mixing. It was originally issued in 1981 on UK-based Albion Records.
“Stands for deciBels was the first place many people heard The dB’s – thanks to intrepid college deejays who brought their personal copies into the stations. Hopefully those old disc jockeys can now replace their original copies with pristine new ones,” says Peter Holsapple.
R.E.M.’s Mike Mills calls his first listen to The dB’s’ Stands for deciBels a defining moment in his – and his band’s – genesis: “This is the one that let me know we weren’t alone, that there were others out there with the same curiosity, the same willingness to dive into melody, structure and pop sensibility with no fear, no reserve, only joy and well-deserved excitement. I still love listening to Stands for deciBels, and I always will,” he says.
“This was primarily a band-produced and -arranged record, recorded old-school analog in fits and starts at the dawn of what became ‘indie,’ at Blue Rock Studios, with producer Alan Betrock as an éminence grise to intermittently steady the ship. And after we’d filled up all 16 of the tracks on all the songs with a cornucopia of ideas, we lucked out: aces Scott Litt (at Power Station, NYC), Don Dixon (at Drive-In, NC) and Martin Rushent (at Genetic, UK) joined to help mix,” Chris Stamey said.
In late summer, the band will announce additional tour dates as well as a fall multi-format reissue of its second album, Repercussion. The dB’s’ last national shows were in 2012 on the heels of their studio album of that year, Falling Off the Sky.
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