On their debut,
the dB's combined a reverence for British pop and arty, post-punk leanings that alternate between minimalism and a love of quirky embellishment, odd sounds, and unexpected twists;
Stands for Decibels is clearly a collegiate pop experiment, but rarely is experimentation so enjoyable and irresistibly catchy. Singing and songwriting duties are shared equally by
Chris Stamey and
Peter Holsapple --
Stamey, more quirky and psychedelic-leaning with a winsome, pure-pop whine, is nicely balanced by
Holsapple's more earthy drawl and straightforward approach. The album stands not only as a landmark power pop album, but also as a prototype for much of the Southern jangle that would follow. [
Stands for Decibels remained criminally unavailable in the U.S. for years. When IRS reissued it on CD in 1989,
Holsapple's "Judy" was added as a bonus track.] ~ Chris Woodstra