The dB's

The dB's
Chris Sikich · CC BY 2.0 · source
Name	The dB's
Origin	New York City, United States
Genres	Power pop, Alternative rock, Jangle pop
Years active	1978–1988, 2005, 2012–present
Labels	Albion Records (US), Sire Records, Bearsville Records, Rhino Entertainment
Associated acts	Big Star, R.E.M., The Velvet Underground, The Beatles

The dB's are an American rock band formed in 1978 in New York City by musicians who had been active in scenes tied to Brian Eno-adjacent art-rock, punk-influenced independent labels, and the emerging College rock networks. Known for a literate blend of Power pop and jangly guitar arrangements, they drew attention from critics at publications connected to editors who had championed acts on Sire Records and Rhino Entertainment. Throughout their career the group intersected with artists and institutions such as Big Star, R.E.M., The Velvet Underground, and venues like CBGB.

History

Formed after members left projects linked to New York University-area scenes and Athens, Georgia-adjacent college networks, the band emerged during a period marked by transitions from Glam rock to punk and the rise of New Wave on labels including Sire Records. Early lineups recorded singles that circulated on the same independent radio and fanzine circuits that supported acts like The Ramones, Television, Blondie, and Talking Heads. Their first albums arrived as the music industry was reshaping around MTV-era acts managed by companies such as Warner Bros. Records and distributed through chains that carried releases from The Police, U2, and The Smiths. Over the 1980s the band navigated label transitions involving artists represented by Bearsville Records and producers who had worked with Tom Petty and Bruce Springsteen; they later reunited for reissues handled by archival imprints alongside catalogs by Big Star and Pere Ubu.

Musical Style and Influences

Their sound combined melodic sensibilities associated with The Beatles, lyrical introspection found in Bob Dylan's work, and the angular guitar approach of Television and Richard Thompson. Production choices showed affinities with sessions by Joe Boyd and studio aesthetics used by Phil Spector and John Cale. Vocal interplay and harmonies echoed the legacy of The Beach Boys and Big Star, while arrangements referenced songcraft from Elvis Costello, Nick Lowe, Tom Verlaine, and Andy Partridge. Critics compared elements of their recordings to contemporaneous acts like R.E.M., The Smiths, The Replacements, and predecessors such as The Velvet Underground, framing the band within lineages that included Gram Parsons and The Byrds.

Band Members and Lineups

Principal founding members included musicians who had associations with institutions and acts like New York University, Athens, and artists in scenes alongside Pere Ubu, Television, and Television Personalities. Over time the roster featured players connected through collaborations with producers or performers linked to Tom Petty, Steve Earle, John Cale, and Lenny Kaye. Guest musicians on recording sessions came from circles that included members of Big Star, R.E.M., Paul Westerberg's collaborators, and session artists with credits alongside Bruce Springsteen, Neil Young, and Elvis Costello. Several lineups reunited for anniversary shows that brought together participants with past associations to labels such as Sire Records and managers who had worked with Sire Records artists including Madonna and The Pretenders.

Discography

Their catalog of studio albums, singles, EPs, and compilations sits alongside contemporaneous releases by Big Star, R.E.M., The Smiths, and Pere Ubu. Key LPs were issued amid a broader independent-music renaissance that featured labels like Sire Records, Rhino Entertainment, and Bearsville Records. Reissues and archival compilations were curated by specialists whose catalogs also included re-releases by The Zombies, Love, and Big Star. Their records circulated in markets alongside albums by Television, Blondie, The Velvet Underground, The Ramones, and Talking Heads.

Critical Reception and Legacy

Critics writing for publications tied to influential editors and outlets compared the band to Big Star, R.E.M., The Smiths, and Pere Ubu, situating their work within the lineage of Power pop and jangle-influenced Alternative rock. Retrospectives placed their recordings in anthologies curated by labels that also reissued material by The Velvet Underground, The Byrds, The Beach Boys, and Elvis Costello. Music historians looking at the transition from late-1970s scenes represented by CBGB and Max's Kansas City to 1980s college-radio ecosystems often cite their albums alongside those of The Replacements, Dinosaur Jr., and Hüsker Dü as touchstones for subsequent indie-pop and alternative songwriters.

Tours and Live Performances

Their touring history included dates at venues such as CBGB, Max's Kansas City, and theaters that also hosted artists like Talking Heads, Patti Smith, and Richard Hell. Festival appearances and club dates placed them on bills with contemporaries from the independent circuit, including R.E.M., The Replacements, and Pere Ubu, and at events promoted by promoters who worked with Live Nation-associated festivals. Anniversary tours reunited members with guests linked to Big Star and producers who had collaborated with Tom Petty and Bruce Springsteen.

Category:American rock bands