Record Store Day is by far, my favorite of the consumer-based holidays. Its premise — that one day of the year, we are reminded of the importance of indie music retailers and the timeless element of music through a return to the tangible quality of vinyl — is in direct opposition to what our instant gratification, high-speed download era demands, which can often make music seem disposable. It's by re-examining our musical history that we can recognize what elements are important to carry forward.
I can't imagine a more appropriate band to celebrate the day with than Dr. Dog, who made their career by reinterpreting the 1960's pop-rock that spurred the record industry to it's greatest heights. [Photo of band at left by James Ostrand.]
The Philadelphia outfit has been derided by critics for not developing a new sound, and are often described as little more than the sum of their Beatles influences. But when your modern interpretation sounds as good as the albums Dr. Dog makes, why should you wander far from your roots?
Returning to the Bay area, Dr. Dog played a larger venue, St. Petersburg's State Theatre. Last year's release, Shame Shame, was their first on a larger label (ANTI-) and with outside production assistance. The album has brought them more fans, and where they scarcely filled Crowbar when they were in Tampa last, the State was crowded enough to merit opening the balcony.
Dr. Dog has built a reputation for putting on a solid live show, mainly due to their seeming genuine enjoyment performing on stage. For this tour, their backdrop of hand-painted, stained glass-like panels was full of playful elements and they even brought in a custom chandelier, hanging it simply next to the State's tiny mirrored disco ball. There were often moments of spontaneous happiness, such as members spinning in circles during "The Breeze" as the crowd bounced along.
Throughout the set, Dr. Dog's cheerful harmonies and simple lyrics merged well with pert drum lines and organ-like keyboards. Lead guitarist Scott McMicken and bassist Toby Leaman traded off on vocal duties, Leaman's voice lending a raspy and soulful quality in contrast to McMicken's. The set was filled mostly with cuts off Shame, Shame, the newer songs featuring a heavier emphasis on guitar lines and a much bigger sound overall that suits their live shows nicely.
This article appears in Apr 14-20, 2011.