Rolling Stone - p.863.5 stars out of 5
-- "The Philly quintet's low-fi, throwback sound -- cf. Beatles, Beach Boys, Chicago -- is still in effect....WE ALL BELONG sound truly inviting. Dig it."
Rolling Stone - p.114
Included in Rolling Stone's "50 Top Albums of the Year 2007".
Spin - p.833.5 stars out of 5
-- "The group's unabashed '70s revivalism remains unchanged....[With] jaunty piano shuffles and cooing background vocals."
Entertainment Weekly - p.68
"[Their album] evokes the Beatles when not generally conjuring '70s AM radio with spangly guitars, sleigh bells and shout-along harmonies." -- Grade: A-
Alternative Press - p.1364.5 stars out of 5
-- "WE ALL BELONG is full of unusual instrumentation, fascinating harmonies and out-there arrangements, the likes of which are rarely heart outside of classic-rock radio."
Magnet - p.95
"'Don't Pretend' exhibits a slow-dance Motown sensuality, 'Ain't It Strange' recalls Neil Young's plight-of-man attitude, while the title track's guitars conjure an octopus' garden in the shade."
Composer: Dr. Dog.
Dr. Dog: Tables, Thanks, Taxi, Text, Triumph (unknown instrument).
Personnel: Trials, Today, Truck (unknown instrument).
Additional personnel: Carlos Santiago (violin); Dan Scofield (alto saxophone); John Pettit (trumpet); Brendan Cooney (trombone); Mel Leaman (background vocals).
Fans, fear not. While Philly's impeccable traditionalists, Dr. Dog, embraced a 24-track reel-to-reel for WE ALL BELONG--eschewing the 8-track on which they recorded their previous records--the gear upgrade does not change the band's ol' warm analog sound one iota. The songs on WE ALL BELONG do feel more fleshed out, though, than on the lo-fi classic EASY BEAT, with more established Zombies-esque harmonies, more Beatly piano turnarounds, and more hooks a la Badfinger and Todd Rundgren.
While trad revisionism is nothing new in indie rock, Dr. Dog's so-real-it-could-be-a-reissue approach very much is. But WE ALL BELONG does not simply rehash the past. The quintet's effortless talent, melodic chops, ego-free creative chemistry, and obvious passion for the rock canon make songs like "The Girl," "My Old Ways," and "Alaska" sound like a revival, not a reference.