Many things have changed on Dr. Dog's Shame, Shame, their first release on Anti-Records, but thankfully many things have also stayed the same for the likable Philadelphia band. In addition to the new label, the band brought in longtime Elliott Smith producer Rob Schnapf to help man the dials for their new record, injecting their songs with an anthemic, renewed spirit, while also maintaining the rousing nature that has always been inherent in their sound. Jim James also chimes in on the title track, easing Dr. Dog ever closer to the natural, spontaneous style of the Band. The production is clean and crisp, giving the songs an energetically ambitious air, while doing away with the modest aspirations of the 'little-band-that-could' in the hopes for something far more grand with their sixth album. And while the results are a bit uneven at times, the band succeeds in crafting a bold, evocative record that is sure to broaden their ever-growing fan base while still galvanizing longtime supporters.The record begins strongly with the first two singles released from the album, the infectious bounce of 'Strangers' and the Flaming Lips-like 'Shadow People,' with vocals that echo Transmissions-era Wayne Coyne. But the band injects enough of themselves into these tracks to keep them from sounding too derivative, forging an inventive sound that clearly wears their influences well. 'Station' could easily be an outtake from Music From Big Pink, but still sounds restlessly modern. Whatever their inspirations, this is clearly a rejuvenated effort from the venerable quintet, with the songs bristling with confidence and initiative.The unorthodox looped beats of 'Where'd All The Time Go?' eventually gives way to the familiar sweet harmonies and piano driven melodies that the band is known for. That potent combination proves to be irresistible, producing one of the best tracks that the band has written in years. The piano strains on 'Later' sound oddly similar to Billy Joel's 'My Life,' and ultimately turns out to be too distracting for me to fully enjoy the energetic track. Things pick back up on the brilliantly jaunty 'I Only Wear Blue,' another clear standout on the album. It's vigorously optimistic, as is much of the record, and that unending positivity is refreshing compared to the brooding negativity that permeates a lot of modern music. And while the songs themselves are distinctive and catchy, it's that hopefulness threaded throughout the record that truly allows these tracks to flourish. Nowhere is that more apparent than on 'Someday,' a track that wallows a bit in self-examination, but works because it doesn't get too bogged down by the unenviable task of looking back, instead brimming with the possibilities that the future brings.'Jackie Wants A Black Eye' builds off of that theme, proposing that we've all gone through some tough times but there is indeed strength in numbers: "You could say that we're alone, but we're lonely together. We're all in it together now, 'cause we all fall apart, and we're swapping little pieces of our broken little hearts." It's a tremendously unifying track that never is cloying or cynical, just uplifting and reassuring. The record closes strongly with the Bowie-sounding title track, which is aided by James' smooth vocals and the natural, live-feel of the session, which is true of the rest of the record as well. For while the songs are all tight and focused, the playing continually sounds loose and spontaneous, adding to the candid, untethered air that imbues the album. It's ultimately an invigorated Dr. Dog on display throughout Shame, Shame, and that cheery disposition proves to be infectious and utterly appealing. We're all in it together now, indeed. There's no shame in that.