The Doobie Brothers are back with their first album in four years. The first recording phase of the group ended with 1980’s One Step Closer. After reforming as a touring unit again, in 1989 they started recording again. Tom Johnston returned but Michael McDonald had become a solo artist and was not involved with the group’s recording since 1980. For their fifth album since 1989, Southbound in 2014, McDonald recorded with the group again. McDonald is back once more and while the group has done some fine post-breakup albums, this is their strongest album and plays on all the strengths of the group’s collective talents.
The album’s opening title cut is, in essence, what makes The Doobie Brothers so special. The song brings together many American roots music strains to create an unmistakable musical gumbo. There are blues, gospel, their singular vocal harmony blend, shades of their former label-mates Little Feat, and a guest spot on vocals from Mavis Staples.
The Little Feat connection extends to sharing the same producer in the ’70s (Ted Templeman) and having Bill Payne contribute on keyboards to both groups. Speaking of gumbo, “Angels and Mercy” has a distinct New Orleans feel, a sound the group has often made part of their music. In a better world, “Call Me” would be a hit. Michael McDonald brings his peerless soul vocal style to “Learning to Let Go.” “State of Grace” is another Patrick Simmons classic. He is the heartbeat of the band and is the only member of the group to play on every album and be on every tour.
Tom Johnston’s “Here to Stay” is another solid rocker. “The Kind That Lasts” again mixes in some New Orleans spice, with a little reggae beat, and shows off McDonald’s vocal chops. “New Orleans” further delves into the music of that city. “Speed of Pain” is yet another stellar McDonald track. The album closes with the Hawaii-influenced “Lahaina” and includes guests Jake Shimabukuro, Henry Kapono, and Mick Fleetwood, who has had a house in Hawaii for decades.
The album was produced by John Shanks, who produced the group’s previous album, and it was mixed by Chris Lord-Alge, who also worked on the group’s previous release. The vinyl edition comes in a gatefold and includes an insert, and the vinyl is in a poly-lined sleeve. This is an album made to listen to on vinyl.
The title song is really a metaphor for the group. After years of running, riding in a stampede, takin’ it to the streets, and living on the edge minute by minute, the group are slowing down to take a slow walk and take stock. Instead of running so fast and occasionally getting detoured and ending up someplace that didn’t work out for them, The Doobies Brothers have arrived at a state of musical and personal grace.
GRADED ON A CURVE:
B
