The gamecock. (Columbia, S.C.) 1908-2006, October 20, 1975, Page Page 7, Image 7
Dizzy Doobi
By CHUCK CROMER
Gamecock Staff Writer
During the past six months, a membership metamor
phosis has occurred within the Doobie Brothers. In that
time, one Doobie, drummer Michael Hossack has departed
to seek a solo career, while another, Tom Johnston, has
permanently quit touring with the band because of his frail
health.
To compensate, three musicians have joined. With the
addition of Keith Kneudsen to supplement John Hartman on
drums, and two former Steely Dan personel, Jeff "Skunk"
Baxter on pedal steel and electric guitar and Mike Mc
Donald on keyboards and lead vocals, a new, more mature
Doobie Brothers sound has emerged.
AN EXCELLENT example of this ne'w musiea
maturation was showcased Friday night in the Carolina
Coliseum before approximately 12,000 mesmerized fans.
For 90 minutes the audience witnessed the collective results
of an incredible musical fusion of two divergent
philosophies--that of the old traditional Doobie sound
centering around Tom Johnston's vocals and rthymatic
guitar, with the laid-back, jazz-oriented style of Steely Dan.
influenced by Baxter and McDonald.
This musical fusion was an immediate critical success
before a dumbfounded audience. Never knowing exactly
what to expect next from the camoflaged Doobie Brothers
appearance, the Coliseum crowd remained cautious and
spellbound throughout the concert.
These perplexing apprehensions would be quelled near
the latter stages of the concert when the more recognized,
rock 'n roll oriented Top-40 hits were performed.
THE CONCERT itself was excellent in almost every
aspect. Making full use of one of the most awesome sound
systems that I've ever seen or heard, the Doobie Brothers
combined a stage professionalism, mastery of their in
struments and an intricate and tight blending of diverse
musical sounds to produce a show that I did not feel they
were capable of handling.
The concert was divided into two distinct halves. The
first segment was used predominately to show off the new
Park
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es dazzle dev<
band's musicianship and professionalism. Characterized
by lengthy numbers that gracefully merged one song into
another, the Doobies performed Jesus Is Just Alright,
Rocking Down the Highway, Neal's Fandango, and I Cheat
the Hangman. The extreme precision used to join slow and
fast tempo music together was a work of art; a trademark
of excellence.
The first half's brillance was continued throughout the
second segment as a panorama of past hits played in sur
prisingly good taste.
THE SECOND part of the concert was highlighted by the
appearance of the Memphis Horns, five pieces that consist
of two tenor and one baritone saxophones, a trombone and a
trumpet.
With their "Dixieland Jazz" support on Black Water and
several other songs, the mostly passive corwd began to
express their up till then repressed emotions through hand
clapping and standing ovations.
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The enthusiasm between
the Doobie Brothers and
the 12,000 fans attending
Friday night's concert
reaches a final climax
with "Listen to the
Music." Only the absence
of lead vocalist Tom
Johnston hindered an
otherwise terrific concert.
emecock Staff Photo by Gene Gaillard
With the final number, China ~Grove, the crowd went
berserk. An encore was demanded and the band generously
complied by performing their most-popular hit Listen to the
Music.
The most striking facet of the new Doobie Brothers was
their constant unity as a performing band. Lead vocals
were shared by all members of the band. Also, no one
musician or instrument dominated the others. McDonald's
superb keyboards and the double-guitar work of Pat
Simmons and Baxter were most prevalent, yet they all
played to compliment the entire band's music. Any focus
on one individual was unintended and definitely undesired.
It would be unfair to state that Johnston's presence on
vocals and guitar was not missed. But the proof of a good
group is their ability to reorganize and progress when the
loss of a key member becomes a reality. The Doobie
Brothers have made a successful reshuffling without
compromising the quality of their music.
-EBODY TO LOVE
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