DJ Allyn – The Soundtrack for my Life

China Grove – The Doobie Brothers  

The Doobie Brothers are an American rock group.

In 1969, singer, guitarist and songwriter Tom Johnston and drummer John Hartman formed the nucleus of what would become The Doobie Brothers. Skip Spence of Moby Grape (and formerly of Jefferson Airplane) introduced them to one another after Hartman arrived in California determined to meet Spence and join an aborted Grape reunion. New bandmates Johnston and Hartman called their fledgling group Pud and experimented with different lineups (occasionally in the lineups was Spence) and styles as they performed in and around San Jose. They were mostly a power trio (along with bassist Greg Murphy) but briefly worked with a horn section. In 1970, they teamed up with bass player Dave Shogren and singer, guitarist and songwriter Patrick Simmons. Simmons, who had belonged to several area groups (among them was the band “Scratch”, which was an acoustic trio with future Doobies bassist Tiran Porter) and also performed as a solo artist, was already an accomplished fingerstyle player whose approach to the instrument complemented Johnston’s rhythmic R&B strumming. In a recent interview, Tom Johnston attributed the band’s eventual name to friend and housemate Keith “Dyno” Rosen, who noted the guys’ fondness for “doobies.” They considered the new moniker an improvement over Pud.

The Doobie Brothers honed their chops by performing live all over Northern California in 1970. They attracted a particularly strong following among local chapters of the Hells Angels and scored a recurring gig at one of the bikers’ favorite venues, the rustic Chateau Liberte’ in the Santa Cruz Mountains. An energetic set of demos (eight of which were briefly and illegally released on Pickwick Records in 1980 under the title Introducing the Doobie Brothers, and have since been bootlegged on CD under that title and “On Our Way Up” as well, both with expanded song selections), showcased fuzz-toned dual lead electric guitars, three-part harmonies and Hartman’s frenetic drumming and earned the rock group a contract at Warner Bros. Records.

At this point in their history, the band’s image reflected that of their biggest fans – leather jackets and motorcycles. However, the group’s 1971 self-titled debut album departed significantly from that image and their live sound of the period. The album, which failed to chart, emphasized acoustic guitars and frequently reflected country influences. The bouncy lead-off song “Nobody,” the band’s first single, has surfaced in their live set several times over the ensuing decades.

The following year’s second album, Toulouse Street (which spawned the hits, and classic rock staples, “Listen to the Music” and “Jesus Is Just Alright”), brought the band their breakthrough success. In collaboration with manager Bruce Cohn, producer Ted Templeman and engineer Donn Landee, the band put forward a more polished and eclectic set of songs. They also made a change to the line-up, supplementing Hartman’s drumming with that of Navy veteran Michael Hossack while still touring behind their first album, (A concert from June 14, 1971 at the Fillmore West bears this out as it has this short-lived lineup). Also, the band recorded several songs on the second album with Shogren on bass, guitar & background vocals. But during the album’s recording, Shogren left after disagreements with producer Templeman. Shogren was replaced with singer, songwriter and bass guitarist Tiran Porter. Porter and Hossack were both stalwarts of the northern California music scene, Porter having previously played in Scratch with Simmons. Porter brought a funkier bass style to the band and added his husky baritone to the voices of Johnston and Simmons, resulting in a rich three part harmonic vocal blend. Pianist Bill Payne of Little Feat contributed keyboards for the first time, beginning a decades-long collaboration that included many recording sessions and even a two-week stint with the touring band in 1974.^[2] With an improved rhythm section and the songwriting of Johnston and Simmons, the Doobies’ trademark sound – an amalgam of R&B, country, bluegrass, hard rock, roadhouse boogie, and rock and roll – emerged fully formed.

China Grove

When the sun comes up on a sleepy little town
Down around San Antone
And the folks are risin’ for another day
‘Round about their homes

The people of the town are strange
And they’re proud of where they came
Well, you’re talkin’ ’bout China Grove
Oh, China Grove

Well, the preacher and the teacher
Lord, they’re a caution
They are the talk of the town
When the gossip gets to flyin’
And they ain’t lyin’
When the sun GOES FALLIN’ down

They say that the father’s insane
And there’s Missus Perkin’s again
We’re talkin’ ’bout the China Grove
Oh, China Grove

But every day there’s a new thing comin’
In praise of an oriental view
The sheriff and his buddies
carry their samurai swords
You can even hear the music at night

And though it’s a part of the Lone Star State
People don’t seem to care
They just keep on lookin’ to the East

Talkin’ ’bout China Grove
Oh, China Grove

• Audio from the 1973 album, The Captain and Me:

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Long Train Runnin’ ~ The Doobie Brothers  

The Doobie Brothers are an American rock group.

In 1969, singer, guitarist and songwriter Tom Johnston and drummer John Hartman formed the nucleus of what would become The Doobie Brothers. Skip Spence of Moby Grape (and formerly of Jefferson Airplane) introduced them to one another after Hartman arrived in California determined to meet Spence and join an aborted Grape reunion. New bandmates Johnston and Hartman called their fledgling group Pud and experimented with different lineups (occasionally in the lineups was Spence) and styles as they performed in and around San Jose. They were mostly a power trio (along with bassist Greg Murphy) but briefly worked with a horn section. In 1970, they teamed up with bass player Dave Shogren and singer, guitarist and songwriter Patrick Simmons. Simmons, who had belonged to several area groups (among them was the band “Scratch”, which was an acoustic trio with future Doobies bassist Tiran Porter) and also performed as a solo artist, was already an accomplished fingerstyle player whose approach to the instrument complemented Johnston’s rhythmic R&B strumming. In a recent interview, Tom Johnston attributed the band’s eventual name to friend and housemate Keith “Dyno” Rosen, who noted the guys’ fondness for “doobies.” They considered the new moniker an improvement over Pud.

The Doobie Brothers honed their chops by performing live all over Northern California in 1970. They attracted a particularly strong following among local chapters of the Hells Angels and scored a recurring gig at one of the bikers’ favorite venues, the rustic Chateau Liberte’ in the Santa Cruz Mountains. An energetic set of demos (eight of which were briefly and illegally released on Pickwick Records in 1980 under the title Introducing the Doobie Brothers, and have since been bootlegged on CD under that title and “On Our Way Up” as well, both with expanded song selections), showcased fuzz-toned dual lead electric guitars, three-part harmonies and Hartman’s frenetic drumming and earned the rock group a contract at Warner Bros. Records.

At this point in their history, the band’s image reflected that of their biggest fans – leather jackets and motorcycles. However, the group’s 1971 self-titled debut album departed significantly from that image and their live sound of the period. The album, which failed to chart, emphasized acoustic guitars and frequently reflected country influences. The bouncy lead-off song “Nobody,” the band’s first single, has surfaced in their live set several times over the ensuing decades.

The following year’s second album, Toulouse Street (which spawned the hits, and classic rock staples, “Listen to the Music” and “Jesus Is Just Alright”), brought the band their breakthrough success. In collaboration with manager Bruce Cohn, producer Ted Templeman and engineer Donn Landee, the band put forward a more polished and eclectic set of songs. They also made a change to the line-up, supplementing Hartman’s drumming with that of Navy veteran Michael Hossack while still touring behind their first album, (A concert from June 14, 1971 at the Fillmore West bears this out as it has this short-lived lineup). Also, the band recorded several songs on the second album with Shogren on bass, guitar & background vocals. But during the album’s recording, Shogren left after disagreements with producer Templeman. Shogren was replaced with singer, songwriter and bass guitarist Tiran Porter. Porter and Hossack were both stalwarts of the northern California music scene, Porter having previously played in Scratch with Simmons. Porter brought a funkier bass style to the band and added his husky baritone to the voices of Johnston and Simmons, resulting in a rich three part harmonic vocal blend. Pianist Bill Payne of Little Feat contributed keyboards for the first time, beginning a decades-long collaboration that included many recording sessions and even a two-week stint with the touring band in 1974.^[2] With an improved rhythm section and the songwriting of Johnston and Simmons, the Doobies’ trademark sound – an amalgam of R&B, country, bluegrass, hard rock, roadhouse boogie, and rock and roll – emerged fully formed.

Long Train Runnin’

Down around the corner
A half a mile from here
You CAN see them LONG trains RUN
And you watch them disappear
Without love
Where would you be now
Without love

You know I saw Miss Lucy
Down along the tracks
She lost her home and her family
And she won’t be comin’ back
Without love
Where would you be RIGHT now
Without love

Well the Illinois Central
And the Southern Central Freight
Gotta keep on pushin’ Mama
‘Cause you know they’re runnin’ late
Without love
Where would you be now – now, now, now
Without love

WELL THE pistons keep on churnin’
And the wheels go ’round and ’round
And the steel rails are cold and hard
For the miles that they go down
Without love
Where would you be right now
Without love
Where would you be now

• Audio from the 1973 album, The Captain and Me:

Black Water ~ Doobie Brothers  

The Doobie Brothers are an American rock group.

In 1969, singer, guitarist and songwriter Tom Johnston and drummer John Hartman formed the nucleus of what would become The Doobie Brothers. Skip Spence of Moby Grape (and formerly of Jefferson Airplane) introduced them to one another after Hartman arrived in California determined to meet Spence and join an aborted Grape reunion. New bandmates Johnston and Hartman called their fledgling group Pud and experimented with different lineups (occasionally in the lineups was Spence) and styles as they performed in and around San Jose. They were mostly a power trio (along with bassist Greg Murphy) but briefly worked with a horn section. In 1970, they teamed up with bass player Dave Shogren and singer, guitarist and songwriter Patrick Simmons. Simmons, who had belonged to several area groups (among them was the band “Scratch”, which was an acoustic trio with future Doobies bassist Tiran Porter) and also performed as a solo artist, was already an accomplished fingerstyle player whose approach to the instrument complemented Johnston’s rhythmic R&B strumming. In a recent interview, Tom Johnston attributed the band’s eventual name to friend and housemate Keith “Dyno” Rosen, who noted the guys’ fondness for “doobies.” They considered the new moniker an improvement over Pud.

The Doobie Brothers honed their chops by performing live all over Northern California in 1970. They attracted a particularly strong following among local chapters of the Hells Angels and scored a recurring gig at one of the bikers’ favorite venues, the rustic Chateau Liberte’ in the Santa Cruz Mountains. An energetic set of demos (eight of which were briefly and illegally released on Pickwick Records in 1980 under the title Introducing the Doobie Brothers, and have since been bootlegged on CD under that title and “On Our Way Up” as well, both with expanded song selections), showcased fuzz-toned dual lead electric guitars, three-part harmonies and Hartman’s frenetic drumming and earned the rock group a contract at Warner Bros. Records.

At this point in their history, the band’s image reflected that of their biggest fans – leather jackets and motorcycles. However, the group’s 1971 self-titled debut album departed significantly from that image and their live sound of the period. The album, which failed to chart, emphasized acoustic guitars and frequently reflected country influences. The bouncy lead-off song “Nobody,” the band’s first single, has surfaced in their live set several times over the ensuing decades.

The following year’s second album, Toulouse Street (which spawned the hits, and classic rock staples, “Listen to the Music” and “Jesus Is Just Alright”), brought the band their breakthrough success. In collaboration with manager Bruce Cohn, producer Ted Templeman and engineer Donn Landee, the band put forward a more polished and eclectic set of songs. They also made a change to the line-up, supplementing Hartman’s drumming with that of Navy veteran Michael Hossack while still touring behind their first album, (A concert from June 14, 1971 at the Fillmore West bears this out as it has this short-lived lineup). Also, the band recorded several songs on the second album with Shogren on bass, guitar & background vocals. But during the album’s recording, Shogren left after disagreements with producer Templeman. Shogren was replaced with singer, songwriter and bass guitarist Tiran Porter. Porter and Hossack were both stalwarts of the northern California music scene, Porter having previously played in Scratch with Simmons. Porter brought a funkier bass style to the band and added his husky baritone to the voices of Johnston and Simmons, resulting in a rich three part harmonic vocal blend. Pianist Bill Payne of Little Feat contributed keyboards for the first time, beginning a decades-long collaboration that included many recording sessions and even a two-week stint with the touring band in 1974.^[2] With an improved rhythm section and the songwriting of Johnston and Simmons, the Doobies’ trademark sound – an amalgam of R&B, country, bluegrass, hard rock, roadhouse boogie, and rock and roll – emerged fully formed.

Black Water

Well, I built me a raft and she’s ready for floatin’
Ol’ Mississippi, she’s callin’ my name
Catfish are jumpin’
That paddle wheel thumpin’
Black water keeps rollin’ on past just the same

Old black water, keep on rollin’
Mississippi moon, won’t you keep on shinin’ on me
Old black water, keep on rollin’
Mississippi moon, won’t you keep on shinin’ on me
Old black water, keep on rollin’
Mississippi moon, won’t you keep on shinin’ on me
Yeah, keep on shinin’ your light
Gonna make everything, pretty mama
Gonna make everything all right
And I ain’t got no worries
‘Cause I ain’t in no hurry at all

Well, if it rains, I don’t care
Don’t make no difference to me
Just take that street car thats goin’ up town
Yeah, I’d like to hear some funky Dixieland
And dance a honky tonk
And I’ll be buyin’ ev’rybody drinks all ‘roun’

Old black water, keep on rollin’
Mississippi moon, won’t you keep on shinin’ on me
Old black water, keep on rollin’
Mississippi moon, won’t you keep on shinin’ on me
Old black water, keep on rollin’
Mississippi moon, won’t you keep on shinin’ on me
Yeah, keep on shinin’ your light
Gonna make everything, everything
Gonna make everything all right
And I ain’t got no worries
‘Cause I ain’t in no hurry at all

I’d like to hear some funky Dixieland
Pretty mama come and take me by the hand
By the hand, take me by the hand pretty mama
Come and dance with your daddy all night long