RIYL: Bob Seger, The Eagles, Boston
![51R3XNkkyPL._SCLZZZZZZZ_[1]](https://www.esdmusic.com/wp-content/uploads/2010/09/51R3XNkkyPL._SCLZZZZZZZ_1.jpg "51R3XNkkyPL._SCLZZZZZZZ_[1]")
News of World Gone Crazy‘s existence is likely to elicit one of three responses:
1. “The Doobie Brothers have a new one out? Who knew those dinosaurs were still around?”
2. “The Doobie Brothers have a new one out? Hope it doesn’t suck as much as their last couple of records!”
3. “Hell yeah! Good rockin’ tonight!”
Responses one and two might seem to make the most sense, but against all odds, it’s the third one that most accurately describes the Doobies’ 13th album (and first in a decade). After scoring a gold record and a Top 10 single with their 1989 reunion album, Cycles, they limped through the ’90s and aughts, releasing a pair of weak albums (1991’s Brotherhood and 2000’s Sibling Rivalry) and wheezing into the “heritage rock” tour circuit like a band whose best creative days were long past. But World Gone Crazy isn’t just another piece of swag to sell at the concession stand during their next tour – it’s actually a helluva rock record, and easily the Doobies’ best album since 1978’s Minute by Minute.
Is that damning with faint praise, considering the unevenness of what came after? Perhaps. But World Gone Crazy is still a quality album – good enough, in fact, to serve as a template for the band’s peers during their own sporadic forays into the studio. It’s a record rich with nods to the past, including the band’s reunion with Ted Templeman and their resurrection of “Nobody,” a long-discarded track re-recorded for these sessions – but this doesn’t sound like a band trying to get back to its past. Instead, the Doobies simply sound comfortable with their legacy and their place in today’s music industry. It makes a world of difference – unlike a lot of new albums from bands of the Doobies’ vintage, World Gone Crazy never tries too hard. The Doobie Brothers are who they are, and while they’re willing to acknowledge their past (right up to inviting ex-Doobie Michael McDonald in for a guest spot on one track), there’s nothing self-conscious about these performances. They may as well have been performing for themselves.
Of course, it helps that the album is stacked with good songs. This is meat-and-potatoes West Coast rock ‘n’ roll, so you shouldn’t go in expecting poetry, but within the context of a genre that hasn’t seemed to have a creative pulse for far too long, World Gone Crazy is surprisingly vibrant. “Nobody” sounds like it was unearthed from a time capsule, which is understandable, given its age – but what’s surprising is just how seamlessly it stands up against everything else on the album. Open a beer – American, of course – and turn this up as loud as the neighbors will allow. Then ask yourself why bands like the Doobie Brothers ever went out of fashion. (HOR 2010)
