The Reunited Doobie Brothers Talk 'Walk This Road'

Summary

Podcast Summary: All Of It – "The Reunited Doobie Brothers Talk 'Walk This Road'"

Episode Information:

• Title: The Reunited Doobie Brothers Talk 'Walk This Road'
• Host: Alison Stewart
• Guests: Michael McDonald, Tom Johnston, John McPhee, and Patrick Simmons (The Doobie Brothers)
• Release Date: June 10, 2025
• Show Description: ALL OF IT is a show about culture and its consumers, aiming to engage thinkers, doers, makers, and creators about the what and why of their work.

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1. Introduction to the Episode

Alison Stewart welcomes listeners to a special episode of ALL OF IT, hosted live from the WNYC studios in Soho. She expresses gratitude to the audience and outlines the episode's agenda, which includes discussions on Gilded Age photographer Alice Austin and filmmakers behind the documentary Dear A Revolution in Print. The main focus, however, is on the legendary band The Doobie Brothers and their new album, Walk This Road.

Notable Quote:

"ALL OF IT is a show about culture and context." – WNYC System

2. The Doobie Brothers' New Album: Walk This Road

Alison introduces the band’s latest work, highlighting their timeless classic "What a Fool Believes" and announcing their induction into the Songwriters Hall of Fame on June 12. She emphasizes the significance of Michael McDonald rejoining the band for this new album, which was released the week prior.

Notable Moments:

• [00:58] Introduction to the episode and the new album.
• [02:05] - [02:40] Snippet of the title track "Walk This Road."

3. Inspiration Behind "Walk This Road"

The conversation delves into the inspiration behind the album's title track. Michael McDonald explains that the initial idea was to reflect the band's long-standing relationship and the collective journey they've embarked upon. However, the song evolved to embody a more universal message of unity and shared human experience.

Notable Quote:

"It had the potential to be a more universal kind of, you know, idea of the fact that, you know, as humanity, we're all stuck on this little blue ball spinning through space." – Michael McDonald ([03:07])

4. Collaboration with Mavis Staples

A significant highlight is the collaboration with Mavis Staples, which adds depth and authenticity to the song's message. Mavis Staples' involvement is described as organic and serendipitous, perfectly aligning with the song’s themes of togetherness and social consciousness.

Notable Quotes:

"She's the only one who sounds like that. So it was a plus all the way around." – Tom Johnston ([04:58])

"She really pioneered songs about togetherness and, you know, trying to work together for a better future." – John McPhee ([04:31])

5. Musical Influences: Gospel, Blues, and Americana

The discussion shifts to the band's musical influences, particularly gospel and blues, which have been foundational to their sound. Patrick Simmons elaborates on how gospel music, as a precursor to blues, has shaped their music by emphasizing spiritual and communal themes.

Notable Quotes:

"It's really gospel, roots gospel kind of music." – Patrick Simmons ([05:56])

"You have to think more in terms of managing and accommodating rather than trying to forbid or, you know, a blockade." – Michael McDonald ([08:56])

6. The Creative Process and Songwriting

The guests share insights into their creative processes, emphasizing dedication, openness, and experimentation. They discuss how inspiration can strike from various sources, including everyday activities and other musical influences.

Notable Quotes:

"You have to go in there like you want it, you know, like you want something, you know, you want to create." – Patrick Simmons ([16:45])

"We always say to each other, the songs that write themselves are the best ones." – Michael McDonald ([20:12])

7. Working with Producer John Shanks

Tom Johnston provides an in-depth look at their collaboration with producer John Shanks, describing his efficient and innovative approach in the studio. Shanks’ methodology involves rapid development of song ideas, layering instrumentation, and continuously refining tracks to enhance their musical direction.

Notable Quotes:

"He's like a studio cat, man. He's a studio quality guitar player." – Tom Johnston ([23:33])

"What's important is being open to different ideas and experimenting with different techniques." – Tom Johnston ([25:14])

8. Embracing Technology in Music Production

The band discusses the impact of modern technology on music production, highlighting the use of Pro Tools and digital recording. They reflect on the evolution from analog to digital, appreciating the increased freedom and creative possibilities that technology now offers musicians.

Notable Quotes:

"It's a dream come true for musicians these days to be able to create in such a way that gives you this freedom and it's so much fun." – Patrick Simmons ([27:04])

"With Pro Tools and digital recording, you can literally lay on hundreds of tracks." – Patrick Simmons ([28:00])

9. Induction into the Songwriters Hall of Fame

The episode touches upon the band’s induction into the Songwriters Hall of Fame, which was announced a few months prior. Michael McDonald expresses pride and honor in being recognized alongside legendary songwriters who have significantly contributed to the music industry.

Notable Quote:

"Being counted among the people that we grew up admiring... is quite an honor." – Michael McDonald ([29:28])

10. Highlights on Specific Songs

The conversation explores specific tracks from the new album, such as "Learn to Let Go" and "State of Grace." Michael McDonald shares the spontaneous creation of "Learn to Let Go," emphasizing the beauty of songs that develop organically during the creative process.

Notable Moments:

• [20:28] - [23:18] Discussion and snippet of "Learn to Let Go."
• [31:10] - [32:32] Exploration of "State of Grace," focusing on themes of redemption and personal growth.

11. Conclusion

Alison Stewart wraps up the episode by summarizing the key points discussed and playing the final snippet of "State of Grace." The guests express their gratitude for participating, and the episode concludes with a brief reprise of the song's lyrics.

Notable Quote:

"That's probably a theme... Redemption." – Patrick Simmons ([31:10])

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Key Takeaways:

• Unity and Shared Human Experience: The title track "Walk This Road" emphasizes the importance of unity and collective progress, a message particularly resonant in uncertain times.

• Organic Collaborations Enhance Authenticity: The collaboration with Mavis Staples adds depth and historical significance to the album, bridging generations and musical styles.

• Diverse Musical Influences: The Doobie Brothers continue to honor their roots in gospel, blues, and Americana while integrating modern sounds, showcasing their evolution as musicians.

• Innovative Production Techniques: Working with John Shanks allows the band to experiment and refine their music efficiently, resulting in a polished and dynamic album.

• Adaptation to Modern Technology: Embracing digital recording and Pro Tools has expanded the band's creative possibilities, enabling more intricate and layered productions.

• Recognition and Legacy: The induction into the Songwriters Hall of Fame underscores the band's enduring impact on the music industry and their commitment to meaningful songwriting.

• Creative Process Insights: The band's discussions reveal a dedication to continuous creativity, experimentation, and openness to new ideas, ensuring their music remains relevant and inspiring.

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Additional Notes:

• The episode effectively balances musical discussion with personal insights from the band members, providing listeners with a comprehensive understanding of The Doobie Brothers' latest work and their enduring legacy.
• The inclusion of live song snippets enhances the storytelling, allowing listeners to connect with the music discussed.

For More Information: To explore more about The Doobie Brothers and their new album Walk This Road, visit WNYC's All Of It and follow the show for upcoming episodes and special features.

Transcript

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[Alison Stewart]

This is all of it. I'm Alison Stewart live from the WNYC studios in soho. Thanks for spending part of your day with us. I'm really grateful you're here. Later on the show, we'll talk about the Gilded Age photographer, Staten Island's own Alice Austin. And we'll also talk with the filmmakers behind the new documentary Dear A Revolution in Print, which explores the legacy of Ms. Magazine. That's our plan. So let's get this started with the Doobie Brothers. What a Fool Believes is a timeless classic and one of the best examples of what makes the Doobie Brothers a timeless band. It's just one of the many hits the Doobies have written over the years, and as a result, the members of the band are being inducted into the Songwriters hall of Fame on June 12. But that's not all. Michael McDonald has rejoined the band for the latest album called Walk this Road, which came out last week. Let's listen to the title track.

[Michael McDonald]

Walk.

[Lyrics Performer]

This Road With Me, and we'll see just where it goes. Long as we're together it'll always take us on what will be will be the path will lead us on.

[Michael McDonald]

We.

[Lyrics Performer]

Don'T have much but love is so indeed Walk this road with Me.

[Alison Stewart]

The Doobie Brothers just rocked Irving Plaza on Friday night and be back on tour in our area in early August. But for now, they're here for a listening party. Welcome Michael McDonald. Hi, Michael.

[Michael McDonald]

Hi. How are you?

[Alison Stewart]

I'm doing well. Tom Johnson. Hi, Tom.

[Tom Johnston]

Good morning. How you doing?

[Alison Stewart]

Also, John McPhee.

[John McPhee]

Hello.

[Alison Stewart]

Glad to be here. Patrick Simmons. Nice to peek with you.

[Patrick Simmons]

Allison. Thank you.

[Alison Stewart]

Let's talk about that Title track, Walk this Road. What was the inspiration for that song?

[Michael McDonald]

Well, John Shanks was the title he had, and he. One of the. It was probably, I think, the second thing I wrote with him. And for the album, he expressed an interest in writing something that would be kind of focused on the band's long relationship and the fact that we were, you know, had been together so long and doing another album, you know, which seemed like a great idea. But as we started to write it, I think it became obvious to both of us that it was. It had a potential to be a more universal kind of, you know, idea of the fact that, you know, as a humanity, you know, we're all stuck on this little blue ball spinning through space, and that we should really look at what we have in common more than we would do better to think of what we have in common rather than what we disagree on. And so it just kind of became about that. And then, of course, having Mavis join us on it was, you know, unbelievable, organic, you know, the way it happened. I don't know that any of us really know who asked her. She just kind of.

[Alison Stewart]

Mavis Naples just showed up one day.

[Michael McDonald]

Yeah, she just appeared, and what better ambassador for, you know, that message, you know.

[Alison Stewart]

Yeah. John, what did Mavis Staples bring to the song?

[Tom Johnston]

Wow.

[John McPhee]

Well, one of the greatest voices of all time, for starters. But like Michael was saying, too, though, with her history with the Staples Singers and everything, she really. They really pioneered songs about togetherness and, you know, trying to work together for a better future. And so she brought a whole history of that.

[Alison Stewart]

Tom, what did you think Mavis Staples brought to the track?

[Tom Johnston]

I've been a fan of Mavis Staple for a long time. Became aware of her, of course, through her family, Staples Singers, who I loved and was listening to them in the late 60s, I guess. First time I really heard about them. Mavis has done a lot of work on her own as well. The album she did with Prince, to me, was Standout Killer. Really dug it. But she's just a great presence. Like Mike said, I think she and the family were the embodiment of social consciousness. I guess you would say something that we need right now in a big, big way. So bringing her in, plus the sound of her voice, I mean, it's instantly recognizable. Bang. That's Mavis. She's the only one who sounds like that. So it was a plus all the way around.

[Alison Stewart]

I want to pick up on what Michael said with you, Patrick. The idea that this song says, walk this road with me. Why is that an important message for people to hear during these sort of uncertain times?

[Patrick Simmons]

Well, kind of obvious, probably listeners out there that what's happening in the world. We are so divided at this point in our history. It's more important than ever, I think, to, you know, let people know that we're all sort of in this together. Whether you like it or not, you know, it's one world and you better wake up because, you know, we have a long way to go. Hopefully knock wood. And, you know, if, if we don't pull it together as a, a species, then, you know, we're putting ourselves in, in greater jeopardy than ever. So, you know, it's important. You know, I think a lot of people feel this way, obviously, but, you know, maybe it's not being said that much in, in music these days. And, you know, it doesn't really matter exactly what position you're coming from because in reality we all have to walk this road together. I'll. We'll add that, you know, this song is really kind of our. To me, the first time I ever heard the track, I thought this is the kind of song that really makes sense for a band like ours. It's really gospel, roots gospel kind of music. And then having Mavis sing on it, you know, who to me hear one of her greatest great strengths, the whole family, was their dedication to gospel music. And she really brought that voice to the track. And, you know, I just want to add that in there.

[Alison Stewart]

Anyway, that's so interesting. You call it roots gospel, the kind of music that you make. Has it always been that way?

[Patrick Simmons]

To a certain degree. You know, we've. I think that's an influence that we have. Not that we're, you know, hardcore Baptists or anything, but I think we have all observed the, you know, spiritual music and gospel in, in, you know, maybe a more Southern kind of representation. So, you know, to me, that's a part of our, of who we are. You know, we're really a, a blues based band, I think. You know, and I think gospel music is maybe at the root of all of that. You know, I think maybe it predates blues. It maybe is blues. Gospel music kind of was the voice of, of blues as we know it. I think.

[Alison Stewart]

When I say blues to you, what does that mean, Michael?

[Michael McDonald]

It means the one true form of American music, jazz, blues, gospel. You know, I think it's probably one of the greatest gifts to if there is a culture in America, because we are a melting pot. You know, La marea Humana, you know, the human tide is as natural as the birds migrating south for the winter. And probably something we should think more in terms of managing and accommodating rather than trying to forbid or, you know, a blockade. Because it's what we are as human beings. It's what we do naturally. That's why we got up on two legs in the first place, you know, is to move, you know, and to migrate. And I think we bring something greater than ourselves when we do that. You know, this country, you know, I mean, if you were going to really boil it all down to who has a right to be here, you know, as far as, you know, African American influence on our culture. It's probably one of the greatest influences on our culture of things that we think of as American. You know, our music, our arts, you know, that's truly ours, you know, comes from the African American culture. But the. The indigenous people were already here. The African people didn't choose to come here. The Hispanics were here 100 years before us. So the only real invaders are all us Europeans who came over. So if you're going to have a problem with that, you know, you got to start there.

[Patrick Simmons]

You know, I think early rock musicians recognized that there was something greater to be drawn from music by putting together the two basic American art, you know, musical forms. One being, you know, gospel, blues, the other being country, maybe more Anglican mountain music. And, you know, people like Elvis Presley and Jerry Lee Lewis, they saw that. And, you know, they were white guys who saw the value in, you know, blues and gospel and married that into that Anglican country form that they were kind of grew up on and invent, really, in a way, invented a new music with Little Richard and Fats Domino and Chuck Berry, people like that. And that's the music kind of, that we still celebrate.

[Michael McDonald]

I think cross pollinization, like Pat said, is what our essence is as musicians. And just as Americans, you know, that's what we are, you know.

[Alison Stewart]

I'm gonna get your take on this. For people who are listening, who should they go out to? What blues musicians should they, after this interview's over, take a listen to. You've got good taste, I can tell.

[Tom Johnston]

I thought you said take a listen as in a song.

[Alison Stewart]

No, no. Who should they listen to?

[Tom Johnston]

So you're asking me? Yeah, sorry. I'm space. I didn't sleep last night. I listened to a lot of blues growing up a lot. Mostly electric, but I got into acoustic blues and stuff when I was in college. But, you know, the Three Kings, first of all, Freddy, Albert and Bebe listen to Them a lot. Listen to James Cotton a lot. Listen to. I'm not going to come up with everything I want right now, but a lot of really great musicians and got to meet some of them, which was truly earth shaking for me because I listened to them so much. And meeting them later on when we actually started doing something musically and you're kind of on the same platform, so to speak, it was outrageous. And, you know, there's great guys, man, good people and their music. It's hard to go up to somebody and say, man, your music really changed my life, you know, but it did. So I learned a lot from that kind of music and R and B as well. Listened to a lot of R and B and Little Richard was a huge influence. So all that stuff kind of melds together. I listened to some Elvis too early on, but I think that's an important thing to bring up because there's so many influences in modern music today. And there was back then, but we kind of. This band brings all that together along with what Pat mentioned. I call it Americana now because that's an easy cover to cover. A lot of different styles, and you add that to gospel, blues, rock and roll and stick it all together and acoustic stuff as well, and you kind of get the Doobie Brothers with harmonies.

[Alison Stewart]

My guests are the doobie brothers, Michael McDonald, Tom Johnston, John McPhee, and Patrick Simmond. They're here for a listening party for their new album, Walk this Road. Let's play another track from this song. We're going to play Here to Stay. The vocals come in without instrumentation. What went into that decision? Who wants to take that?

[Tom Johnston]

I think John went into that decision. John Shanks, our producer, that was. He kind of did that in the studio when nobody was there. He snuck it in there.

[Patrick Simmons]

He's like.

[Tom Johnston]

He called me about it. He said, what do you think about this? Yeah, go for it, man. And we tried it and it sounds pretty cool.

[Alison Stewart]

Let's take a listen to Here to Stay.

[Lyrics Performer]

Yeah, I'm riding wild horses.

[Tom Johnston]

Grab the.

[Lyrics Performer]

Reins and fly away.

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Lost in rock.

[Lyrics Performer]

And roll heaven and you know that it's here to stay.

[Tom Johnston]

Welcome to the spotlight.

[Lyrics Performer]

And a thousand shades of red.

[Tom Johnston]

Here to play my music there's so.

[Lyrics Performer]

Much to be said oh, baby I'm.

[Tom Johnston]

Lost inside a daydream.

[Lyrics Performer]

I'm living in the sound.

[Tom Johnston]

Still right here believing.

[Patrick Simmons]

So.

[Lyrics Performer]

Don'T be mad down and you should know here's the reason why yeah, I'm.

[Alison Stewart]

Riding my horses I call that. You're in the car and you roll the Windows Down. When you hear that song, that's a plus. That is a plus. When you go back into the studio, how do you keep things creative? It would be really easy for you to go in, record an album. You've done this a million times. John, how do you keep things creative?

[John McPhee]

Well, I think for. For this band, it's always been about trying to find new ways to express things. And, you know, like was being discussed earlier, this group draws on a lot of different styles and elements. And so there's. It makes getting creative interesting because you can go, well, what if you did this? And instead of, you know, like, Pat asked me to play fiddle on a song or whatever it might be, it changes the direction a little bit. And there's just a lot of different ways you can approach any song. But it's, you know, it starts with the material, and you've got to have something to say and try to find a unique way to say it.

[Alison Stewart]

How do you stay creative path?

[Patrick Simmons]

Oh, geez, I don't know. Smoke a lot of pot? No, I'm kidding. No, you know, it's just. How do you stay creative? Good question. You know, I think it's. You have to dedicate yourself to the process of doing that. It's not something that you're gonna sit around and go, okay, I have this flash of inspiration. It's like, you know, you gotta go in there like. Like you want it, you know, like you want something, you want to create. You. I don't want to say it's like a job, because it's not a job, but it's a dedication to a process. You know, you have to go, okay, now I want to write a song. How do I. How do I. How am I going to do that? Well, you have to, you know, work at it. You find yourself. For me, it's always been. And I think it's probably the same for all of us. You find that place that you're comfortable, you sit down with your instrument, and you begin to. To explore and experiment until you maybe find a melody or a riff or something that you like. Sometimes it's. You're watching television or you're reading a newspaper or something, and you see a phrase, and that's inspiring, and then that points you in another direction. Or you hear a song from somebody else's tune and you go, oh, I'd love to write a song like that. And, you know, but you have to leave yourself open to it and explore it, you know, work at it a little bit. Right?

[Alison Stewart]

Is that the same for You, Michael, that you have to. You have to be open to the world to stay creative.

[Patrick Simmons]

You do.

[Michael McDonald]

You know, it's like you come in with the tools in your toolbox that you have developed over the years, but hopefully that you hope will lead you to something you haven't done before, like Pat said, and you have to be open for that. You know, it's funny, that whole songwriting journey, probably not that long ago, I can remember having the thought in my car somewhere, like, I wonder if I'll ever write another song. I don't even know if I can do that anymore. Yeah. And then, you know, the next thing you know, we're in the middle of the studio writing songs, and, you know, and then you get that thing going that you haven't experienced in a while, and you start to kind of just get started in the. And the record's over, and you're going, wow. Why don't keep going? Because I might actually, you know, come up with something even, you know, but you have to, you know, know when to quit. And. And I think what it did do for all of us is open the possibility or present the potential possibility to maybe do another record and see where we could go with that, you know, which is not something I saw coming or any of us did. I don't think. We. We started out doing an ep, you know, and it turned into an album. And so I think we all kind of share the idea that it would be fun to try to do another one, you know, and try some different approaches to that, you know?

[Alison Stewart]

Did you get writer's block, or were you joking there?

[Michael McDonald]

No, I always get writer's block.

[Alison Stewart]

Really?

[Michael McDonald]

I mean. Well, you know, there are those moments where you kind of get something going in your head and you start to kind of like, you can't put ideas down fast enough. But then there are those long, dry periods where you wonder if you'll ever do it again, you know, And I've had plenty of those.

[Patrick Simmons]

Thank goodness for cell phones.

[Michael McDonald]

Yes. No kidding.

[Alison Stewart]

You know, technology. It's true. That's the good side of technology.

[Patrick Simmons]

Really. It really helps.

[Alison Stewart]

Let's talk about the song, Learn to Let Go. Did you have writer's block with this one, or did this come naturally?

[Michael McDonald]

That was one of the. You know, I always, you know, fear the. You know, when we moved to Nashville, people would say, hey, come on down to Music Row. We'll write a song. You know, and, like, for me, I always wanted to have something already started so I could play, you know, hopefully. Because the idea of sitting In a room cold with someone and not coming up with anything scared me to death, you know. But those are some of my most fond memories of just making myself do it, you know, braving the situation. And that was one of those. With John, he. He had a little bit of an idea for something that we kind of went past and came up with. Learn to let go with no idea what we were going to write. But, you know, it was just. It kind of developed on the moment. And the beauty about writing in that situation at John's studio was you would write the song and you'd be building the track within an hour that you were going to actually play for the rest of the band and everybody would join in on. So it was one of those songs that kind of came from a, you know, starting cold and it kind of presented itself, which is always the best kind of song. You know, I always. We always say to each other, the songs that write themselves are the best ones, you know, and that was kind of one of those, I think.

[Alison Stewart]

Let's hear Learn to Let Go from the album. Walk this road.

[Lyrics Performer]

When you look back on love and how it came to an end. You think you'll never want to be anything that much again. I'll be cuz when it feels so good it's hard to see the rain in the on the wall Flying higher on love only makes for longer fall but you gotta keep on trying.

[Michael McDonald]

Till.

[Lyrics Performer]

The memory sets you free when you lose that love this world may keep on turning but it's just gonna keep on hurting Till you long the light go Use your head till your heart can fall.

[Alison Stewart]

That's the Doobie Brothers from their album Walk this Road. Okay, Tom, this one's for you. We've heard about John Shanks a lot. How would you describe John Schenck's production style?

[Tom Johnston]

John is like a studio cat, man. He's studio quality guitar player. And it doesn't matter what style, pretty much he's really, really good. Writing With John, you mean, or just in the studio?

[Alison Stewart]

In the studio.

[Tom Johnston]

It'S fast. Things get done in a hurry. And I don't mean that in a bad way. It's very efficient when you come. I always describe it this way to everybody when you come in that house, basically it's all about being in a studio as well as a place to write. You take a write and you go into the writing room and you sit down. There's a computer there and there's some ideas you get with guitars. Or he's got a keyboard that he Plays whatever. And you get the idea fleshed out there. And you send that down to the studio, which is downstairs, and you go down there and it's all pro tools. It's all laid out, what you did up there, because it's all done with timing and all that. And then you started, you know, really going to the bones of the song. What it's about, what it's gonna. You've already got the chord changes, but you're starting to go for some instrumentation. You do the lead vocal early to give the song direction, I guess, and it's. It's a pretty interesting way to work. And then you bring in the drummer because so far you're using a machine, right? And then you bring in a real drummer, and that adds something to any track, pretty much. And bass comes in a little later. And as the song presents itself lyrically, and you put backgrounds on it and different ideas, then the song builds and you get the finished product, which may get changed midstream and did on a couple of songs. You just completely turn it around and go to a different direction. Even though you're still keeping the basic idea. But the chord changes even change a little bit.

[Alison Stewart]

You're good with that.

[Tom Johnston]

Is that something that was fine. There's two songs like that I can think of, that I was involved with. And it was all for the better. More of an experimentation thing, and tried different techniques of guitar playing. Different. This is another thing John's really good for. What if we did this? What if we did that? And you always hear that when you're in the recording process, but just coming up with a guitar line and a different attitude and bringing the drums back, redo the drums. And it really changed the whole feel of the song. There's one song in particular I'm thinking about, but there's actually two that that occurred on Call Me was like that, and New Orleans was really like that. We completely refaced that whole thing.

[Alison Stewart]

It's been interesting hearing you talk. I've heard you say openness, experimentation. It sounds like that's become really important to you, Patrick.

[Patrick Simmons]

Relentless. Slave driver, I think is a better term. Nah, you know, it's. Recording is fun. It's supposed to be fun. And, you know, whatever we do with it, you know, I think that's what we're looking for as much as anything. It's, for want of a better word, it's a stimulating process. It's one of those things that when you're working on stuff, if you get something, find something that you're Happy with it. It just brightens up your whole outlook and that's kind of the whole thing. It's, it's. It's a high really of its own making, you know, and it's something we always dreamed of, I think. You know, when we started out, there was no home studio or home recording. If you were going to.

[Tom Johnston]

There was a basement though, if you.

[Patrick Simmons]

Wanted to record something, it was a reel to reel tape recorder. My father was a. A school principal and he used to borrow tape recorder and bring it home and you know, I'd tape on it. The first time I ever heard my voice, I go, that's not me. Who is. What is that? No, that's how your voice sounds. I go, no, that can't be.

[Michael McDonald]

That's not my voice.

[Patrick Simmons]

But that's how, you know, we started. We didn't really have that advantage. And then, you know, when you get into a recording studio, it's like, this is a dream come true. You have multiple tracks. You know, all that you've ever imagined about a band expands into this, you know, symphonic view of creativity. And you start to understand, oh, that's how the Beatles made these records sound so great. That's how George Martin did it. We never knew that. You know, we just imagined, oh yeah, they have this room full of an orchestra and all these guys, guys playing instruments and it all. That's not how records, modern records are made. You know, you have start with a basic track and then you build on it and they, you know, George Martin in a certain sense and a few others, obviously he wasn't the only one, but invented modern recording. Les Paul, you know, stacking tracks on one another and it was a dream come true. And that's, you know, now with pro tools and digital recording, it's like you can literally hundreds of tracks and bands do that. They just keep, probably bans us. You know, you keep laying tracks on to make things sound good and then you can take things away as well as put things on. So you have this freedom that's just. It's unimaginable. And I know anyone listening out there that has a home recording setup understands what I'm talking about. It's a dream come true for musicians these days to be able to create in such a way that gives you this freedom and it's so much fun, you know.

[Alison Stewart]

All right, I'm gonna ask a journalist 101 question. You were inducted into the Rock and Roll hall of fame in 2020. On June 12, you're gonna be inducted to the Songwriters hall of Fame. Michael, what happened? When did you hear the news?

[Michael McDonald]

Not that long ago. It was a couple. Like, a couple months ago, maybe. And we were all to, you know, I speak for everybody. We were very excited, you know, at the prospect of being considered among some of the people that have won that award and going all the way back to some of the great writers who. Some of them who started these guilds that, you know, afforded us a living wage in our. During our time, you know, these are the guys that kind of built the whole business around songwriting, you know. And so to be, you know, thought of in the category with those guys, not just for their wonderful, beautiful songs, but their awareness of what it could mean you know, to all of us later, you know, is quite an honor, you know, even with, like, with the Rock and Roll hall of Fame, to be counted among the people that we grew up admiring and, you know, imagining what it was like to be in the studio when those records were made, you know, and that magic moment of, you know, when Little Richard actually made those records and just, you know, how exciting that must be to have been in those audiences early on in the 50s, you know, it's kind of almost like something we never really saw coming in our lifetime. But it's a terrific honor, privilege.

[Alison Stewart]

We're gonna go out on one more song from your album, Walk this Road. We're gonna go out on State of Grace. Anybody wanna tell us anything we should listen for in this song you think is important in this song?

[Patrick Simmons]

You know, it's probably a theme, maybe, that runs through a lot of the songs on this record. Redemption. I mean, I always use that word, but it's, you know, the idea that no matter how far you fall, you can still pick yourself up and move forward. And whatever mistakes you've made, you can. You can rectify those mistakes and come back from them and be a better person. And I think that's the really, the idea. And find through that, find an inner peace that, you know, is important.

[Tom Johnston]

Especially.

[Patrick Simmons]

As, you know, with folks in our age bracket. You want to feel like no matter where we are in our lives right now, that, you know, we're still able to move forward in a positive direction and contribute somehow. And that's kind of what the song's about.

[Alison Stewart]

My guests have been the doobie brothers, Michael McDonald, Tom Johnston, John McPhee and Patrick Simmons. Their album is called Walk this Road. This is State of Grace. Thank you so much for being with us, by the way.

[Tom Johnston]

Thank you for having us.

[Michael McDonald]

Thanks so much.

[Patrick Simmons]

I've been down this old road so many times I don't know how I could have missed so many signs of who I thought I was and who I'm supposed to be. I've wasted all of my life living all my memories.

[Lyrics Performer]

They say every question.

[Patrick Simmons]

Has an answer.

[Lyrics Performer]

But every dream could.

[Patrick Simmons]

Lead you home.

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