When it comes to commenting on the current state of rock 'n’ roll, there’s really no band more qualified than The Doobie Brothers. They helped create the now-iconic California sound of the '70s, after all. Since first starting up back in 1970, the American rock group has sold over 40 million records and have gone through some incredibly distinct sounds—you’ve got the '70s jam period full of motorcycles and dirty country rock; then the smooth Michael McDonald (you know, of Steely Dan fame) era full of Billboard hits and mainstream success; and finally the late 80s, which shifted to a post-McDonald sound that hearkened back to their folk-style finger-picking roots.

Now, the band pretty much does whatever they want. Last year they released Southbound, which, as Rolling Stone reviewed, “bridges the distance between veteran rockers and modern-day country stars.” They did that by bringing in tons of top country artists (including Blake Shelton, Zac Brown Band, Brad Paisley, and Vince Gill [though only on guitar]) to each take the reins for one song. Even McDonald came back for the project, which marked the first time since 1976’s Takin’ It to the Streets that they played on the same record together. 

The Doobie Brothers are currently on a massive North American tour—with opening guests like Gregg Allman, Steve Miller Band, Boston, Shania Twain, Lara Johnston, and of course, Pat Simmons’ very own son, Pat Simmons Jr.—and graciously took some time before their San Diego show at Humphreys Concerts By The Bay to chat with us. Doobie originals Tom Johnston and Patrick Simmons, along with John McFee (who has been a permanent band member since 1983) discussed the band's place in history, where classic rock 'n' roll is now, and the unimportance of music awards. 

Mila Pantovich: Your sound has changed so much over the years, hitting so many different genres; is there a certain era that stands out as your favorite in terms of the sound?

Patrick Simmons: Right now [laughs].

John McFee: I would agree with that, because we’re always trying our best and we’re lucky we get to do it. So, right now is always the best time.

Patrick Simmons: I think you’re always looking past what you did to something new. What you just did is the best thing you ever did. 

MP: Southbound was released last year, but it’s still getting a lot of attention for bringing together so many famous country artists; how did that record come to be? Did the artists come to you?

TJ: It was a really fun album to do. The great thing about it is that the artists had songs they wanted to do. We gave them a list [of] the songs we were going to record and they said, “I wanna do that one.” So that kind of made it very simple, because it’s not like we’re out asking, “Would you please do this?” It worked itself out and they were all great people. 

MP: Music has changed so much, from genres to the overall sound, are there any artists you think hit the closest to the classic rock ‘n’ roll sound of the '70s?

TJ: Right now, rock ‘n’ roll is in country. That’s basically what country is—rock ‘n’ roll with country-style instruments over the top of it. But the basic tracks are pretty much classic rock. Not all of them, but a lot. It’s amazing how large it’s become.

PS: Rock ‘n’ roll is a much narrower part of the musical spectrum. There’s plenty of rock bands out there, […] and then within that there’s just all these different styles. Alternative, like […] Jack White [and] oddball—no offence to Jack [laughs]—stuff. And then more melodic bands and bands that aren’t really big in the well-known public viewpoint, but have a really big following—[like] the Fleet Foxes; they have a real following, but you wouldn’t know it unless you knew the band and realize, “Wow, they have a lot of people listening; I thought it was just me listening [laughs].”

The internet has had a huge influence on the […] perception of music. There’s bands that have sold a million records that you never would have even heard of if you weren’t aware of the band. […] No one would know that Bonnie Raitt sold […] half a million on her last record. It really wasn’t huge on the radar, but half a million records is a lot. 

TS: [cont.] Anything like that nowadays—the platinum [and gold] record thing—a couple people do it, but they’re not in the majority. It’s not like it used to be.

PS: It’s a different era for music. A lot of bands don’t sell out as many records, but they have giant followings at their concerts. Like Phish, they sell out stadiums. I’m not sure how many records they sell, maybe a lot, or [if] they’re even making records [laughs], but they’re still gigantic.

MP: Do you think the music awards system is still important then?

PS: I don’t know if it was ever really important. Almost more of a publicity thing.

TS: One of the places people are going to see music is now, that has really developed over the last few years, is festivals. You see people get huge exposure, but you also find out that they already had a following. I went to this festival called Bottle Rock in Napa and I was only there for a day, but I saw two bands and [...] one was The Avett Brothers, who I had never heard of in my entire life. There was this sea of people that knew their songs and I didn’t know anything. They’re a jam band […] and there’s squeezebox, fiddles, banjos, and all that, but at the same time they throw in some elements from R&B—but not very many—and it’s just kind of all over the place. So, it’s a whole different way of doing things now. 

MP: Now that the band has its own place in music history and you don’t really have to prove yourself or deal with any competition necessarily, do you find that it’s more relaxing now?

Tom Johnston: I don’t think anybody takes it for granted—when you walk out on the stage you gotta prove yourself every night essentially. At least to yourself, if nothing else. You always try to do your best when you walk out there. Some nights you feel a little more ‘on’ than others […] but the whole idea is to just give your best every single night.

JM: I’m still the new guy. These guys [already had] a major fan base by the time I joined the band 36 years ago, or whatever it was. But I do remember with my old group Clover, we were always the opening act and we did have to prove ourselves. We used to get stuff thrown at us and it was a whole different thing when you had to go out there and you don’t have hits. 

PS: It never ends, trying to […] prove yourself. When you’re first playing, you’re the opening act and you gotta go out and hit it. Then after you’re more successful, then you’re having to follow bands that are opening for you that are like, “Oh my god, we have to follow these guys?” And some of the bands that have opened for us are huge now. Steely Dan used to open for us. Trying to follow Steely Dan?

JM: I remember when I joined the band, we had to follow AC/DC a few times and that’s tough. Those guys rock.