The Doobie Brothers - Livin' on the Fault Line
The Doobie Brothers - Livin' on the Fault Line

The Doobie Brothers - Livin' on the Fault Line

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Tracklist Show Credits

A1 You're Made That Way 3:30
A2 Echoes Of Love 2:57
A3 Little Darling (I Need You) 3:24
A4 You Belong To Me 3:04
A5 Livin' On The Fault Line 4:42
B1 Nothin' But A Heartache 3:05
B2 Chinatown 4:55
B3 There's A Light 4:12
B4 Need A Lady 3:21
B5 Larry The Logger Two-Step 1:16

Livin' on the Fault Line is the seventh studio album by the American rock band The Doobie Brothers, released in 1977. It is one of the few Doobie Brothers albums which did not produce a hit (although "You Belong to Me" was a hit as recorded by co-authorCarly Simon). Still, the album received modest critical acclaim. Tom Johnston (guitar, vocals) left the band early in the sessions. He is listed as part of the band (appearing in the inside group photo) but appears on little or none of the actual album. Much of this consistently mellow album has a jazz tinge, and the influences of R&B are palpable throughout. The track "Little Darling (I Need You)" is a remake of the Marvin Gaye 1966 hit.

AllMusic Review by  

Livin' on the Fault Line fell between two of the Doobie Brothers' biggest-selling records. The album had no hit singles, and one-time leader Tom Johnston kept a markedly low profile (this would be his last record with the group, not including a later reunion). Despite this, Livin' on the Fault Line contains some of the most challenging and well-developed music of the band's career, with Patrick Simmons andMichael McDonald really stepping to the fore. There's a vague mood of melancholia running through the songs, as well as a definite jazz influence. This is most obvious on the title track, which has several instrumental passages that showcase the guitar abilities of Simmons and Jeff Baxter. Similarly, "Chinatown" is a spooky mood piece not unlike the smooth fusion of late-period Steely Dan or Little Feat. But "Echoes of Love" and "Nothin' But a Heartache" are both intelligent, glistening pop songs that confirm Simmons and McDonald as first-rate tunesmiths. The record slips a little at the end, with a plodding R&B song and a Piedmont guitar instrumental thrown in as filler. Overall, though, this is a chapter in the Doobie Brothers' history that deserves a second look.