For their first album in five years, the Seattle quartet continues in the instrumental jazz/electronica/funk/dub/experimental vein established on its existing catalog. Moody and eclectic but never frigid, the music succeeds by combining its diverse influences in warm, organic ways. Each track is a multi-layered microcosm of movement, and although there are plenty of danceable parts – along with some dancefloor-clearing ones – the album is best appreciated with headphones where all the intricacies of the tempo changes and especially the dynamic percussion can be picked out amongst the clatter. Even elements of prog – especially early King Crimson on the pounding "Punk Rock Guilt" – shapeshift into jazz and free form then back again with deceptive ease.
Talk about greatness – the Doobie Brothers, with Jeff "Skunk" Baxter added to their lineup, delivered their best album to date helped by a fairly big hit, though "Take Me in Your Arms" never did anything close to its predecessors despite some chords and modulations that recalled "Black Water" ever so slightly. Stampede's virtue was its musicianship, which, in addition to new member Baxter, was also showcased in the guises of some impressive guests…
The Doobie Brothers’ illustrious career is marked by a string of hits, two of which, “Sweet Maxine” and “Take Me In Your Arms (Rock Me),” are included here. But Stampede offers much more. In terms of musical dexterity, the 1975 set stands as the group’s peak studio moment.
With ex-Steely Dan guitarist Jeff “Skunk” Baxter finally a full-time member of the band, the California quintet steps up everything from the arrangements to the songwriting. The group also invited several distinguished guests along for the ride: Vocalist Maria Muldaur, soul legend Curtis Mayfield, slide guitarist Ry Cooder, and jazz hand Victor Feldman among them. The results are as good on record as they appear on paper…