Michael Franks Albums (17)
What The Critics Say
Michael Franks' laid-back vocals have made him the choice of a new generation of cool school attendees. With Rendezvous in Rio, his debut release for Koch Records, Franks continuously shows why he is still at the top of his game with brand-new songs that will soothe, undo your stresses, or put you in a romantic mood. The various musical styles on the CD include two Brazilian sambas, one titled "Under the Sun," pointing you toward the Southern Hemisphere and the warmth of Rio de Janeiro and Bahia. A master of phrasing and elongated notes, Franks tells his great stories in several tempos that literally have you wanted to take this journey with him. "Rendezvous in Rio" starts with Café's percussive whistle and the rhythmic flow of Romero Lubambo's guitar. Chris Hunter's sax and flute solos also heighten the imagery of Franks' sexy vocals. "The Cool School" starts with the beautiful guitar accompaniment of Chuck Loeb and continues under Franks' vocals with a hushed flow of cool/smooth riffs that make this song one of the best on the CD. With the artistry of such respected contemporary jazz artists as Jeff Lorber, Jimmy Haslip, Chuck Loeb, and Alex Al and the lilt of the carnival whistle, Michael Franks has conspired to entertain you, and has succeeded. You're sure to enjoy this very special Rendezvous in Rio. Recommended. ~ Paula Edelstein, All Music Guide
What The Critics Say
To call Michael Franks schmaltzy is like calling Santa Claus jolly, but what sets him apart from his contemporaries is his ability to deliver each clever yet wince-inducing rhyme with a wink. Watching the Snow is comfort food with all the trimmings, and it's a testimony to Franks' laid-back demeanor and subtle humor that an entire record of original holiday songs can complement a snowy December day rather than accentuate its forced seasonal cheer. Dressed to impress by Franks' conversational vocal style, Chris Hunter's mellow sax attack, and Charles Blenzig's fireplace keyboard meanderings, it requires nothing but the two-bites-from-being-uncomfortably-full sensation of a post-dinner nap to render the listener grinning in half-comatose reverie. Originally released in Japan in 2003, Snow finds Franks musing on everything from decorating the mango tree ("Island Christmas") to snowmen blowing smoke rings ("When the Snowman Sings") with equal parts sentimental melancholy and irreverence. Each track is lovingly crafted, astronomically inoffensive, and wine-drunk silly and sincere. Even at his most biting, on "I Bought You a Plastic Star (For Your Aluminum Tree)," where he croons "Easy credit may not cure your ills/Unless your address is in Beverly Hills/Spend all ye faithful with all your might/We're gonna have ten years of silent night," Franks' delivers the lines more like a teasing uncle than a bitter old grandpa, resulting in a fine addition to the ever-expanding holiday genre. Proceeds from Watching the Snow go to the no-kill shelter, sanctuary, and animal welfare organization Hearts United for Animals. ~ James Christopher Monger, All Music Guide
'Barefoot on the Beach'
Release Date 6/1/1999
Tracks 11
Label Windham Hill
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What The Critics Say
Countless musical trends have steamrolled by since this wry singer songwriter with the cool and collected, wistful onionskin voice first graced the adult music world in the mid-'70s with The Art of Tea and its cryptic hit, "Popsicle Toes." Yet Franks has stood his ground, growing as an observational lyricist while his relaxed demeanor stays pretty much the same, and charmingly so. While varying his backing instrumental tracks to fall somewhere between classic, subtle brassy Steely Dan ("The Fountain of Youth" features Yellowjacket saxman Bob Mintzer kicking it up with trumpeter Larry Lunetta) and colorful smooth jazz vibes (Bob James, Dave Samuels, and Chuck Loeb crackle behind the bemused frustration story "Double Talk"), the joy of his writing approach is found in his song structure. Franks just doesn't buy into the Top 40 school of "hook or forget it" songwriting. He's more interested in weaving quirky, even esoteric images over solid grooves. "You could jump a DC-8 and probably be here by eight" sets the tone for the frolic of the title track. Everything is fair game from references to Ingrid Bergman and Rhett Butler looks on "Heart Like an Open Book" to congratulating Ponce De Leon for the youthful drive of his lover on "The Fountain of Youth." He's quite the humorist, too, telling a cheating mate on "Double Talk" that "each time you lie your profile grows/it looks just like Pinocchio's." "Mr. Smooth" is a crisp commentary on a stuck-up man who thinks he's a god somehow. So that even when Franks is expressing displeasure, his heart is light. He covers all the aspects of love from the supreme joy of "Now Love Has No End" to "Why Spring Ain't here" but the minute he starts to boil over, he's back to the beach, having a blast. It's the kind of spring in your step music Franks fashioned his career out of. ~ Jonathan Widran, All Music Guide
'Abandoned Garden'
Release Date 1/1/1995
Tracks 11
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Influenced by such greats as Mose Allison and Bob Dorough, the sly and subtle Michael Franks lacks their chops, but has been quite clever and inventive at times. Dragonfly Summer has its moments. Though Franks does most of the songwriting himself, he's often at the mercy of various producers. The CD's strongest material (including the haunting "String of Pearls" and the inspired ode to Thelonious Monk, "Monk's New Tune") was produced by the Yellowjackets. ~ Alex Henderson, All Music Guide
What The Critics Say
Michael Franks' first album of the '90s and his first in three years was a complete return to form and his best album since 1979's Tiger in the Rain. Meditative, lush and clearly the work of an artist intent on making personal music regardless of trends or airplay, Blue Pacific is as open and beautiful as the ocean for which it is named. The return of the production team of Tommy LiPuma and Al Schmitt doesn't hurt either, and with such veteran pros as Dean Parks, John Guerin, John Patitucci and Peter Erskine on board, how could Franks miss? With additional production and engineering support by Walter Becker and Roger Nichols, the Steely Dan connection, previously hinted at, was finally made, with great results. It's pointless to single out individual songs, since this is very much a complete, unified work. The album marked a total rebirth for Franks. ~ Steve Matteo, All Music Guide
What The Critics Say
With Tommy LiPuma and Al Schmitt back producing, Michael Franks again moves in a different direction on One Bad Habit, with mixed results. Easily considered his commercial breakthrough, the album often lacks the lyrical and imaginative songwriting of previous efforts and sounds at times like two different albums. The contributions of Clare and Andre Fischer help bolster some of the more ambitious music, while players like Eddie Gómez, Eric Gale and David Spinozza at times appear underutilized. The title cut is another example of Franks' wry, observant takes on love and lust, yet musically it is a little lightweight. Still, considering the players, the occasionally adventurous musical ideas, and the basic jazz sound, Franks was able to go where very few jazz artists ever go in terms of attracting a larger audience and considerable airplay. ~ Steve Matteo, All Music Guide
'The Camera Never Lies'
Release Date 1/1/1988
Tracks 9
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
After the disappointing Skin Dive, this album signaled a move back, at least partially, to the winning Franks formula. The title cut, "Island Life," and "Doctor Sax," although all occasionally missing the mark, reflected a strong recommitment to the kind of songs that Franks was capable of writing. With Rob Mounsey producing, which gave the album the right balance of a modern sound with no gimmicks, and players like Mark Egan, Dave Weckl, and Richard Tee adding some much-needed jazz muscle, Franks was making exciting music again. Additionally, Earl Klugh was the perfect guitar foil for Franks' music. Lani Groves and Art Garfunkel also fit just right, demonstrating that the right vocalists on a Franks album enhance the possibilities for genre crossover. ~ Steve Matteo, All Music Guide
