Michael McDonald Albums (11)
'If That's What It Takes'
Release Date 9/30/2008
Tracks 10
Label Flashback
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What The Critics Say
As the lead singer of the Doobie Brothers from 1975-1980, Michael McDonald's soulful voice and skilled writing gave the group classics like "Minute by Minute," "Real Love," and the perfect "What a Fool Believes." After the group's 1980 album One Step Closer displayed a tension that was almost audible, it was no surprise that a split was in the works. 1982's If That's What It Takes is McDonald's first solo effort, and was recorded at the great recording studios like Warner Bros. and Sunset Sound and was co-produced by Ted Templeman and Lenny Waronker. The album's biggest hit, the moody and sleek "I Keep Forgettin'," continues McDonald's unflinching look at heartbreak, and it is more R&B-influenced than the previous Doobie Brothers work. The buoyant "I Gotta Try," co-written by Kenny Loggins, perfectly captures the early-'80s L.A. pop sound. While McDonald's pop acumen is no surprise, If That's What It Takes also offers McDonald the chance to do ballads. The poignant and spare "I Can Let Go Now" has some of his best lyrics. "Losin End," which first appeared on 1976's Takin' It to the Streets, gets recast as an even bleaker rumination with a suitably sorrowful solo from Tom Scott. The melodically complex "Believe in It" has McDonald doing some great, offhanded gospel-tinged vocals. This debut juggles tracks of merit and those of less distinction, but the bright spots make this essential. ~ Jason Elias, All Music Guide
What The Critics Say
What's left for Michael McDonald after two albums of Motown covers? Plenty of soul standards that weren't recorded for Motown, plus several other songs that are "soulful" but not strictly soul, and that's just what he offers on Soul Speak, his 2008 sequel to his Motown sequel, 2004's Motown Two. Soul Speak shares the same basic sound and feel as the two Motown records -- it's all sleek, glassy grooves powered by pros -- and if it lacks the hint of looseness that made Two a superior record to its big brother, that's because Soul Speak isn't designed to be a party record like the Motown albums. As the covers of Leonard Cohen's "Hallelujah" and Bob Marley's "Redemption Song" suggest, Soul Speak is a bit moodier and more contemplative than either of its Motown cousins, but that's a relative term: there are still plenty of sprightly, classy pop-soul grooves here, nice versions of "I Knew You Were Waiting (For Me)" and Stevie Wonder's "Living for the City" and "For Once In My Life" that keep Soul Speak moving. But where these brightly elegant grooves dominated on the Motown albums, they're used for coloring here, shading the covers of Cohen, Marley, and Van Morrison ("Into the Mystic") and three solid new originals from McDonald ("Only God Can Help Me Now," "Enemy Within," "Still Not Over You (Getting Over Me)"). Despite the soul in the title, this album recalls the warm soft rock that was his specialty in the early '80s as much as it does his recent soul, particularly because it does rely a little bit more on soft ballads (such as the excellent closer of the standard "You Don't Know Me"), and that is not a bad thing at all. Indeed, it could be argued that of his albums of the new millennium, Soul Speak comes the closest to capturing the sound and feel of Michael McDonald at his peak, all without ever sounding like a conscious re-creation of that time. ~ Stephen Thomas Erlewine, All Music Guide
'Through the Many Winters'
Release Date 12/26/2005
Tracks 10
Label Universal
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What The Critics Say
Michael McDonald's 2003 album of Motown covers, modestly titled Motown, was his biggest hit in well over a decade, so it only made sense that he returned with a sequel to the record a little over a year later -- after all, might as well strike while the iron is hot. Logically titled Motown Two, the album follows the same blueprint as the first record, offering highly polished, professionally produced, expertly performed interpretations of gems from the Motown vaults; it's the sound of young America in the '60s reinterpreted for the adults of the new millennium. While the sound is the same, there are a couple of important differences this time around. First of all, there are a few celebrity cameos, a sign that this project has a higher profile than the first Motown record. These cameos -- Billy Preston on "You're All I Need to Get By," Stevie Wonder playing harmonica on his own "I Was Made to Love Her," a duet with Toni Braxton, "Stop, Look, Listen (To Your Heart)" -- all fit seamlessly into the album, and actually enrich the album, giving it warm, open-hearted feel, which is also reflected in a looser performance from McDonald himself. Last time, he was in typically fine voice, but here he really digs into the songs, making this a better listen in terms of sheer performance, but what really distinguishes this album -- and what makes it different from its predecessor -- is that there's a slightly adventurous streak in the choice of songs. There are big hits here, to be sure -- "Reach Out, I'll Be There," "Baby I Need Your Lovin'," "Tracks of My Tears," "What's Goin' On," "Nowhere to Run" -- but McDonald has also dug out some lesser-known tunes like "Tuesday Heartbreak," "After the Dance," and "Baby I'm for Real" that make this album a richer, more enjoyable listen than before. It's the rare sequel that improves on the original. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Michael McDonald never disguises what his seventh solo album is: the title Motown makes it clear that this 2003 effort is a tribute to the glory days of Berry Gordy's Detroit empire. McDonald never strays too far from that thesis, occasionally dipping into the late '70s for material (he takes on Marvin Gaye's "I Want You") and sometimes choosing to wax relatively obscure items from Motown's vast, rich catalog, but for the most part, this is devoted to the songs that you know by heart, whether you were a kid in the '60s or raised on oldies radio. Since this is McDonald, not a neo-soul neophyte, this is cleanly and sharply produced, relying heavily on synthesizers, drum machines, and professional vocalists, but anybody who has spent any time with his solo records will find this not to be objectionable, but par for the course. If McDonald doesn't reinvent these songs -- hell, he uses the original arrangements as a blueprint, then cleans them up -- he does display a love and reverence for the work, and his singing is passionate throughout. Ultimately, Motown doesn't add much to his discography, but for those who love McDonald and Motown in equal measures, it's a fine listen. ~ Stephen Thomas Erlewine, All Music Guide
'In the Spirit: A Christmas Album'
Release Date 10/16/2001
Tracks 11
Label MCA
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What The Critics Say
In the Spirit: A Christmas Album is everything a Michael McDonald fan could want from a holiday album by one of the greatest blue-eyed soul vocalists of all time. It's firmly within the tradition of latter-day Doobies records and early McDonald solo efforts, resulting in a really pleasing sound, equal parts classic soft rock and classy pop-soul, but there are some differences that give it its own character. First of all, there is a reason why the album is released on MCA Nashville, and there are some hints of contemporary country on songs like "On This Night" and in the arrangement of "Angels We Have Heard on High." Even stronger is the sense of reverence and underpinning of religion and love of family (his wife and child both sing on the record) that give the album a welcome emotional grounding that informs even the songs that revive his classic sound. This surge of emotion combines with a high sense of craft and some really good seasonal and religious material that finds McDonald writing some of his strongest songs in a long time ("To Make a Miracle," the cheerfully insistent "House Full of Love," the swaggering "Every Time Christmas Comes Around," and "One Gift," co-written with and featuring James Ingram). Musically, this qualifies as a nice, welcome surprise for McDonald fans, since it's as good an album as he's done in years (granted, he was a little inactive in the '90s for various reasons, but the sentiment remains the same). And it's not just a good Michael McDonald record -- it's one of the best modern holiday albums in a long, long time. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Working with producer Tommy Sims -- the man who produced Eric Clapton's hit "Change the World" -- evidently inspired Michael McDonald, since Blue Obsession is his best record in nearly ten years. Stylistically, it's similar to every record he's made since going solo in the early '80s -- namely, it's a combination of adult contemporary ballads and lightly grooving, adult contemporary pop-soul -- but the difference is that the quality of the material is uniformly strong. In addition to two covers ("Ain't That Peculiar," "Down By the River"), there's a selection of new songs largely co-written by McDonald and Sims. While there are no crossover pop hits on the level of "I Keep Forgettin'" or "Sweet Freedom," it's a strong collection of songs with only a few slow moments. It's a record that shows McDonald maturing quite gracefully. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
From the reggae-ish opener "I Stand for You" to the gorgeous cover of "Hey Girl" to the gospel-tinged "Everlasting," Michael McDonald's Blink of an Eye is at moments contemplative and, at others, just plain funky. McDonald's smoky, soulful vocals shine throughout. A nice album by the godfather of blue-eyed soul. ~ Tim Griggs, All Music Guide
What The Critics Say
Songs about matters of the heart are Michael McDonald's bread and butter. In fact, the word "heart" is used several times on this and other McDonald releases (another of the artist's favorite words is "fool," which is nowhere to be found on this album). Highlights include "Get the Word Started," "No Amount of Reason," and the title track, which was a minor hit. Take It to Heart is a bit overproduced at times, but overall it is a nice set by the golden voiced Michael McDonald. ~ Tim Griggs, All Music Guide
