Smokey Robinson Albums (33)
What The Critics Say
Smokey Robinson hasn't had much use for making records since his records stopped selling in significant numbers, which happened as of the early '90s; after that, his only regular album has been 1999's Intimate. But Universal Music's New Door imprint exists for the purpose of making new recordings with veteran artists for whom the major label is the repository for the bulk of their catalogs (think Joe Cocker, Nanci Griffith), and Robinson fits that criterion perfectly, since Universal controls the Motown library. But instead of making an album of new, original songs, Robinson has opted for the hoary concept of "aging rock-era pop star sings pre-rock standards," an idea that was never good to begin with and that should have been buried with the final entry in Rod Stewart's series of atrocities. Happily, Robinson's version turns out to be not half bad. One reason for this is that, unlike Stewart et al., his model is not Frank Sinatra and the rest of the Rat Pack, but rather some of the jazz singers who also essayed the work of Cole Porter and other pre-1950 songwriters. Robinson seems to have first heard these songs as sung by Ella Fitzgerald (his primary influence), Sarah Vaughan, and Billie Holiday, among others. When he sings "I'm in the Mood for Love," he throws in some of the King Pleasure vocalese on James Moody's jazz interpretation of the song, "Moody's Mood for Love." Robinson is no stranger to the material; he first recorded Kurt Weill's "Speak Low" and Porter's "I've Got You Under My Skin" with the Miracles in 1962, and now as a 66-year-old he isn't afraid to take these songs where he wants to take them, i.e., in the direction of his '80s "quiet storm" hits. They are all the better for it. As of 2006, Robinson was spending his time playing the concert halls in the many hotel/casinos around the country; his versions of these standards would be as likely to drawn appreciation in such venues as his old hits. ~ William Ruhlmann, All Music Guide
What The Critics Say
Food for the Spirit is Smokey Robinson's entry into the contemporary gospel music field. He wrote all nine tracks and enlisted the help of producer and arranger Michael Stokes as well as D'Andre Franklin and Clinton Stokes III. Food for the Spirit is a slick, very contemporary soul-gospel recording. The production is pure crystalline sheen. It is pervasive and large and at times overwhelms Robinson's still gorgeous voice. There is great conviction in most of these songs and Robinson delivers his creations with passion and grace, as on "Let Your Light Shine on Me," "Jesus Told Me to Love You," and "I Praise & Worship You Father," overcoming the glassine pop soup of the arrangements. But elsewhere, the clubbed-out funk of "He Can Fix Anything," the funked-up soul of "Gang Bangin'," and the hip-hop chants on "We Are the Warriors" are so drenched in honey-slick instrumentation and layered vocals that Robinson's message is lost in the proceedings. It's obvious for which fences the production team on this record was swinging, and they just might get there, but the cost is high. In the right hands, Smokey Robinson could have delivered one of the greatest gospel records of all time; this isn't it. ~ Thom Jurek, All Music Guide
'Our Very Best Christmas'
Release Date 10/5/1999
Tracks 16
Label Uptown/Universal
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What The Critics Say
Smokey Robinson & the Miracles' Our Very Best Christmas adds a classic Motown twist to holiday songs like "Santa Claus Is Coming to Town," "Let It Snow," "Noel," "Go Tell It on the Mountain," and "Believe in Christmas Eve." The Miracles' beautiful voices and harmonies give this album an extra Christmas sparkle. ~ Heather Phares, All Music Guide
What The Critics Say
Intimate rarely shifts past first gear, but that's where you want Smokey anyway, as he's long past his "Mickey's Monkey" and "Whole Lot of Shakin'" days. Producer Michael Stokes collaborates with Smokey on a few tunes, but except for "Sleeping In," the results are merely adequate. Contains mostly slow ballads, with only a few exceptions: the midtempo number, stalking "Intimate," and a couple of pop items, including "I'm the One." While Intimate doesn't rate with his '70s albums, it's superior to his last album Double Good Everything, and is a fine comeback by Mr. Motown. ~ Andrew Hamilton, All Music Guide
'What Love Has...Joined Together'
Release Date 4/13/1992
Tracks 6
Label Motown
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What The Critics Say
A stunning concept album by Smokey Robinson & the Miracles that should have fared better. Notables wrote the six songs, all love ballads: Stevie Wonder, Marvin Gaye, Berry Gordy, Frank Wilson, Bacharach & David, Lennon & McCartney, and Smokey himself. Every selection is a wedding song, and Smokey caresses the lyrics like they were newborns. The heavenly harmonies of the Miracles -- Ronald White, Bobby Rogers, Pete Moore, and Claudette Robinson -- touch the soul. When they sing Brenda Holloway's "You Made Me So Very Happy," you don't just hear the words; for five minutes and four seconds you experience what lovers feel. The harmonies on "What Love Has..." are overwhelming, almost overkill. Smokey drenches more soul onto Marvin Gaye's "If This World Was Mine" then the master himself. The lush arrangements by Smokey and Jerry Long will make you dizzy. Motown didn't release any singles from What Love Has... A good photo of Claudette Robinson in a pensive pose graces the back cover. ~ Andrew Hamilton, All Music Guide
'Double Good Everything'
Release Date 10/22/1991
Tracks 10
Label Capitol
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What The Critics Say
This is another Smokey Robinson album (executive produced by Iris Gordy, Berry's daughter) and, well, it's definitely one of those discs you can put on for background, or while making out. Lord knows, the man is in fine, fine voice, indeed. However, for all the participation by people of the caliber of George Duke (who produced and appears on several tracks), the album mostly doesn't rise above sweet soul. Only four of the tracks break the groove and become anything else, and those are mostly straight dance grooves. The sound, arrangements, and performances are flawless. The disc has a clean, transparent, and airy sound that's rarely encountered this side of frothy new age discs, while the synthesizer and sampler work is terrific (the non- keyboard instruments, when they appear, are excellent, too). Unfortunately, very few of the songs have any particular immediacy, and none of them stick in the mind the way Smokey Robinson's songs used to -- the closest any of these come is "Easy," which has all the classic Motown elements wrapped up together, right down to the Stevie Wonder-style harmonica. More typical is "Unless You Do It Again" (one of two CD-only tracks; the other is "Just Another Kiss"), which sounds for all the world just about how one would imagine Philly soul nowadays -- MFSB with the technological edge. The album is basically very smooth, beautifully executed, and sounds good. The question: Is there really a market out there for yuppie soul? The phrase itself seems surely an oxymoron. But, oh, that voice. ~ Steven McDonald, All Music Guide
What The Critics Say
Another superb Robinson album. He continued scoring hit singles throughout the 1980s, and this time out, the song "Just To See Her" was another huge pop and R&B smash, and the title track did almost as well. Robinson was thriving, despite the fact that hip-hop was steadily gaining strength, and New Jack Swing would soon force its way into the urban contemporary spotlight. ~ Ron Wynn, All Music Guide
What The Critics Say
Smokey Robinson took back the production reins from George Tobin and reinstated his producing/arranging partnership with Sonny Burke for Touch The Sky. The two took a more rhythmic approach, with Burke contributing drums and synthesizers. R&B listeners responded, notably on the title track (#68 R&B) and "I've Made Love To You A Thousand Times" (#8 R&B), but Robinson was shut out of the Hot 100, and as a result Touch The Sky continued his slide in LP sales, peaking at only #50 on the Pop chart, although it hit #8 R&B. ~ William Ruhlmann, All Music Guide
