Michael Mcdonald - Motown Two
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Music CD Cover
Artist: Michael McdonaldEdition: Music CD
Audio: English (Original Language)
CD Release Date: 2004-10-26
Music Label: Motown
Soundtracks:
- You're All I Need to Get By
- I Was Made to Love Her
- Reach Out, I'll Be There
- Stop, Look, Listen (To Your Heart)
- Baby I Need Your Lovin'
- Loving You Is Sweeter Than Ever
- Tracks of My Tears
- What's Goin' On
- Second That Emotion
- After the Dance
- Nowhere to Run
- Tuesday Heartbreak
- Mercy Mercy Me
- Baby I'm for Real
Free Music Notes for Motown Two
Free Music Review: Much finer than Mike's first Motown album; James Jamerson is finally done justice!
Hit: 5 Stars
4.7 stars
McDonald's first Motown album really doesn't move me much; almost none of the tracks come remotely close to the majestic soulfulness of the originals, even with That Voice at work (except the stellar Too High, which Larry Carlton really peaks on). But hey, even That Voice ain't gonna top Smokey or Marvin! They almost invented soul, and Mike would be the first to say he's following in their footsteps, but this second Motown tribute album offers real redemption; the grit and funk missing from the first effort are here in spades.
There are almost no duds, and some real gems, among them You're All I Need, Second That Emotion, Reach Out, I Was Made To Love Her, and one of the best covers to date of the sublime What's Going On. Mike really reworks the timing and phrasing and delivers the goods; Marvin would smile and nod, no doubt. Lyrically, WGO may be the most transcendent "pop" song of them all, and MM makes you feel the words. Personal love is an easy sell, but universal brotherly love has rarely seemed more logical than on this tune.
I think the real key to this record is the unleashing of Nathan East, who was on some of the first record but was never allowed to cut loose as he does here. And let's face it: the overwhelming key to the consistent musical mastery on the original Motown recordings was the non-stop genius of James Jamerson, the man who defined funky electric bass playing---and is still its ultimate master. So endlessly musical, and East's loving tribute here is the best work of his career, to my ears (high praise considering he's been on about four million cuts); EC never took him to these spaces.
East was clearly told by producer Climie to give JJ his due here. On the first, Climie spent too much time getting things "perfect", and in so doing robbed many tracks of the soul that comes from a live band playing together in the studio. That mistake is not repeated here, and the wonderful rhythmic interplay of East with world-class drummers Abe Laboriel and the inestimable Vinnie Colaiuta is what really lifts this album above and beyond, and obviously drives MM to some of the best lead vocals he's ever put on wax.
It's the super-funky yet always musical bass playing of East that makes this album so sweet, and his deep rich pocket defines almost every great track here, which is most of them. This is a master class in how bass can make a track, and that's only fitting, as Jamerson probably taught more bassists how to swing deeply and please the song than any other player in the history of the instrument, Jaco included.
Without doubt check this cd out before MM's first Motown effort. Perhaps Mike heard that one and realized he could do far better, and then did just that. Everything about this collection is superior to the first. That one's got a few great moments, but Motown Two is pretty much nothing but great moments. Which makes me very happy, as I love That Voice and hearing it at its best on so many world-class tunes is hard to beat. I've played this one a lot lately, and it ain't wearing yet, just making me want to hear it over and over. That makes it a real winner in my book. Add one of James Jamerson's finest disciples and a host of studio gods, especially Colaiuta, and you've got a true classic of funky soul.
Motown Two Poster
Blue-eyed soul crooner Michael McDonald gave his career a much-needed shot in the arm with 2003's Motown, a commercially well-received collection that matched the one-time Doobie Brother and '80s solo star's rich vocals with songs from Hitsville's peak. One year later, McDonald again delves into the Motown bag to come up with another 14 selections from such giants as Stevie Wonder, Marvin Gaye, and Smokey Robinson. McDonald is a distinctive enough vocalist to bring something to these classics, as tough as that task is. Unfortunately, the uninspired production and stilted musicianship keeps the likes of "I Was Made to Love Her," "Tracks of My Tears," and Nowhere to Run" from being anything more than dubious offerings to McDonald partisans. Motown became a hit factory as much on the strength of its foot soldiers as it did its commanding stars, but producer Simon Cline employs thin and lethargic backing tracks where some of the most inspired pop playing in history once stood. Return to the Motown source to hear inspired pop soul music. --Steven StolderBlues Music CDs
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