Compilation Release in 2001, 16 tracks including all hits from his own albums, movie soundtracks, and collaborations with James Ingram, Patti LaBelle, Kenny Loggins, Quincy Jones, Burt Bacharach, David Foster, Alison Krauss & John Tesh.
Michael McDonald has maintained incredible popularity and has been awarded numerous accolades and honors in both personal and professional arenas. He has won an impressive five Grammys and earned innumerable chart successes and sales feats, yet all the while McDonald remains the artist's artist and an enduring presence in popular music. Michael McDonald celebrates the holiday season with the release of This Christmas, a collection of 12 Christmas classics and new holiday favorites.
With his husky, soulful baritone, Michael McDonald became one of the most distinctive and popular vocalists to emerge from the laid-back California pop/rock scene of the late '70s. McDonald found the middle ground between blue-eyed soul and smooth soft rock, a sound that made him a star. He initially essayed his signature style with the Doobie Brothers, ushering in the group's most popular period with hits like "What a Fool Believes" and "Taking It to the Streets."
In February of 2000, several world-renowned soul, r&b, and rock artists gathered at the Shrine Auditorium in Los Angeles to pay tribute to the man who virtually defines this thing they call "blue-eyed soul". McDonald's star began to climb once he began lending his distinctive baritone vocals to some of Steely Dan's great albums, starting with 1974's Pretzel Logic. Who the hell can forget McDonald crooning "PEEEEG" on their brilliant Aja album? All hell broke loose when he joined the already successful Doobie Brothers in 1976 and stole some of the lead vocal chores away from Tom Johnston, starting with the Takin' It To The Streets album.
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….
Michael Burks' third release on Alligator Records, Iron Man, is as close to being a live album as you can get from a studio performance. This could be attributed to Burks using his seasoned road band on this date instead of the Memphis studio musicians used previously on Make It Rain and I Smell Smoke. Alongside Burks' searing Flying V strut, Wayne Sharp's greasy Hammond B-3 dominates this set, reveling in soul and rock influences, including a cover version of Free's "Fire and Water," a definite nod to the blues-rock audience Burks has gained over his 30-plus years on the road. While Iron Man is an overall inspired modern electric blues disc, a few missteps hamper the session. "Ashes in My Ashtray," penned by Chicago bluesman Jimmy Johnson, would have made a better instrumental in this particular case, as the lyrics get in the way of an intense Burks guitar performance.