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Solomon Burke
A few years before this release, Solomon Burke burst out with "Don't Give Up on Me," his best collection of songs in thirty years. The title was an indicator of just how far into the background Burke had faded, and also a righteous plea for attention from an audience who had forgotten him, if they even knew him in the first place. That collection was an incredible wake-up call to fans of real soul music, and it still stands as an awesome testament to Burke's talent, but a few people attributed its success to the multitude of famous guests who assisted Burke with his 'comeback'. "Make Do With What You Got," his next release, silenced most of them, since it focused on Burke's own relentless energy and personality, while downplaying the role of his assistants. "Nashville" is the third album in what his record company refers to as a "21st Century trilogy of classic music," and all I can say is, "Please don't stop!"
If judged for consistency, shelf life and genuinely deep songcraft, "Nashville" may be the best of the bunch. Burke sings like a man thirty years younger than his age, and his choice of material is stellar. The song selection is based on Burke's lifelong love of country music, hence the title. What should no longer be surprising is how he extracts so much emotional power from each song, and yet I am blown away each time I play this disk. "That's How I Got to Memphis" is a literate, sad tune written by Tom T. Hall that never sounded better than it does here. "Atta Way to Go" sends a shiver down my spine, while "Honey, Where's the Money Gone" always triggers a rueful smile. Springsteen can kiss his ownership of "Ain't Got You" goodbye, too – Burke's performance is definitive, and tons of fun besides. Producer Buddy Miller does a fabulous job of keeping things low-key, which lends a natural flair to each performance that only enhances Burke's intrinsic abilities. A few exceptionally talented women lend their voice and songwriting talents here as well; Dolly Parton, Gillian Welch, Patty Griffin, Emmylou Harris and Patty Loveless each duet with Burke (the first three on songs of their own) and they do so with grace, but the spotlight never falters.
This is a CD that I could live with for a very long time. Now, my only question is why the record company keeps referring to these albums as a trilogy? For the sake of Solomon Burke, and for my own sake as well, please keep 'em coming!
Grade: 
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