Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

Reader's Picks

Top Recommendations

A short list of San Francisco's most popular hot spots.
user content provided by: LikeMe.net & SF Weekly

National Features >

  • City Pages

    Michele Bachmann, Unmuzzled

    You don't need to read Sarah Palin's book to hear the ravings of a mad woman.

    By Matt Snyders

  • Miami New Times

    Pimp Daddy

    The rise and fall of a chubby sex-cult leader.

    By Natalie O'Neill

  • Riverfront Times

    Babe 'n' Arms

    Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.

    By Nicholas Phillips

  • Dallas Observer

    The Fight for Texas

    Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.

    By Sam Merten

Solomon Burke

Make Do With What You Got

Share

  • rss

By Mark Keresman

Published on March 02, 2005

One of the last remaining voices of the great 1960s Southern pantheon that included Otis Redding and James Carr, Solomon Burke produces a benevolently gritty blend of gospel, country, and rhythm and blues that was successful on both the pop and R&B charts, and influenced iconic singers Van Morrison and Mick Jagger. His robust baritone has aged quite well, still scaling high notes with majestic conviction, remaining resolutely dignified even while emotively imploring, "Let Somebody Love Me." It's an elite song interpreter who can remake another's song into his own, which Burke gloriously achieves here, covering the Band's "Makes No Difference" and the Rolling Stones' "I Got the Blues," slathering each with a honey-thick soul sauce made from sumptuous Hammond B-3 organ, scintillatingly spare electric guitar, mournful horns, and a sanctified female chorus. Aside from King Solomon's '60s recordings for Atlantic and Bell, it doesn't get much better than this.