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Nashville


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Nashville
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Audio CD, April 26, 2006
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Nashville + Don't Give Up on Me + Make Do With What You Got
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Product Details

  • Audio CD (April 26, 2006)
  • Original Release Date: 2006
  • Number of Discs: 1
  • Label: Shout Factory
  • ASIN: B000HEWGQA
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (24 customer reviews)
  • Amazon Best Sellers Rank: #13,578 in Music (See Top 100 in Music)

1. That's How I Got To Memphis
2. Seems Like You're Gonna Take Me Back
3. Tomorrow Is Forever
4. Ain't Got You
5. Valley Of Tears
6. Honey Where's The Money Gone
7. Atta Way To Go
8. Millionaire
9. Up The Mountain
10. Does My Ring Burn Your Finger
11. Vicious Circle
12. We're Gonna Hold On
13. You're The Kind Of Trouble
14. 'Til I Get It Right

Editorial Reviews

Product Description

Fittingly, the release was produced in Nashville by Grammy-nominated, revered songwriter, musician and producer Buddy Miller. It includes duets with Dolly Parton, Emmylou Harris and Patty Loveless. Burke's voice is drescribed as masterful and heartrending as on his two most recent critically acclaimed CDs 'Make Do With What You Got' and the Grammy Award-winning 'Don't Give Up On Me.' The 14 tracks are written by a diverse mix of songwriters including Bruce Springsteen, Parton, previously unreleased songs written by Patty Griffin and Gillian Welch (on which they both contribute background vocals on their respective cuts), as well as producer Buddy and his wife Julie Miller, Tom T. Hall, George Jones, Jim Lauderdale, Don Williams and Kevin Welch, among others.

Amazon.com

Solomon Burke's return to country is as much a spiritual renewal as it is a reinterpretation of some of Nashville's greatest mainstream and Americana songs. The 66-year old King of Rock & Soul has always plied the gospel, of course, but Music City sometimes forgets to feel it in its bones. Buddy Miller, whose gritty hillbilly pleadings always carry a healthy dose of otherworldly soulfulness, is the right producer to bring it all together, since he invites such sidemen as Sam Bush, Kenny Vaughan, and Byron House, as well as guests/duet partners Patty Griffin, Dolly Parton, Emmylou Harris, Gillian Welch, and Patty Loveless. This is the kind of album that clicks right off but continues to grow on you, such greasy, rolling blues-rock songs as Paul Kennerley and Barry Tashian's "Honey, Where's the Money Gone" loosening up your sacroiliac and Griffin's affecting "Up to the Mountain" morphing into a secular hymn in Burke's big hands. Not everything completely jells: The R&B chorines on "Vicious Circle" jar next to Miller's plinking banjo and Li'l Abner framework, and this rendition of his searing "Does My Ring Burn Your Finger" cries out for wife Julie's songbird harmonies. But when everybody sets their mouth right--as on Burke's duet with Harris on the George Jones/Tammy Wynette classic "We're Gonna Hold On"--the seas nearly part. Throw in some cockiness from the delightfully twisted psyche of Jim Lauderdale ("Seems Like You're Gonna Take Me Back") and Vaughan's blistering chicken-pickin' electric guitar, and lawdy, momma, ain't that good news today! --Alanna Nash

Customer Reviews

For the sake of Solomon Burke, and for my own sake as well, please keep `em coming!
Thomas D. Ryan
The low key production of the songs suited the Bishop of Soul's somewhat ragged voice surprisingly well.
Soulboogiealex
Experience oozes from this CD, and make it as resonant as the last great movie you saw.
R. Mix

Most Helpful Customer Reviews

35 of 36 people found the following review helpful By Soulboogiealex on September 26, 2006
Format: Audio CD
Every once and a while an album appears that takes you of guard. Nashville is one of those records. Solomon Burke started his comeback a few years back with "Don't Give Up on Me". It was a commercial and artistic success. The low key production of the songs suited the Bishop of Soul's somewhat ragged voice surprisingly well. Sadly the album was followed up by a lackluster Don Was production. In an attempt to create a classic Soul album Was completely drowned Solomon's voice. A mistake pleasantly corrected on this new release.

Nashville is a genuine Country album. Burke of course is no stranger to the medium. He started his career with the Country tinted "Just Out of Reach". Later on in his career his Southern Soul always seemed to have a slight Country shade. Burke often worked with the legendary Muscle Shoals studios, whose band basically consisted of Country musicians taking their punch at Soul music. Yet Nashville is the first real Country album Burke ever did. Horn sections are replaced with fiddles, string instruments play a dominant role and Burke gets into some close harmony with the queens of Country, Emmylou Harris and Dolly Parton.

The album opens with "That's How I got to Memphis", producer Buddy Miller accompanying Solomon on just guitar. The tone for the album is set. Although the record at times goes for a Hill Billy blow out with full band, most of the material here is sparsely produced and the focus is on ballads. Though Solomon's voice is still a power house, it has diminished in strength over the years. Burke has problems in times to remain in key and his voices gained a gritty edge. The acoustic instrumentation of the record allows him to relax his voice and let the material come to live.
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26 of 26 people found the following review helpful By R. Mix on September 29, 2006
Format: Audio CD
I am another long-time fan of Burke's, and am rapturous over his revitalized career. 'Nashville' picks up where the brilliant 'Don't Give Up On Me' left off, with Burke again wrapping his warm, rich pipes around songs worthy of them.

For you newcomers, 'Nashville' is no bandwagon-jumper. Burke is a sixties soul man with a jones for country and western that pre-dates Ray Charles' 1962 classic LP 'Modern Sounds In Country and Western Music'. It's no accident that Burke's first hit "Just Out of Reach (Of My Two Open Arms)" was a C&W-laced ballad.

On the surface, country and western and soul seem like distant relatives, one played and listened-to mostly by whites, the other mostly by blacks. Their instrumentation, tempos, harmonies and presentation are frequently very different.

But both have their roots in native music: C&W stems largely from the hymms and folk songs of Irish and English immigrants, while soul traces its heritage back through gospel, blues and field hollers, which themselves are descended from the tribal music of Africa.

They are also the music of the rural poor and the disenfranchised, who used their music as an aural diary. Their worries and concerns were universal, and crossed all racial lines. It's easy to see how a southern-born black man working in a tire plant in Akron, Ohio could relate to a song like Bobby Bare's "Detroit City". Or how a white woman in Appalachia could possess an innate understanding of LaVern Baker's "Tomorrow Night". Despite the obvious differences, there is a great deal of commonality here.

But I digress.

Solomon Burke is one of the fortunate few whose voice actually seems enriched by age, not diminished by it. And that added texture is put to good use on 'Nashville'.
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9 of 9 people found the following review helpful By Amazon Customer on October 6, 2006
Format: Audio CD
Solomon Burke singing country is the best thing to happen to Nashville. Take an artist who is always exactly who he is, bring in the finest producer (Buddy Miller), the finest musicians and writers and the finest duet pairings (Dolly Parton, Emmylou Harris, Gillian Welch, Patty Griffin and Patty Loveless) to surround him and 14 songs later, you have yourself your favorite cd - like an old friend. It isn't Solomon Burke "playing cowboy." It is Solomon Burke being Solomon Burke and offering a point of view that fervently honors country music.

The combination of country music and Solomon's spontenaity are genius, and the interpretations make it seem that Solomon knows exactly how you feel, and he is singing straight to your (country) soul.

Buy it, treasure it, and spread the news: THE BISHOP IS IN NASHVILLE!
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6 of 6 people found the following review helpful By Thomas D. Ryan on October 24, 2006
Format: Audio CD
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.
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