Solomon Burke

Solomon Burke never cracked the Top 20 on the pop charts, yet his role as a foundational figure in the birth of soul music remains undeniable. During the 1960s he recorded for Atlantic, where he wove country inflections into R&B through his heartfelt phrasing and the carefully shaped, tuneful ballads and midtempo numbers that filled his sessions. Sophisticated “uptown” arrangements framed this material, much of it supplied by his producers, above all Bert Berns. The resulting blend of gospel fervor, pop craftsmanship, country feeling, and studio gloss helped define the early soul sound. Although other artists explored similar territory, few matched Burke’s level of achievement. Like Otis Redding and Wilson Pickett, he left a clear mark on the Rolling Stones, who included versions of his “Cry to Me” and “Everybody Needs Somebody to Love” on their first albums.

Burke’s ties to gospel ran deeper than those of most soul singers. He was already preaching at his family’s Philadelphia church and hosting his own gospel radio program before he reached his teens. In the mid- to late 1950s he cut both gospel and R&B sides for Apollo. When he moved to Atlantic in the 1960s, producers steered him toward secular material, much as they had done with Aretha Franklin and Wilson Pickett. The first half of the decade brought a string of strong R&B hits that also registered modestly on the pop charts; among the biggest were “Just Out of Reach,” “Cry to Me,” “If You Need Me,” “Got to Get You Off My Mind,” “Tonight’s the Night,” and “Goodbye Baby (Baby Goodbye).” Unlike Franklin or Pickett, however, he never converted that R&B success into a massive pop audience. After leaving Atlantic in the late 1960s he spent the next decade moving among labels, scoring his largest single with a 1969 cover of Creedence Clearwater Revival’s “Proud Mary” and cutting a late-1970s album produced by cult figure Swamp Dogg.

From the 1980s into the first decade of the new century, Burke stood out as one of the most prominent living practitioners of classic soul, maintaining an active touring schedule and releasing albums that stayed rooted in traditional styles, occasionally leaning toward gospel. Critics praised these efforts, yet their stylistic purity limited their reach to dedicated roots-music listeners rather than a broader pop public. Listeners who valued an uncompromised soul veteran nonetheless held his live performances and later recordings in high regard. The 2002 album Don’t Give Up on Me was widely celebrated as a major return to form. Songs came from Elvis Costello, Dan Penn, Nick Lowe, and Tom Waits, Joe Henry produced, and reviewers compared the project to Johnny Cash’s American Recordings series.

Once the acclaim for Don’t Give Up on Me had reaffirmed Burke’s standing among the foremost living exponents of classic soul, he joined producer Don Was for Make Do with What You Got, an updated take on his signature approach that appeared in spring 2005. A year later he issued Nashville, a country-soul hybrid, on Shout! Factory. The label followed it in 2008 with Like a Fire. Burke then reunited with producer Willie Mitchell for Nothing’s Impossible, released by E1 Music shortly after Mitchell’s death in 2010. In October 2009 he began recording sessions in the Netherlands with Dutch soul band De Dijk; the resulting album, Hold on Tight, became his final release. Burke died on October 10, 2010, upon landing at Schiphol Airport in Amsterdam, where he had been scheduled to perform a sold-out concert with De Dijk at Paradiso. Hold on Tight appeared in March 2011.