A Showcase for the Revitalized Soul of Solomon Burke

*** 1/2

SOLOMON BURKE

“Don’t Give Up on Me”

Fat Possum

Burke is one of the all-time great soul singers, an artist with the character and command of such legendary figures as Otis Redding, Ray Charles and Sam Cooke. But the Philadelphia native, who did his most acclaimed work for Atlantic Records in the ‘60s, has been off the pop radar screen for so long that he is probably known today only by soul cultists.

His profile will be lifted by this album, which follows Burke’s induction last year into the Rock and Roll Hall of Fame. Produced by singer-songwriter Joe Henry, the collection (due in stores Tuesday) features songs written for Burke or contributed by such respected writers as Bob Dylan, Van Morrison, Tom Waits and Elvis Costello.

For those familiar with the horn-driven arrangements on the records Burke made for Atlantic, including “Cry to Me,” the spareness of these small-combo recordings may see like little more than demos. Burke’s vocal power does call at times for more dynamic support--and some of the songs aren’t the writers’ best.

Mostly, though, the tracks work wonderfully well. They showcase Burke’s voice in ways that highlight the personal, intimate nature of his singing style. The tunes range from plaintive and winsome to philosophical, and Burke’s spectacular voice updates the intensity and desire of soul’s golden age. He plays Wednesday at the House of Blues in West Hollywood.

Robert Hilburn

*** 1/2

DJ SPOOKY

“Optometry”

Thirsty Ear

DJ culture does have its Zappa, its Stockhausen, its Cage, an artist defying fashion and changing the possibilities of music forever, and that man is Paul Miller, a.k.a. DJ Spooky. He’s never promised a dance-floor hit and you won’t find one here. Instead, his 15 albums since 1995 have chased a mind-blowing future music binding classical composition, jazz and electronica. On “Optometry,” that new music arrives at last.

This is an expansive work of avant-garde jazz with a humanized electronic soul. With a live group that includes such New York “new music” standouts as accordionist Pauline Oliveros, Spooky and his turntables inhabit the urban mix like an invisible agent in a William S. Burroughs book.

Without vinyl pyrotechnics, Spooky reveals how free jazz is also the highest expression of outlaw classical composition, German proto-electro like Can, the ‘80s-’90s new-music scene of John Zorn’s Naked City or Sonic Youth, the beat-theft of hip-hop and the turntablism of the X-Ecutioners.

Spooky, who plays Wednesday at the Galaxy in Santa Ana and Thursday at the Knitting Factory Hollywood, gives this mix a heart, and a light one. Like the Romantic poets, Spooky puts his overplayed intellect in the service of beauty, and “Optometry” features his sweet new sound in its full glory.

Dean Kuipers

** 1/2

THE CRYSTAL METHOD

“Community Service”

Ultra

The four years that the Crystal Method took between the release of its 1997 debut, “Vegas,” and its follow-up, “Tweekend,” was too long. As self-described perfectionists who have a hard time letting go of their music, Angelenos Ken Jordan and Scott Kirkland had to come up with a way to avoid a repeat of the long lapse.

“Community Service,” the first mix CD from Jordan and Kirkland (in stores Tuesday), is the answer. Unlike the pair’s first two albums, when they composed all the music, this is a mix CD--which includes some tracks they admire from other artists. But “Community Service” is more than just a mix CD. It also features several rarities and exclusives, including Crystal Method remixes of P.O.D., Garbage and Rage Against the Machine tracks.

Despite the inclusion of those rock remixes, “Community Service” still plays like a traditional mix CD, moving continuously from style to style. The record kicks off with a series of beat-laden dance tracks, the best of which is Stir Fry’s propulsive “Breakin’ in the Street.” Among the rarities, a remix of the Crystal Method’s “Name of the Game” turns it into more of a dance-friendly club track, while the remix of P.O.D.’s “Boom” maintains the song’s explosive nature among the synthesized beats.

The Crystal Method has achieved much of its success because, like the Prodigy, it resides comfortably in both the rock and dance worlds. “Community Service” shows both sides of the band with equal aplomb. It will both DJ and play a live set at Spundae, Saturday at Circus in Hollywood.

Steve Baltin

In Brief

** 1/2 Toby Keith, “Unleashed,” DreamWorks. For the first time, the brawny Oklahoman has written or co-written everything on an album. The results reaffirm rather than redefine his niche in country music as a plain-spoken man’s man, with a hint of Romeo beneath the surface. His chest-thumping side comes out in the subtlety-free hit “Courtesy of the Red, White and Blue (The Angry American)” and his duet with Willie Nelson on “Beer for My Horses.” Things get more interesting when he allows some complexity into his writing. In stores Tuesday.

Randy Lewis

** 1/2 Mario, “Mario,” J. At 15, this R&B-pop; singer has already scored with his hit “Just a Friend 2002,” an homage to Biz Markie’s 1990 Top 10 single. On his debut album, Mario uses his smooth, pretty voice to beg for an older girl’s attention (“What Your Name Is”), pledge his devotion (“Never”) and assert his romantic viability (“Put Me On”)--all in a seductive yet age-appropriate style. Despite the army of producers and contributions from star label-mate Alicia Keys, the high school sophomore’s personality glimmers through the slickness, recalling the more innocent days of Michael Jackson, or maybe Prince at his most sweet-talking. Natalie Nichols

*** Styles, “A Gangster and a Gentleman,” Ruff Ryders/Interscope. Jadakiss, another member of hard-core rap group the LOX, had more hype surrounding his solo album last year, but Styles delivers a much better effort. The Yonkers, N.Y., artist’s straightforward delivery goes down easy, and the moving, autobiographical title track’s vivid narrative comes off like a gripping sonic movie. Elsewhere, Styles’ clever, street-centered wordplay and the punishing, drum-driven production make for a bruising listen.

Soren Baker

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent). The albums are already released unless otherwise noted.