Having sat most of the '80s out, Boz Scaggs returns in the mid-'90s as an urbane blues crooner, effectively bringing his music full circle from the sleek, disco-friendly pop of his '70s commercial zenith to the purer R&B of his late '60s debut. Come Home is a soulful valentine to the same models that informed that first outing, juxtaposing solid new originals against venerable songs from Jimmy Reed, Earl King Johnson, Sonny Boy Williamson, Willie Mitchell, and other blues and soul masters from Memphis, Texas, and Chicago. Scaggs, always a model of taste (who else could have produced disco hits that still sound stylish), juggles two blue-chip rhythm sections with strategic infusions of soulful brass, greasy organ, and Scaggs's own deep-fried guitar work sustaining the set's bluesy accents.
On Memphis, Boz Scaggs pays tribute to the city's magnificent soul tradition, Al Green, and producer Willie Mitchell and his Royal Recordings studio, whose location and personnel were used to cut it in three days. Produced by drummer Steve Jordan, the core band includes the singer and Ray Parker, Jr. on guitars, and bassist Willie Weeks, augmented by the Royal Horns & Strings, a small backing chorus, sidemen, and guests. Green's influence is celebrated in the opener, Scaggs' "Gone Baby Gone." Its wafting B-3, Rhodes, fluid electric guitars, and a tight backbeat underscore his baritone croon to excellent effect. If there were doubts about the quality of his voice at this juncture, they're immediately dispelled when his sweet falsetto emerges. In his cover of Green's "So Good to Be Here," Scaggs references him but digs deeper into his own trick bag with more rounded, earthier highlights.
"Both artistically and commercially, Boz Scaggs had his greatest success with Silk Degrees…" ~allmusicguide