Sharon Jones & the Dap-Kings "100 Days, 100 Nights" Review - A Funk DJ"s Point of View
Sharon Jones & the Dap Kings are top of the pile - the standard of writing, playing, singing and production has earned them their place as the spearheads of today's funk/soul revivalist movement.
Their live performances are only rivaled by vintage footage of their influences, their growing portfolio of session work includes extensive contributions to recent albums by Amy Winehouse and Mark Ronson.
These days, the band seem to be constantly immersed in extensive touring, only surfacing briefly to gasp for air before ducking back under again.
An album comes only when they can manage a tightly scheduled stop, making releases a hotly anticipated event amongst fans.
As a DJ, I'm always in search of turbo charged dance floor smashes which will get people moving and was more than satisfied by their single, I'm Not Gonna Cry they released in April '07 - a slice of uncompromisingly hard funk.
I have to admit, then, when I first listened to 100 Days, 100 Nights, I was waiting to hear a dance floor groove that would knock me off my feet.
I didn't exactly find what I was hoping for, although what is on the record is unquestionably without fault.
From the start, the album is well a executed slice of real, spine tingling soul beyond the quality we have come to expect from them.
Jones' vocals soar on a finer form than ever before and the band percolate a comfortable groove that seems to seek the emphasis on Jones.
Band leader, Bosco Mann has written a set of songs of such quality that they almost all seem like cover versions, it really feels like you are listening to a classic album.
For example, Let Them Knock is one of the best vocal performances I've heard from Jones, who despite her small physical stature, is standing tall next to her contemporaries.
This lady can sing, can really sing.
A very welcome addition of strings on Something's Changed adds a further dimension whilst Humble Me strides confidently into Otis Redding territory with it's Mar-Keys styled horn arrangements - not many could pull this sound off but they do.
Funk comes in the form of the excellent Nobody's Baby and Keep On Looking - both ample slices, just not that as explosive as I know they can be.
Overall, the Dap Kings are way in front of their peers and Sharon Jones has earned her rightful place as Queen of funk.
I dream they will one day make another straight funk album but somehow I doubt it.
As long as they continue this quality, plus keep the funk laden 45s coming, who's complaining?
Their live performances are only rivaled by vintage footage of their influences, their growing portfolio of session work includes extensive contributions to recent albums by Amy Winehouse and Mark Ronson.
These days, the band seem to be constantly immersed in extensive touring, only surfacing briefly to gasp for air before ducking back under again.
An album comes only when they can manage a tightly scheduled stop, making releases a hotly anticipated event amongst fans.
As a DJ, I'm always in search of turbo charged dance floor smashes which will get people moving and was more than satisfied by their single, I'm Not Gonna Cry they released in April '07 - a slice of uncompromisingly hard funk.
I have to admit, then, when I first listened to 100 Days, 100 Nights, I was waiting to hear a dance floor groove that would knock me off my feet.
I didn't exactly find what I was hoping for, although what is on the record is unquestionably without fault.
From the start, the album is well a executed slice of real, spine tingling soul beyond the quality we have come to expect from them.
Jones' vocals soar on a finer form than ever before and the band percolate a comfortable groove that seems to seek the emphasis on Jones.
Band leader, Bosco Mann has written a set of songs of such quality that they almost all seem like cover versions, it really feels like you are listening to a classic album.
For example, Let Them Knock is one of the best vocal performances I've heard from Jones, who despite her small physical stature, is standing tall next to her contemporaries.
This lady can sing, can really sing.
A very welcome addition of strings on Something's Changed adds a further dimension whilst Humble Me strides confidently into Otis Redding territory with it's Mar-Keys styled horn arrangements - not many could pull this sound off but they do.
Funk comes in the form of the excellent Nobody's Baby and Keep On Looking - both ample slices, just not that as explosive as I know they can be.
Overall, the Dap Kings are way in front of their peers and Sharon Jones has earned her rightful place as Queen of funk.
I dream they will one day make another straight funk album but somehow I doubt it.
As long as they continue this quality, plus keep the funk laden 45s coming, who's complaining?
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