Sharon Jones & The Dap-Kings | I Learned The Hard Way
Sharon Jones and The Dap-Kings – I Learned the Hard Way
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The chances of making the critical musical breakthrough late in life are often nil. But never ask that question to vocalist Sharon Jones. Sure, she had the pipes to enter all sorts of talent competitions; belting out the James Brown-style funk and smoky blues in her younger years. Her efforts earned her plenty of session work as a background vocalist. It was one of those sessions with soul/funk vocalist Lee Fields where two records producers would drastically change Jones’ professional life while she was in her late thirties. After given a solo spotlight on the album, Soul Tequila by The Soul Providers, Jones eventually became part of the family of former underground soul label Desco Records. Those two producers – Gabriel Roth (AKA Bosco Mann) and Philip Lehman who recorded Jones on the defunct Pure label founded Desco Records. Jones and Fields amongst other like-minded acts released several 45rpm singles, which became a collectors’ paradise for sixties and seventies deep funk fanatics. The Soul Providers were considered the label’s house band. Desco also re-released the Soul Tequila album as Gimme the Paw. Eventually Roth and Lehman parted business ways but stayed true to form by launching other soul funk companies – Lehman with Soul Fire (now Truth & Soul) and Roth with Daptone Records. It was destiny in the strongest sense that several members of The Soul Providers would be the core group to back Jones. Thus -The Dap-Kings (that includes Bosco Mannon bass guitar) were born.
Jones’ transparency decorated with gospel shouts, funk bursts and soulful cries comes right from the gut without resorting to excess vocal acrobatics. The Dap-Kings’ distinct sound, whether delivering an outright funk shuffle or a sensitive ballad, evolved from their long musical relationship with Jones. While certainly a well-respected band in its own right, their talents have been somewhat overshadowed by playing with the controversial Amy Winehouse on her 2006 Back to Black disc (which featured her biggest hit to date “Rehab”).
Though Jones& The Dap-Kings’ sound feeds off of sixties’ recordings from Motown, Stax, Hi and Atlantic Records, dubbing this group as nostalgic may be unfair. With four discs (or albums) starting with their debut in 2002, their live shows continue to grow in popularity because they adhere to the fundamentals of soul music without shifting too far to the left or the right. They pull these feats off with mostly origina lmaterial but sometimes Jones & The Dap-Kings can pull other established gems like rabbits out of the hat. Woody Guthrie’s “This Land Is Your Land” from their second disc Naturally is transformed into a delightful soul morsel complete with trumpet trills. “I Just Dropped In To See What Condition My Condition Was In”, the sixties pop hit by Kenny Rogers & The First Edition, turns into a gospel romp accented by The Dap-King’s high-stepping rhythms. Last but not least, their James Brown funky throw downs of “What Have You Done for Me Lately” off of Dap-Dippin’ brought anew relevance to Janet’s original version.
Jones & The Dap-Kings’ fourth and latest project, I Learned the Hard Way,is another welcome visit to yesteryear soul delights; this time captured entirely by an eight-track machine. Compared to their previous work, the mood is quite solemn on most counts like the disc’s title indicates. That aside, Jones’ voice dresses to impress and The Dap-Kings’ horns and strings superbly frame her expressive voice. In just a thirty-six minute span of music, there were several songs of interest. “The Game Gets Old” bears the bruises of a broken heart: “I had a love that played with my soul.” On a more positive spin, “Better Things” strives for hoping in a better future. This track dabbles in the contemporary style but not enough to detract from their retro approach. Jones’ unashamed affinity for the blues and gospel is clearly a factor on “Money.” Right along side are The Dap-Kings horns echoing every one of Jones’ painful expressions. Besides her gift of entertaining, Jones drops some convicting story lines like “She Ain’t a Child No More.” about a woman adjusting to life as an adult despite a troublesome childhood; and “Without a Heart,” which questions our attitude towards our fellow man.
Even if Jones & The Dap-Kings are not major stars in the eyes and ears of today’s R&B/soul industry, one thing is paramount. Jones & The Dap-Kings are one of the biggest, sincerest deals in urban music today.
Peggy Oliver
The Urban Music Scene