For the sake of its relative importance to this review,I do have a personal experience with Sharon Jones & The Dap Kings this year. I was watching 2013’s annual Macy’s Thanksgiving Day Parade-enjoying the usual parade of happy balloons and the floats,which often contained a musical act of course. Most of them were of course second tier teenpop acts of today. Some of then such as Ariana Grande were not actually half bad. But much to my surprise this band appeared performing “Ain’t No Chimney’s In The Projects”-an extremely atypical type of Christmas song to be appearing at such an event. Shortly after that I learned about the release of this particular album this year. No needless to say I was extraordinarily excited seeing as their last album,while excellent,was basically a collection of outtakes. Whatever the situation,this album is certainly not disappointing to me.
“Retreat” starts out the album with a hugely percussive stop-start rhythm with some lightening fast blues/funk chord changes. “Stranger To Happiness”, and “Get Up And Get Out” both deal with a strongly polished Motown styled uptempo sound while “You’ll Be Lonely”,with its stuttering guitar riffing and slow crawl,represents fine hard Crescent City style funk at some of its finest. “Now I See” goes into the horn heavy soul shuffle with a very strong roadhouse blues style melody-showing how strongly those musical ideas mingled together so well to begin with. “Making Up And Breaking Up” is a grandly performed balled with a beautifully reverbed multi-tracked vocal chorus for that otherworldly flavor. “Long Time,Wrong Time” has this strong electric piano Memphis gospel/soul-funk attitude with it’s stripped down atmosphere. “People Don’t Get What They Deserve” is fast paced Windy City style funk/soul “people music” frankly addressing the inequities between the econimic classes which,sadly,still continues the world over. “Slow Down Love” is a dynamic,horn break oriented ballad to close out this album.
Yes its short but,of course in the Daptone tradition the analog era minded flavor is maintained throughout. Of course two things album this album that I appreciate is the Dap Kings total devotion to their instrumental sound and songwriting. They always realize that its not only important to play “real instruments”,but also to have the creative vision to produce with with strong recording values and substantive lyrical content. Not only that but this is also a band that never ceases to emphasize uptempo funk and soul with prominent melodic content as well. As long as Sharon Jones & The Dap Kings are around,there’ll be very little chance that people will think of retro soul as some type of generational trend. This band is always emphasizing the instrumental and melodic importance/vitality that the mid/late 60’s style soul/funk process era which they’ve embraced had to offer. They’ve done that progressively more so with each of their progressive albums. Somehow or other,each and every time there is just a little more growth and a little more power to their approach. So I can only hope they’ll keep bringing the positive end of the soul and funk spirit out in their music for a long time to come!