Tag Archives: Daptone Records

Anatomy of THE Groove: “100 Days,100 Nights” by Sharon Jones & The Dap-Kings

Sharon Jones hasn’t been with us for just under 7 months now. But the presence of her and the Dap Kings/Daptone Records scene of the  2000’s in general reminds me of the retro soul/funk movement of that time. It didn’t have neo soul’s obsession with all natural instrumentation or direct linkage to hip-hop. It emphasized a full band sound with horns and a hard touring ethic. Not to mention the powerful soul wail of singers such as Jones herself. Somehow I feel it even touched on Mark Ronson too when he co produced Amy Winehouse’s similarly themed album Back To Black in 2006.

Daptone Records itself is just an amazing phenomenon in itself. Its an independent funk/soul label that thrived in the immediate post 9/11 world. Its roster emphasized instrumental bands such as the Latin flavored Budos Band and Antibales,as well as other soul singers who’d had difficulty making it such as Charles Bradley.  It was Henrique Hopkins who really gave me the knowledge of Sharon & The Dap Kings music just under a decade ago now. And I remember the song that he used to introduced me to their sound. It was called “100 Days,100 Nights”.

A minor chorded big band style horn chart opens the song before the percussion accented drum rhythm kicks into gear. This deals with a tightly locked bass/guitar lick-accented just after the more brittle horn charts which represent the refrain of the song. A Hammond organ also purrs along in the back round-often slipping out of the arrangement with a soulful wait-especially after the drum break that separate each refrain/choral pattern. On the bridge,the song slows down at Sharon’s request to a 6/8 beat. After a couple bars of this,another horn chart closes out the song as it fades.

“100 Days,100 Nights” is one of those songs that has it all. It has a powerful uptempo groove,heavy horns, rhythmic bass guitar and even a ballad part to it. And everything rooted in Sharon Jones gospel shouting and a melody deep in the center of the blues musical form. The Dap Kings showcase their amazing unity and instrumental vitality on this song. They know exactly how to be musically flamboyant and play for a powerful singer as well. That makes this song perhaps the definitive statement for Sharon Jones & The Dap Kings for their consistently strong career.

 

 

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Anatomy of THE Groove 1/09/14 Rique’s Pick : “Sing a Simple Song” by The Budos Band

“Sing a Simple Song”, first written and performed by Sly & The Family Stone on their landmark 1968 album “Stand”, is one of the prototypes of funk, a clear cut example of how it is done. It stands alongside songs such as Sly’s own “Thank You”, “Cold Sweat”, “Shotgun”, “Tighten Up”, “Papa’s Got a Brand New Bag”, “Respect”, “Funky Broadway”, “Express Yourself”, “I Thank You”, and many other songs that took the advance gaurd in delineating how to drop the funk bomb. In the case of this song, the funk formula was a monster two bar riff with a rolling consistency and some sharp, sassy syncopated accents, played with a sharp attack. Everything is based on the guitar and bass riff, and the riff itself has become one of the cliche’s of funk, a style of phrasing musicians return to regularly when soloing or playing. This is backed by Greg Enrico’s funky straight ahead drums, long extended horn notes and the joyful singing of the mixed choir that was Sly & The Family Stone. Daptone Records Brooklyn New York based The Budos Band’s rendition of this classic on their 2005 debut gives you this funk staple in a raw uncut form. Doing a song like this is a great realization of that portion of the Nu Funk movements goals. The Budos Band and their associated groups at Daptone Records make music that cleary evokes the glory of funk musicians coming up with their parts together and recording as a unit, in the style of the original bands.

The song begins with an extremely funky vamp that basically loops the second bar of the “Sing a Simple Song” riff. The harmonized bass and guitar play over drums and percussion, repeating the riff in the manner of an ostinato. This particular piece is the part of the song that grabbed me the most when I first heard it. In particular it reminded me of several things Miles Davis and Teo Macero put together on Miles’ landmark 1969 “Bitches Brew” album, which was in itself influenced by Sly and songs such as “Sing a Simple Song”. Miles would go on to base a section of his song “Right Off” from the Jack Johnson soundtrack on “Sing a Simple Song” as well, with that riff going on to become one Miles returned to for the rest of his career. The Budos Band’s opening vamp has the same repetitive, cut tape quality that Miles and Teo got on songs such as “Miles Runs the Voodoo Down” and “Pharoah’s Dance.” They got it by extensive manipulation of tape, creating vamps that repeated themselves over and over, and The Budos Band achieves a similar sound here, which also has a very Blaxploitation scene quality.

After the vamp repeats the drummer kicks it off into the main groove. The bass player plays the classic riff to the song with guitars playing the same riff but harmonized on different notes. The whole sound is dark and skeletal, with the horn section playing a sustained rising riff behind the rhythm. Other horns come across that, playing where the voices of the Family Stone would be, adding the “Hey, Na Na Na Na’s” of the song. The Bands instrumental vibes stretch out and elongate the classic riff, atoning for the abscence of the joyus vocals. At around 1:20 in the music changes up to an extremely funky rendition of the chorus lead in. At 2:05 they hit the famous break section of which Greg Enrico’s drums have been sampled extensively. The song ends on a return to the opening “Miles Davis” vamp, only with more participation from the horn section.

The Budos Band’s rendition of this classic reminds me of what one would probably have heard from a nightclub funk band in the early ’70s, and I mean that as praise, not a slight by any means. Which means its a great vibe cut and would be excellent music for movies and various scenes. The band succeded in capturing a dark and funky undercurrent to this most joyful of funk songs (“Try a little do re me fa so la ti da!”) by incorporating the vibe of one of the countless musicians it influenced, sounding at times very much like the opening vamp on Miles Davis’ “Pharoah’s Dance.” They also show that live band instrumental funk is very much a part of musics present and (hopefully) future!

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