Sharon Jones and theDap-Kings - Naturally

Wed 16th Mar, 2005 in Music Reviews

Naturally is appropriately titled, considering funk/R&B/soul’s current obsession with layers upon layers of production work, expensive studio hours and extensive polishing and smoothing. Particularly in these genres – and their various offshoots – it seems the original passion, sexuality and impressive musicianship has been somewhat lost.

This has become the selling point of Sharon Jones and the Dap-Kings. The whole album is packaged to induce nostalgia and drive home the point – that this assembly of musicians is far superior to the diluted wannabes of today. There’s no arguing that Naturally contains some genuine gems, and the energy of this collaborative effort leaves the futile attempts of Jay-Z and others in the dust.

Kicking off with the infectious shuffle of How Do I Let a Good Man Down?, Sharon Jones is already on fire and the brass section acts as a fuel injection. The song structuring is familiarly cosy, and Jones’ lyrics are projected with feminine grunt.

The unfolding narrative typical of old soul begins with Stranded In Your Love, a duet between Jones and Lee Fields backed by ripples of bass and keyboards. Strings and brass add a melodramatic flair to a track that really should be spun with the warmth and crackles of an old turntable.

My Man Is A Mean Man rumbles along delightfully, punching out a killer chorus to dance-hall effect with Jones’ vocals echoing around a furious bassline and chirping saxophones. It’s a cheeky number tailor-made for twisting on the dance floor and getting sweaty.

The Dap-Kings show their musical dexterity with ballads You’re Gonna Get It and rhumba-styled How Long Do I Have to Wait for You? and musically, all of the tracks are spot-on. The only potential downfall of Naturally is the band’s tendency to slip too far into nostalgic cliché.

Luckily, This Land is Your Land is soul at it’s best. Deep, funky bass and trumpet flourishes combine with a sexy-slow rhythm anchored by a baritone sax. Jones’ vocals are rich and enviably powerful, and the band seem to be perfectly attuned to each other’s energy. A definite highlight.

Your Thing is a Drag warbles gently, accentuated by subtle guitars and the brass section acts as another voice conversing with Jones’. A traditionally dramatic finale leads on to Fish in the Dish, the only track to use piano as a focal point. Multi-part chorus harmonies lend the track a live feel, and admittedly it’s difficult not to fantasise about experiencing this material in a live forum.

Love song All Over Again is grounded by fantastic use of a string section, and is made surprisingly engaging by Jones’ lyrical storytelling. The strings create the chorus, rather than the vocals, and a theremin-tinted bridge frames an impressive guitar solo. If you haven’t already become green with envy at the power and sexuality of this woman’s voice, All Over Again should convert you.

Naturally, it must be said, lives up to the (just slightly sensationalised) promise of the liner notes:

“What is it about the Sharon Jones and the Dap-Kings Show that leaves audiences mesmerized across the country? Is it the showmanship? The rhythm? The Excitement? Of course it is all of these things, but more than anything it is something deeper. Something so natural and beautiful that it can hardly be spoken of out loud. It is SOUL.”

What I want to know is, when are they coming to town?