Aging is something that scares me. I know that it happens to everyone and that there's nothing you can do to stop the passage of time, but with each successive year, I get a bit more paranoid about what's to come and how I'm going to make the most with however much time I have left. It may be a silly concern for a 20-something to have, but stepping back and realizing the brevity of life is something that I can't help but do.
50-something Sharon Jones continues to defy the expectations set upon people of her age. In a genre where the elder statesmen are content with singing adult contemporary tunes with an occasional airplay hit, Jones and her lively band the Dap Kings (the band who inspired Amy Winehouse's Back to Black) are built on energy, fire, and grit, the type of music you would have discovered in your parents' record collection and not been able to wrap your mind around until much later in life. The Reason may be a tad short (slightly under two and a half minutes) but its bright horns, laidback bass, and golden production make it an instrumental that doesn't interfere with the flow of the album. The Dap Kings are such a tight, well constructed band that having a chance to actually focus on their playing is a positive of the record; often times with such a strong frontwoman, the band gets ignored, so Reason is a nice shot of energy and a way to showcase the bones of the sound. Window Shopping provides a good example of how well-written this record is; it's not exactly Shakespeare or anything, but it's succinct, smart, and sensual. A smoldering kiss-off to a man with a wandering eye, it's a good mix of dismissive and down, the type of frustrated fatigue that Jones's textured voice projects well. Though the Kings are strong on the horns, its when the strings are turned up a notch that I paid the most attention; they added a little diversity and a new background to hear Jones against. If You Call is brimming with desperate longing, Jones' weary vocals exuding the worldly grit that hits you right in the gut. Questioning her own humanity and still retaining admirable command, Jones guides this moody midtempo with ease. Like most of the Dap Kings' material, this could have been made 50 years ago with absolutely no problem; the haunting lyric is a universal topic while the approach is weathered and real.
With some minimal production, Mama Don't Like My Man may not immediately stick out on a record with Jones going full blast and some lively melodies. However, it's charming and puts the spotlight squarely on Jones, as the only accompaniment she has is a twangy guitar and a couple background singers. It's Sharon and the melody and both are equally as captivating on this bluesy toe tapper. Money (as in "where have you gone to") takes a bit of a turn from what you expect; instead of talking about how money doesn't mean anything if you don't have the more important things in life, it's a topical song concerning the current economic situation that doesn't come off as preachy. It's more of a character-based song, Jones's wailing cries (her ad libs will give you chills with how guttural and real they are) embodying the frustrations of countless millions who have lost their jobs. Album opener The Game Gets Old is the type of wise midtempo that Jones shines on time in and time out; her age gets used as an asset throughout the record, as her believability on songs like this is exponentially more than it would be coming from just about anybody else. With a horn section that's very minor note-heavy (quite ominous) and a fairly catchy hook, it's a strong way to open up the record, even though it's not nearly the strongest track on the record.
As always, Sharon Jones & the Dap Kings are a breath of fresh air in an increasingly hazy music scene. Jones is such an intriguing frontwoman, dynamic and fiery in some aspects, burdened and wounded in others. The music is authentic in its approach and intoxicating in execution. Though the record may not be as immediate as past releases have been, possibly due to how slightly subdued I Learned the Hard Way is in comparison, it's still as satisfying, Jones' vocals absolutely monstrous in terms of power and ability.
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