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Sharon Jones & the Dap-Kings
Sharon Jones & the Dap-Kings
Sharon Jones & the Dap-Kings
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Sharon Jones & the Dap-Kings were an American funk and soul band signed to Daptone Records. They were part of a revival movement of mid-1960s to mid-1970s style funk and soul music.[2] They released their debut album Dap Dippin' in 2002, the first of seven studio albums. Their 2014 album Give the People What They Want was nominated for the Grammy Award for Best R&B Album.[3] After Sharon Jones' death in 2016, the band released the posthumous album Soul of a Woman in 2017 and a compilation of cover songs in 2020.

Key Information

The Dap-Kings, the Daptone house band, are notable for their collaborations with Mark Ronson, including their contributions to Amy Winehouse's Back to Black. The band continued to work and perform together through 2018.[4]

History

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1996–2000: The early years with Desco Records

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In the mid-1990s, artist Phillip Lehman and musician Gabriel Roth (also known as Bosco Mann) founded a band called the Soul Providers, and began recording an album of James Brown-inspired instrumentals and vocal collaborations with deep funk recording artist Lee Fields.[5] After hearing Sharon Jones, a corrections officer turned singer,[6] record backing vocals for a Fields track, Lehman and Roth recorded a solo track of Jones singing "Switchblade", a song which had been intended for a man's voice. This track along with another Jones solo, "The Landlord", were included on the Soul Providers debut album, Soul Tequila, released in about 1996 on the now-defunct French label Pure Records.

Lehman and Roth then started a new label in New York called Desco Records, first on the lower East Side above an umbrella store and later with a studio and distribution office in the basement of an apartment building located at 440 West 41st Street in Manhattan. They reissued Soul Tequila as a vinyl-only LP and renamed Gimme the Paw, and included only one of the Jones collaborations, "Switchblade".[7]

Sharon Jones & the Dap-Kings at the Moers Festival northwest of Düsseldorf, Germany, May 2007

Desco showcased its artists- The Soul Providers and Sugarman Three with shows which were revues and released their music on vinyl 45-rpm records. Jones, backed by the Soul Providers (who had become the Desco house band), released three 45s for the label. Recording dates were deliberately omitted from the labels and the records were often marketed as being released in the 1970s. Two other Soul Providers albums were released, an instrumental soundtrack to a Sam Lung kung-fu film, The Revenge of Mr Mopoji, credited to Mike Jackson and the Soul Providers, and a solo album by Lee Fields, Let's Get a Groove On, for which the Soul Providers provided the backing. Desco recorded, "Funky Sitar Man" by Ravi Harris and the Prophets, released on BBE Record.

2000–2003: The birth of the Dap-Kings and Daptone Records

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In 2000, Lehman and Roth parted ways, and the Soul Providers disbanded. Lehman set up Soul Fire Records; Roth started Daptone Records with Sugarman 3 saxophonist Neal Sugarman. The next studio location from 2000-2002 was at 340 Grand Street in Williamsburg, in the basement of Amayo's Afrospot and served as the headquarters for Daptone recording projects and the band Antibalas. A new group, the Dap-Kings, was formed, consisting of label owners Roth on bass and Neal Sugarman on saxophone, plus original Soul Providers: guitarist Binky Griptite, organist Earl Maxton, saxophonist Martin Perna percussionist Fernando Velez, and trumpeter Anda Szilagyi. Joining them were two young members of The Mighty Imperials, whose album Thunder Chicken was the last release on the Desco label: tenor saxophonist Leon Michels and drummer Homer Steinweiss, who both had also been touring members of The Soul Providers previously.

The band secured a four week, 20 show engagement at La Boite, a club in Barcelona, Spain, and recorded an LP, Dap Dippin' with Sharon Jones and the Dap-Kings, in 2001. A few hundred copies were pressed, so that sales during the residency would provide financial support for what would have otherwise been a financially draining trip. Promotional copies were sent to funk DJs and reviewers, and the album was officially released as the first LP and CD on Daptone Records in 2002, and attracted an enthusiastic review from quarterly hip-hop and funk magazine Big Daddy.[8]

After the album came out, three 45s not on the album were released: "What If We all Stopped Paying Taxes", released in 2002 just ahead of the U.S. election, was a militant anti-war statement denouncing the Iraq War. "Genuine (parts 1 & 2)" (2004) was a hard funk record. Their cover of "Just Dropped In (To See What Condition My Condition Was In)", released in 2005, was recorded for a KFC commercial in 2002 but was never used.

2003–2006: Naturally and personnel changes

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About this time Maxton and Szilagyi left the band to become members of Antibalas, a New York-based afrobeat band. Trumpeter Dave Guy and guitarist Thomas Brenneck joined in their stead. In 2003, the Daptone Recording Studio, with a sixteen-track analog tape machine, was open for business. The band intended to record two albums back-to-back, but during the final sessions of the first of these albums, Roth suffered serious eye injuries in a car crash, and only one LP and CD, Naturally, was released in 2005. This album included a mix of both soul and funk influences; the production and recording values were crisper than the slightly duller "scratchy 45" sound of the first album. The band embarked on an international promotional tour.

Leon Michels left the band soon after the release of Naturally to help start a new label, Truth & Soul Records, and released a solo LP that was originally intended for Daptone, Sounding Out the City, credited to El Michels Affair. When Lehman closed the Soul Fire label and moved to the Bahamas, the back catalog of Soul Fire was handled by Truth & Soul Records, who, along with Soul Fire, used many of the same artists in their recordings, including Lee Fields, Steinweiss, Brenneck and Michels himself. The Dap-Kings took on Ian Hendrickson-Smith, a local saxophone player who had released several jazz albums under his own name.

2006–2015: Subsequent albums

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In late 2006, the band recorded a third studio album, 100 Days, 100 Nights. A non-album funk-style single, "I'm Not Gonna Cry", was released in April 2007, and the album was released in October along with two B-sides/bonus tracks: "Settlin' In" and "The Collection Song". Further albums included I Learned the Hard Way (2010),[9] Give the People What They Want (2014), and the holiday release It's a Holiday Soul Party. Also in 2014, Jones and her band performed at Supercrawl in Hamilton, Ontario.[10]

2016–2020: Jones' death and final releases

[edit]

The recording process Soul of a Woman began in 2015, during which Jones was fighting pancreatic cancer; she had been first diagnosed in 2013.[11] A film about Jones' battle with cancer, Miss Sharon Jones!, was released in 2016 with a soundtrack compilation. Jones died on November 18, 2016, at the age of 60.[12] No specific announcement has been made regarding the band's future; however, the Dap-Kings performed at the 59th Annual Grammy Awards in 2017[13] and were the house band for Joe's Pub Presents: A Holiday Special, which taped in November 2016.[14]

The Dap-Kings completed the music for the album during this time and released Soul of a Woman on the first anniversary of Jones' death in 2017.[11] They were active as a live performing group through 2018; of note, they played a series of summer shows with Jon Batiste.[15] Two years later, in September 2020, the group announced Just Dropped In To See What Condition My Rendition Was In, an album compiling cover songs recorded over the years. The record was released on October 23, 2020.[16]

Members

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Years adapted from album credits, may not be exact.

The Dap-Kings

‡ indicates musician who was part of/played with The Soul Providers, active from 1996 to 1999

The Dapettes
  • Saundra Williams – vocals (2010–2016)[21]
  • Starr Duncan-Lowe – vocals (2010–2016)[21]
  • Sharen Lafet – vocals (2013–2014)

Timeline

[edit]

Collaborations

[edit]

Six of the tracks on Amy Winehouse's 2006 album Back to Black feature various members of the Dap-Kings, including two hits from the album, "Rehab" and "You Know I'm No Good". Several tracks recorded at Daptone Studios miscredit the studio as "Dapking Studios". Various members of the band feature on all but one of the tracks on Mark Ronson's second album, Version (2007), which spawned the Amy Winehouse cover "Valerie". The Dap-Kings became the backing band for Winehouse's first U.S. tour.[22] After Winehouse's passing, Sharon Jones and the Dap-Kings joined Nas, Florence Welch, Wanda Jackson, and The Roots in tribute to her during VH1 Divas Celebrates Soul.[23]

In 2007 the Dap-Kings worked with British singer Ben Westbeech to record a new version of his song "So Good Today". Jones lends her vocals on one song, "The Way We Lived", on Wax Tailor's second album, Hope & Sorrow, released in April 2007. Jones is also featured on releases by They Might Be Giants (The Else) and Rufus Wainwright (Release the Stars).

Jones contributed six period numbers by Bessie Smith and others to the soundtrack for the film The Great Debaters, recorded in the Ardent Studio in Memphis. Jones is also a featured on the Verve Records Baby Loves Jazz books/CDs and has had character books published by Penguin Books in conjunction with the series, entitled Ella the Elephant: Scats Like That. Sharon Jones and the Dap-Kings are featured on Michael Bublé's 2009 album, Crazy Love, in the track "Baby (You've Got What It Takes)".[24] In the fall of 2009 Sharon Jones and David Guy appeared with Phish for their musical costume at Phish's Festival 8 in Indio California, where they covered the Rolling Stones' Exile on Main St.

The Dap-Kings horn section backed the Heavy in a 2010 appearance on the Late Show with David Letterman, and they appeared with Muse on Saturday Night Live in 2012, providing support during their performance of "Panic Station".[25] The Dap-Kings appear on the 2012 David Byrne and St. Vincent collaboration Love This Giant. Dap-Kings drummer Homer Steinwess appears on St. Vincent's self-titled fifth album. In 2014, the Dap-Kings horn section collaborated with the Antibalas horn section, Mark Ronson, and Bruno Mars to record "Uptown Funk" and other tracks from Mark Ronson's 2015 album Uptown Special. They also performed "Uptown Funk" together on Saturday Night Live in November 2014.[26]

In February 2017, the Dap-Kings served as the backing band for country musician Sturgill Simpson's performance of his song "All Around You" at the 59th Annual Grammy Awards.[13] In July 2017, it was revealed that the Dap-Kings Horns collaborated with Kesha on her song "Woman", from her album Rainbow.

In media

[edit]

Use in advertisements

[edit]

In 2006, Sharon Jones & the Dap-Kings were featured in an I Love NY commercial directed by Kurt Lustgarten and set to their cover of Woody Guthrie's "This Land Is Your Land". The band's cover of Stevie Wonder's "Uptight (Everything's Alright)" appeared in a Chase Manhattan Bank commercial that same year. In Australia, their song "Got a Thing on my Mind" featured in a 2005 commercial for Cadbury's Boost Chocolate bar.

In 2008 Sharon Jones & the Dap-Kings worked with Tropicana on a song promoting Tropicana orange juice, titled "Sweet & Lovely." Ziggy Marley and Bebel Gilberto were featured in similar projects. In 2015, the song "100 Days, 100 Nights" was used in a FitBit commercial.[27] In 2016, Sharon Jones and the Dap-Kings appeared in a video covering the Allman Brothers song "Midnight Rider" for Lincoln Motors.

Soundtracks

[edit]

Sharon Jones & the Dap-Kings' cover of Woody Guthrie's "This Land Is Your Land", from the album Naturally, plays over the opening credits of the 2009 film Up in the Air. The song is also the first track on the Up in the Air soundtrack album.[28] The same cover plays over the end credits of both the 2007 film Dark Matter and the How to Make It in America episode "Paper, Denim + Dollars" as well as in the end credits of Ken Burns' documentary film Jackie Robinson.

"How Long Do I Have to Wait for You?" was featured in the first season for the television series Hung and included on the soundtrack album. "Longer And Stronger", a previously unreleased track, also made an appearance on the For Colored Girls: Music From and Inspired by the Original Motion Picture Soundtrack in 2010.

"Money", "The Reason", and "Keep On Looking" are used in the video game Sleeping Dogs, which was released in August 2012. The songs can be heard on an in-game radio station called Daptone Radio. Henry's Crime, a 2011 movie, featured the songs "Answer Me", "100 Days 100 Nights", "Got a Thing On My Mind", "Stranded in Your Love", "Be Easy", and "Let Them Knock". The band appeared in the 2013 movie The Wolf of Wall Street. They also appear performing "100 Days 100 Nights" at the end of "You Know My Steez", the 13th episode of Netflix's Luke Cage.

Discography

[edit]
Main article: Sharon Jones & the Dap-Kings discography

Studio albums

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As backing band

[edit]

Selected album credits

Awards and nominations

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Year Awards Category Nominated work Result
2014 Grammy Awards Best R&B Album Give The People What They Want Nominated
2014 Libera Awards Video of the Year "Retreat" Nominated
2015 Hardest Working Artist Won
2016 Critics' Choice Documentary Awards Best Song in a Documentary "I'm Still Here" Won
2017 Black Reel Awards Outstanding Original Song Won
2017 Satellite Awards Best Original Song Nominated
2017 Libera Awards Best Sync Usage Won
2018 Best R&B Album Soul of a Woman Won

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sharon Jones & the Dap-Kings

View on Grokipedia
from Grokipedia
Sharon Jones & the Dap-Kings was an American funk and soul band led by vocalist Sharon Lafaye Jones (1956–2016) and her longtime backing ensemble, the Dap-Kings, which specialized in analog-recorded recreations of mid-20th-century R&B and soul music styles through Daptone Records. Jones, born in , and raised primarily in , New York, sang from childhood but pursued non-musical careers—including as an armored car guard and corrections officer—before entering professional recording at age 40 with the 1996 single "Damn It's Hot" and the band's debut album Dap Dippin' in 2002. The group released successive albums such as Naturally (2005), 100 Days, 100 Nights (2007), and Give the People What They Want (2014), the latter earning a Grammy nomination for Best R&B Album, while the Dap-Kings also provided instrumentation for Winehouse's Grammy-winning Back to Black (2006). Despite Jones's diagnosis with in 2013, the band toured extensively and completed her final recordings, culminating in the posthumous release of Soul of a Woman in 2017; Jones died on November 18, 2016, at age 60, leaving a legacy of high-energy performances documented in the 2015 film Miss Sharon Jones!. The Dap-Kings have since continued as a session and touring ensemble for various artists, maintaining their house-band role in live and broadcast settings.

History

1996–2000: Early years with Desco Records

Sharon Jones worked as a corrections officer at prison in New York while occasionally performing as a session and wedding singer in the 1980s and early 1990s, after earlier rejections from record labels due to her height and age. In the mid-1990s, she was discovered by producers Gabriel Roth (also known as ) and Phillip Lehman during a session for the short-lived Pure Records label, where she contributed vocals to tracks including "," originally intended for a male comedian but adapted with her improvised rap. Roth and Lehman subsequently founded Desco Records in to revive raw funk and soul sounds, enlisting Jones as a key vocalist backed by a loose featuring Roth on bass and drummer Fernando Velez, among other session musicians who would later form the core of the Dap-Kings. Desco's early output emphasized vinyl 7-inch singles recorded live-to-tape in an analog style mimicking Stax and Volt Records aesthetics, with Jones releasing three such 45s: "Damn It's Hot" (parts 1 and 2), "Bump N Touch" (part 1 backed with "Hook and Sling" part 2), and "Switchblade"/"" in 1999. These recordings captured Jones's powerful, gritty delivery over tight instrumental grooves, but distribution was constrained to mail-order sales and limited underground promotion without major label backing, reflecting the label's bootstrapped operations in New York's indie scene. By 2000, internal tensions led to Desco's dissolution as Roth and Lehman parted ways, marking the end of this experimental phase before the band's transition to a more formalized structure.

2000–2003: Formation of Daptone Records and the Dap-Kings

In 2000, Gabriel Roth parted ways with his Desco Records partner Philippe Lehman, leading Roth to co-found Daptone Records with saxophonist Neal Sugarman in 2001. The new label operated from a sublet basement studio in Williamsburg, Brooklyn, emphasizing self-contained production of analog-recorded soul and funk music with a house band approach to capture raw, live performances without digital overdubs or polish. Daptone's founding principles prioritized artistic control and fidelity to 1960s-1970s instrumentation, drawing from Roth's Desco experience but avoiding external distribution dependencies to maintain creative independence. Roth assembled the core Dap-Kings lineup for Sharon Jones's debut full-length, including guitarist Tommy Brenneck and saxophonist alongside existing members like bassist Roth (as ), drummer , and organist Earl Maxton. Dap Dippin' was recorded in 2001-2002 using 8-track tape to preserve the band's tight, energetic interplay, with Jones's powerful vocals fronting horn-driven tracks rooted in classic R&B grooves. Released in May as Daptone's inaugural full-length, the album featured 11 originals and covers like "What Have You Done for Me Lately?," showcasing the group's commitment to spontaneous, groove-centric sessions over multi-take refinement. The band supported Dap Dippin' with tours of small U.S. venues, such as San Francisco's in , and initial European dates, including a 2003 Netherlands performance, fostering a following through live energy and limited vinyl pressings sold at shows and specialty stores. This period established Daptone's model of , with early sales driven by collector demand for the label's high-fidelity 45s and LPs rather than mainstream promotion.

2003–2006: Breakthrough with Naturally and lineup adjustments

In 2004, Sharon Jones & the Dap-Kings began recording their sophomore album Naturally at ' newly constructed House of Soul studio in , marking the label's first full sessions in the dedicated analog facility handbuilt by co-founders Gabe Roth and Neal Sugarman. The album, released on January 25, 2005, featured tracks such as "Your Thing Is a Drag," emphasizing the band's commitment to live instrumentation and tape-based production techniques that echoed 1960s and 1970s funk and soul without digital processing. Jones's commanding lead vocals, honed through years of gospel singing in churches including with E.L. Fields' Gospel Wonders, drove the record's raw energy and emotional depth. The release represented a breakthrough for the group, achieving over 200,000 copies sold through independent distribution channels and establishing a broader audience for Daptone's analog soul revival sound. This success stemmed from the stability provided by the new studio setup, which included a 16-track analog tape machine and allowed for uninterrupted creative output following earlier makeshift recording environments. Lineup adjustments during this period solidified the band's core configuration, including the addition of guitarist from in 2003, enhancing the horn and rhythm sections' interplay while some early Desco Records affiliates phased out to focus Daptone's dedicated roster. Roth, under his Bosco Mann pseudonym, maintained production oversight, ensuring continuity in the group's tight, groove-oriented arrangements amid these shifts. These changes reflected adaptive growth, prioritizing musicians aligned with Daptone's in-house ethos as touring and recording demands increased post-debut.

2006–2014: Expanding discography and mainstream recognition

In 2007, Sharon Jones & the Dap-Kings released their third studio album, 100 Days, 100 Nights, on October 2 via Daptone Records, featuring eleven tracks that built on their raw soul sound with prominent horn sections and call-and-response vocals led by Jones. The album's production emphasized analog recording techniques at Daptone's House of Soul Studios, prioritizing vinyl formats amid growing digital trends. Following its release, the band undertook extensive tours across the United States and Europe, performing at major festivals including a slot at Coachella in April 2008, where they delivered high-energy sets drawing on the album's material. The group's momentum continued with the April 6, 2010, release of I Learned the Hard Way, their fourth studio , which included twelve songs expanding their funk-soul template through intricate arrangements of brass, bass, and Jones's dynamic phrasing. Recorded entirely in-house at Daptone, the album underscored the label's expansion of its catalog with like-minded acts while maintaining a commitment to live instrumentation over digital concessions. Sustained touring reinforced their visibility, with consistent U.S. and international dates that highlighted their rigorous performance ethic. By 2014, Give the People What They Want marked their fifth studio album, released on January 13, comprising ten tracks that refined their retro-soul approach with emphatic horns and rhythmic drive. The album earned a Grammy Award nomination for Best R&B Album at the in 2015, signifying broader industry acknowledgment of their analog fidelity and live prowess. This period reflected Daptone's steady growth through focused releases and the band's persistent roadwork, solidifying their niche influence without compromising core production values.

2014–2016: Health challenges, final recordings, and Sharon Jones's death

In June 2013, Sharon Jones was diagnosed with stage two pancreatic cancer, initially thought to be bile duct cancer, prompting a Whipple procedure and subsequent chemotherapy and radiation treatments that forced a hiatus from touring and delayed the release of the band's album Give the People What They Want. Despite the diagnosis, Jones underwent treatment while insisting on resuming performances, with the album ultimately released on January 14, 2014, after sessions completed prior to her health decline but held back due to her condition. By , after completing , Jones returned to the stage, often performing seated to manage fatigue and physical limitations from treatment, as documented in the 2015 film Miss Sharon Jones!, directed by , which chronicled her first seven months post-diagnosis, her determination to reunite the band, and efforts to record new material amid ongoing health struggles. The documentary highlighted her resilience, capturing rehearsals and performances where she pushed through pain to maintain the band's analog sound, though attendance at some shows reportedly declined due to her visible vulnerabilities. On November 8, 2016, during the U.S. returns, Jones suffered a , as recounted by Dap-Kings Gabriel Roth, who noted she attributed it to the stress of the events; this incident led to hospitalization and marked the onset of her final decline. Jones died on November 18, 2016, at age 60 in , from complications of , having banked additional vocal recordings during treatments to support the band's future output.

2017–present: Posthumous releases, reissues, and band activities

Following Sharon Jones's death on November 18, 2016, the Dap-Kings released Soul of a Woman, her seventh and final studio album, on November 17, 2017, via Daptone Records. The eleven tracks were recorded during sessions in 2016, with Jones completing vocals despite her ongoing battle with pancreatic cancer, showcasing her vocal power in songs like "Matter of Time" and "Sail On!". Produced at Daptone's House of Soul studio using analog methods, the album emphasized orchestral arrangements and live instrumentation, serving as a capstone to Jones's career without additional posthumous overdubs. In 2020, Daptone issued Just Dropped In (To See What Condition My Rendition Was In), a digital compilation of thirteen cover songs recorded by Jones and the Dap-Kings between 1998 and 2015, including previously unreleased tracks like "Little by Little" (a 1960s Supremes hit) and renditions of Burt Bacharach's "I Say a Little Prayer" and Kenny Rogers's title track. The release highlighted the band's interpretive range across soul, pop, and country influences, with four tracks exclusive to the collection and others drawn from singles or outtakes, available initially digitally and later on vinyl via Record Store Day's Black Friday edition. This archival project preserved Jones's unissued material without new production, aligning with Daptone's commitment to authentic, era-appropriate soul revivalism. The band continued issuing reissues, including the 20th anniversary edition of Naturally on May 2, 2025—Jones's birthday—featuring a remastered original LP alongside a bonus LP of previously unreleased instrumental mixes of all ten tracks. Recorded at the House of Soul in 2005, the reissue underscored the album's role as a breakthrough in analog soul production, with enhanced audio clarity from remastering and the instrumentals revealing the Dap-Kings' standalone groove foundations. Post-2017, the Dap-Kings operated primarily as an instrumental for Daptone, avoiding a permanent replacement to honor Jones's singular presence and maintain artistic integrity. They backed on a 2018 summer tour and festival dates, including New Orleans Jazz Fest and , performing New Orleans-inspired soul and civil rights-era covers like "." Sporadic live performances continued through Daptone events and collaborations, such as a 2017 Grammy appearance backing , with focus shifting to archival releases and session work rather than branded tours under the Sharon Jones name. In March 2024, Daptone released a 7-inch single of two previously unreleased tracks, "" and its instrumental, further extending the catalog from vault material.

Musical style and influences

Roots in classic soul, funk, and R&B

Sharon Jones & the Dap-Kings drew their core sound from the raw, groove-oriented soul, funk, and R&B of the and , particularly the instrumental interplay of house bands like Booker T. & the M.G.'s, whose organ-driven shuffles and tight horn sections provided a template for the group's rhythmic foundation. Their arrangements emphasized live band dynamics, with bass lines and drum breaks echoing James Brown's funk innovations, such as the linear "on the one" emphasis that prioritized propulsive energy over ornamentation. This approach rejected the synth-dominated dilutions of 1980s and later neo-soul, favoring analog horns, Hammond organs, and guitar stabs that mirrored the economic imperatives of era-specific studio practices reliant on session musicians' real-time collaboration. Vocalist Sharon Jones's delivery embodied the unpolished intensity of predecessors like , with her gritty timbre and dynamic phrasing conveying emotional urgency without direct imitation, while her belting style evoked Aretha Franklin's commanding presence in tracks demanding call-and-response interplay between singer and band. Tracks often featured uptempo shuffles in the 115-132 BPM range, fostering danceable momentum akin to Stax's revue-style performances, where rhythmic drive underscored lyrical directness over elaborate production. Jones herself cited immersion in these influences during her formative years, absorbing the soul canon from Stax and artists to inform her phrasing, which prioritized raw expression rooted in personal experience rather than stylistic novelty. Lyrically, the group focused on themes of everyday resilience—heartbreak, perseverance in relationships, and self-empowerment—eschewing overt for narratives of individual fortitude, as in songs depicting recovery from romantic setbacks through determined forward motion. This mirrored the pragmatic of staples, where personal agency triumphed amid adversity, reinforced by the band's refusal to layer modern electronic elements that could dilute the organic tension between vocals and ensemble grooves.

Commitment to analog production and live instrumentation

Sharon Jones & the Dap-Kings recorded their material live to analog 8-track tape using machines, such as the 440 model, committing to full-band takes without digital overdubs or pitch correction to preserve the unfiltered energy and interplay of live . This method, overseen by and producer Gabe Roth at Daptone's House of Soul studio, embraced a no-frills setup with vintage gear like the Trident 65 console, allowing intentional microphone bleed and minimal intervention to embed the spatial realism of directly into the master tapes. The analog workflow provided causal advantages in sonic fidelity, as tape saturation introduced even-order harmonics that enhance perceived warmth and depth—effects verifiable through spectrographic comparison showing richer low-mid content compared to digital equivalents. Roth noted that "the sound of the tape is a big part of the sound of the record," prioritizing this organic compression and over digital quantization, which often enforces grid-aligned timing and diminishes micro-variations in human phrasing essential to soul's groove. Critics of the approach highlighted its limitations, including reduced track count forcing comping from fewer takes and hindering easy fixes, potentially curtailing mainstream polish and accessibility. Yet, this discipline yielded recordings resilient to temporal degradation, requiring no remixing or digital intervention over years of playback, as the baked-in balances mirrored soul's self-contained integrity. Reflecting era-specific constraints, the band's studio albums adhered to compact structures, featuring under 20 tracks—typically 10 to 12—with average runtimes around 35 minutes, eschewing extended digital layering for taut, performance-driven sides.

Band members

Core and former members

Sharon Jones served as the from the band's early recordings in 1996 until her death on November 18, 2016, providing the powerful soul-infused performances central to their sound. Following her passing from , the Dap-Kings shifted to instrumental performances and recordings without a permanent vocalist, maintaining their core and horn players. The band's consistent core instrumentalists include Gabriel Roth, who has handled bass duties and production responsibilities since co-founding in 2001, often under his alias . Neal Sugarman has contributed and arrangements as a co-founder since the group's formation around 2000. Tommy Brenneck joined as guitarist in the early 2000s and remains active, also producing for affiliated acts like . Former key members include drummer Homer Steinweiss, who played on core albums through the 2000s and into the 2010s before prioritizing session work and his own studio projects, such as The Diamond Mine in Brooklyn. Percussionist Fernando Velez contributed congas and auxiliary percussion across multiple releases, co-writing tracks like "Rumors" for the 2017 album Soul of a Woman. Many members exhibited multi-instrumental versatility, with Roth and Sugarman occasionally switching to baritone saxophone or keyboards on recordings, reflecting the band's collaborative, ego-free approach as described in production interviews. Other rotating contributors included trumpeter Dave Guy and baritone saxophonist Ian Hendrickson-Smith, credited on various Daptone releases.

Membership timeline

The Dap-Kings formed in 2000 from remnants of the Soul Providers and Mighty Imperials, with joining as lead vocalist for their 2002 debut album Dap Dippin'. The initial lineup included bassist (as ), drummer , guitarist Binky Griptite, percussionist Fernando Velez, tenor saxophonist Neal Sugarman, and horn players such as trumpeter Anda Szilagyi and organist Earl Maxton.
  • 2003: Organist Earl Maxton and trumpeter Anda Szilagyi departed to join the afrobeat band Antibalas, prompting the first notable personnel adjustments as the group refined its core sound.
  • 2005 onward: The lineup stabilized around a consistent ensemble, including Roth on bass, Steinweiss on drums, Griptite on guitar, Velez on percussion, Sugarman on tenor saxophone, baritone saxophonist Ian Hendrickson-Smith, trumpeter Dave Guy, and keyboardists such as Victor Axelrod, enabling focused recording and touring through the mid-2010s.
  • Circa 2010s: Drummer Eric Kalb contributed to sessions and performances, supplementing or rotating with Steinweiss amid the band's expanding commitments.
  • 2016: Sharon Jones's death on November 18 marked the end of her role as frontwoman, shifting the band toward instrumental work and collaborations without a fixed lead singer.
  • 2018: Guitarist and emcee Binky Griptite formally departed, reducing the original rhythm section core as the Dap-Kings continued as a backing and instrumental unit.
PeriodKey Active MembersNotes on Stability
2000–2003Bosco Mann (bass), Homer Steinweiss (drums), Binky Griptite (guitar), Fernando Velez (percussion), Neal Sugarman (tenor sax), Sharon Jones (vocals), Earl Maxton (organ), Anda Szilagyi (trumpet)Formation and early flux with Desco/Daptone transition.
2003–2016Bosco Mann (bass), Homer Steinweiss/Eric Kalb (drums), Binky Griptite (guitar), Fernando Velez (percussion), Neal Sugarman/Ian Hendrickson-Smith (saxes), Dave Guy (trumpet), Victor Axelrod (keys), Sharon Jones (vocals)Core stabilization post-departures, supporting multiple albums and tours.
2017–presentBosco Mann (bass), rotating drummers/guitarists (post-Griptite), Neal Sugarman (tenor sax), core horns (Guy, Hendrickson-Smith)Instrumental focus and backing roles, with fewer fixed vocalists.

Discography

Studio albums

The band released their debut studio album, Dap Dippin', on May 14, 2002, through Daptone Records in formats including vinyl and CD. Their second album, Naturally, followed on January 25, 2005, also via Daptone Records, maintaining the label's focus on vinyl and CD releases with limited initial digital availability. 100 Days, 100 Nights was issued on October 2, 2007, by Daptone Records, marking their first entry on Billboard charts at number 194 on the Billboard 200 and number 97 on the Top R&B/Hip-Hop Albums chart. The fourth album, I Learned the Hard Way, appeared on April 6, 2010, under Daptone Records, peaking at number 15 on the Billboard 200. Give the People What They Want, the fifth studio release, came out on January 14, 2014, via Daptone Records, in vinyl, CD, and emerging digital formats. In 2015, they issued the holiday-themed It's a Holiday Soul Party on November 13 through Daptone Records, primarily on vinyl and CD. The final studio album, Soul of a Woman, was released posthumously on , 2017, by , featuring recordings completed prior to Sharon Jones's death.
Album TitleRelease DateLabelPeak Positions
Dap Dippin'May 14, 2002—
NaturallyJanuary 25, 2005—
100 Days, 100 NightsOctober 2, 2007Billboard 200: #194
Top R&B/Hip-Hop: #97
I Learned the Hard WayApril 6, 2010Billboard 200: #15
Give the People What They WantJanuary 14, 2014—
It's a Holiday Soul PartyNovember 13, 2015—
Soul of a Woman, 2017—

Compilations, reissues, and instrumental releases

In 2020, Sharon Jones & the Dap-Kings released Just Dropped In (To See What Condition My Rendition Was In), a posthumous compilation assembling 13 cover songs recorded by the band over the years, including previously unreleased tracks and rare singles. The collection, issued digitally on October 23 and on vinyl via Black Friday on November 27, features reinterpretations such as "Little by Little" (originally by ) and "Signed, Sealed, Delivered (I'm Yours)" (), emphasizing the band's soulful arrangements without altering original compositions. This release served to scattered covers from sessions and live performances, preserving Jones's vocal interpretations alongside the Dap-Kings' backing. Marking the 20th anniversary of their 2005 album Naturally, a remastered edition was issued on May 2, 2025—coinciding with Sharon Jones's birthday—via Daptone Records as a limited 2-LP vinyl set on orange-colored pressing. The reissue retains the original 11-track sequence, including "How Do I Let a Good Man Down?" and "Natural Born Lover," but adds a bonus LP with instrumental versions of all tracks, newly mastered to highlight the band's live-recorded horn and rhythm sections without vocal overdubs or alterations. These instrumentals underscore the analog production fidelity, allowing the arrangements to stand independently as functional backing tracks true to the 2005 sessions. The effort prioritizes archival integrity, avoiding modern remixing in favor of enhanced clarity from the source tapes.

Singles and EPs

The band issued a series of 7-inch vinyl singles through Desco Records in the late 1990s, featuring with the Soul Providers (precursors to the Dap-Kings), emphasizing raw and instrumentation. These early releases included "Damn It's Hot" (parts 1 and 2) in 1996 on Desco 45-1004, "Bump N Touch" (part 1) backed with "Hook and Sling Meets the Funky Superfly" in 1997, and "Switchback" (parts 1 and 2) around 1998. Transitioning to Daptone Records, the group continued releasing standalone 7-inch singles, often with B-sides that highlighted live-band energy and non-album material, though few achieved significant chart positions and many served as promotional tools for radio airplay.
YearA-Side / B-SideLabel (Catalog)Notes
2002"Got a Thing on My Mind" (Pt. 1) / (Pt. 2)Daptone (DAP-1001)Debut Daptone single, raw soul cut.
2002"Make It Good to Me" / "Casella Walk"Daptone (DAP-1004)Instrumental B-side emphasizes house band grooves.
2005"How Do I Let a Good Man Down?" / "My Man Is a Mean Man"Daptone (DAP-1024)Released January 25; promoted Naturally album but standalone 45.
2007"I'm Not Gonna Cry" / "Money Don't Make the Man"Daptone (DAP-1031)Non-album funk single, April release.
2013"Goldfinger" / (instrumental or variant)DaptoneCover for James Bond tribute compilation.
2016"Midnight Rider" / (solo or variant)DaptoneAllman Brothers cover single.
2018"Tear It Down"DaptonePosthumous digital single from archival sessions.
2024"Don't Wanna Lose You"DaptoneUnreleased track from Soul of a Woman sessions, issued as 7-inch.
Additional digital and limited 7-inch releases, such as "Keep on Looking" / "N.B.L." (undated but post-2010), further showcased their commitment to formats without mainstream commercial charting success. No dedicated EPs were issued outside compilation collections of these singles by Daptone.

Backing and collaborative work

As the Dap-Kings backing band

The Dap-Kings have provided instrumental backing for select non-Jones projects, drawing on their core , , bass, , and organ to deliver groove-heavy and foundations. Members including saxophonists Neal Sugarman and Ian Hendrickson-Smith contributed horn parts to Amy Winehouse's 2006 album , appearing on tracks such as "Rehab" and shaping roughly half the record's sound through live-recorded brass and percussion overdubs at Daptone's analog studio. After Sharon Jones' death on November 18, 2016, the band pivoted to emphasize its role as a versatile backing ensemble, sustaining performances through studio sessions and live support for other acts while preserving tape-recorded production and unamplified horn dynamics. In 2018, they toured with for a series of dates, supplying full-band to his piano-led sets and infusing them with Dap-Kings-style rhythmic propulsion. This post-2016 phase has included Revue-style events under the Daptone banner, where the Dap-Kings back label mates like Saun & Starr on material such as Hot Shot, prioritizing ensemble interplay and vintage tonal authenticity over lead vocals.

Key collaborations with other artists

The Dap-Kings horn section, including Neal Sugarman on tenor saxophone, Dave Guy on trumpet, and Ian Hendrickson-Smith on baritone saxophone, provided key instrumentation for Amy Winehouse's album Back to Black, released on October 27, 2006. Recruited by producer Mark Ronson at Daptone Studios in Brooklyn, they contributed horns and rhythmic elements to tracks such as "Rehab" and "You Know I'm No Good," infusing the recordings with a raw, analog soul sound rooted in 1960s influences. This work, distinct from Sharon Jones's vocal role, marked a breakthrough for the band's external engagements and helped the album achieve over 20 million copies sold worldwide. In 2014, Dap-Kings members collaborated with and on the hit single "," released November 10, 2014, as part of Ronson's album . The horn section's contributions added funk-driven brass lines that complemented the track's Motown-inspired groove, contributing to its chart-topping success and five Grammy nominations, including . The band's horns also featured on Lily Allen's recordings produced by Ronson, including elements on her 2009 album , enhancing tracks with authentic retro-soul textures amid her pop framework. Later, in 2017, the Dap-Kings horns appeared on Kesha's single "Woman" from her album , released July 6, 2017, delivering punchy, empowering brass accents to the country-soul hybrid. These projects, often facilitated through Ronson's productions, extended the Dap-Kings' reach beyond , amplifying the visibility of their analog instrumentation style and fostering cross-genre revivals without diluting their core methodology.

Performances and media presence

Live tours and notable concerts

In the early 2000s, Sharon Jones & the Dap-Kings built their audience through extensive DIY van tours across the and , performing in small clubs and supporting acts to promote their initial releases on . These grueling road trips, often involving long drives between modest venues, fostered a dedicated following despite limited commercial backing, with the band logging hundreds of miles annually to reach audiences in cities like New York, , and international stops in . By the late and into the , the band's touring expanded to major festivals and theaters, reflecting growing recognition in the soul revival scene. They performed at Bonnaroo Music Festival on June 14, 2008, delivering a high-energy set that highlighted their raw sound to thousands of attendees. In 2014, as part of the Daptone Super Soul Revue, they appeared at on the West Holts Stage, sharing the bill with labelmates Charles Bradley and , exposing their music to Glastonbury's large international crowd. Notable standalone concerts included multiple appearances at the Apollo Theater in Harlem, such as on October 6, 2007, where Jones's commanding stage presence drew local soul enthusiasts, and the 2014 Daptone Super Soul Revue residency over three sold-out nights in December, capturing the band's peak collaborative energy despite Jones's ongoing cancer treatment. Other highlights encompassed a full concert at L'Olympia in Paris on May 6, 2014, and a set at the North Sea Jazz Festival on July 13, 2014, both showcasing their tight instrumentation and Jones's dynamic vocals to appreciative European audiences. Following Jones's 2013 pancreatic cancer diagnosis, tours scaled back in intensity by 2015–2016, shifting to select dates like supporting Tedeschi Trucks Band and appearances with Daryl Hall & John Oates, yet maintaining fan loyalty through resilient performances.

Usage in soundtracks, advertisements, and television

Songs by Sharon Jones & the Dap-Kings have been licensed for use in television advertisements, including in a 2017 spot narrated by , which extended to a full-length performance video to engage music audiences. "Come and Be a Winner," from the 2017 album Soul of a Woman, featured in a "Run Your Way" campaign. Tracks also appeared in Amazon commercials, such as "Why Don't You?" in the 2023 "Every Day Better" ad and an untitled song in the Spanish-language "Hazlo" spot. The band's recordings have been synced in episodes, with 26 songs placed across 22 shows as of cataloged data. Specific usages include performances on major programs: they appeared on the in 2010, delivering "I Learned the Hard Way" from the album of the same name. Earlier, in 2005, they performed live on , showcasing "How Long Do I Have to Wait for You?" On Jimmy Kimmel Live!, they played "Making Up and Breaking Up" in 2014. Additional late-night slots included in 2009 with "100 Days, 100 Nights" and in 2014 featuring "Stranger to My Happiness." In public radio, Sharon Jones & the Dap-Kings delivered a holiday-themed NPR Tiny Desk Concert on December 21, 2015, performing originals like "8 Days (Of Hanukkah)," "Matter of Time," and a rendition of "Silent Night" to promote their album It's a Holiday Soul Party. They also taped an episode of PBS's Austin City Limits in 2011. These placements expanded the band's reach through licensed media without diluting their analog soul production ethos.

Reception and legacy

Critical reception and authenticity debates

Sharon Jones & the Dap-Kings received widespread critical acclaim for their raw, high-energy performances, with album reviews from major outlets averaging scores around 8 out of 10. awarded 100 Days, 100 Nights (2007) an 8.0, praising its tight songcraft and Jones's commanding vocals that evoked classic without modern gloss. Similarly, I Learned the Hard Way (2010) earned an 8.2 from for tracks like "Better Things," highlighting Jones's layered emotional delivery amid the band's punchy instrumentation. lauded Give the People What They Want (2014) as an "instant party," emphasizing the group's preservation of brass-driven funk traditions through vigorous execution. Critics frequently commended the band's live dynamism as a core strength, distinguishing their output from studio polish. Reviews noted the Dap-Kings' instrumental precision—funky bass lines, horn sections, and relentless grooves—fueled Jones's gritty, unfiltered singing, creating an visceral immediacy often absent in . For instance, described Soul of a Woman (2017) as retaining Jones's "personality and authority" despite her illness, with the posthumous release capturing undiminished fire in its 36-minute runtime. Live accounts echoed this, portraying concerts as sweat-drenched revivals that prioritized communal uplift over spectacle. Authenticity debates centered on whether the group's vintage fidelity represented genuine continuity or mere retro derivation. Proponents, including bandleader , argued it extended a living tradition, rejecting the "retro" label as dismissive of their methods and merit-driven craft, which eschewed digital shortcuts for tape warmth and live tracking. herself asserted her style was not nostalgic imitation but rooted in personal experience, paralleling revivalism. Critics in outlets like countered that albums like Give the People What They Want systematically replicated '60s tropes—shimmering horns, call-and-response—without boundary-pushing innovation, risking perceptions of formulaic revivalism amid broader resurgence acts. This tension highlighted empirical divides: high live attendance and replay value affirmed raw appeal, while some left-leaning publications occasionally framed it as escapist , undervaluing its causal ties to unadorned musicianship over identity-driven narratives.

Commercial impact and influence on soul revival

Sharon Jones & the Dap-Kings achieved notable commercial success through independent releases on , with key albums driving sales in the niche market. Their debut Naturally (2005) sold over 200,000 copies despite limited distribution, marking a breakthrough for authentic . Subsequent efforts like 100 Days, 100 Nights (2007) exceeded 150,000 units worldwide, while I Learned the Hard Way (2010) debuted with 23,000 copies in its first week on the Billboard 200. Extensive live touring, including sold-out venues and appearances at festivals like SXSW, further bolstered revenue and fanbase growth without major label backing. This trajectory contributed to ' expansion from a basement operation to a label supporting a diverse roster of funk and soul artists, including Thee Sacred Souls, Jalen Ngonda, and historical acts like Charles Bradley. The band's metrics underscored a model of sustained growth via quality recording and performance, rather than ; Jones's professional debut at age 46 after years as a corrections officer and backup singer highlighted persistence over hype. Jones & the Dap-Kings catalyzed the indie revival by demonstrating viability for raw, analog-produced music amid overproduced contemporaries. Their emphasis on live-band authenticity influenced revivalists like , whose career resurgence aligned with Daptone's ecosystem, and paved the way for modern interpreters such as , who drew from similar vintage aesthetics to achieve mainstream crossover. This causal chain rejected polished pop- formulas, fostering a wave prioritizing instrumental depth and vocal grit, as evidenced by the label's role in rebooting interest in 1960s-1970s styles.

Awards and nominations

Sharon Jones & the Dap-Kings received a single Grammy Award for their 2014 album Give the People What They Want, in the category of Best R&B Album at the on February 8, . The marked the group's first recognition from , though they did not win; the award went to Sam Smith's . No further Grammy nominations followed for subsequent releases, including the 2015 holiday album It's a Holiday Soul Party. Other accolades for the band or its members were limited and primarily tied to Sharon Jones' posthumous recognition following her death in November 2016, such as contributions to soundtracks, but none constituted formal music industry awards for the ensemble's recorded output. The group's emphasis on authentic soul revival garnered critical praise but yielded no additional competitive honors from major organizations like the Blues Foundation or Americana Music Association.

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  122. https://www.pbs.org/video/austin-city-limits-sharon-jones-the-dap-kingscarolyn-wonderland-preview/
  123. https://pitchfork.com/reviews/albums/14085-i-learned-the-hard-way/
  124. https://www.rollingstone.com/music/music-album-reviews/give-the-people-what-they-want-106508/
  125. https://pitchfork.com/reviews/albums/sharon-jones-and-the-dap-kings-soul-of-a-woman/
  126. https://www.rollingstone.com/music/music-album-reviews/review-soul-queen-sharon-jones-offers-a-powerful-posthumous-farewell-122631/
  127. https://www.myspiltmilk.com/articles/the-dap-kings-vs-the-retro-label
  128. https://www.theguardian.com/music/2014/jan/09/sharon-jones-give-people-review
  129. https://www.bkmag.com/2021/08/13/when-retro-is-an-insult-breaking-down-the-daptones-sound/
  130. https://www.amazon.com/Learned-Hard-Sharon-Jones-Kings/dp/B00377E4SC
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  133. https://www.wbur.org/npr/124091931/sxsw-2010-sharon-jones-and-the-dap-kings-live-in-concert
  134. https://nymag.com/arts/popmusic/features/65090/
  135. https://www.abc.net.au/listen/doublej/music-reads/features/soul-revival-what-soul-revival/10271510
  136. https://www.theguardian.com/music/2018/jun/13/soul-music-racial-tensions-leon-bridges
  137. https://www.fredperry.com/us/subculture/articles/soul-labels-playlist
  138. https://www.imdb.com/name/nm1392716/awards/
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