Their music was playing in the opening credits of "Up In The Air" which was in theaters forever. I'm sure that got at least a handfull of people asking who they were.
I can't say whether this is the new "let's start a swing band!,"
ugh, bad zoot suit flashbacks, :shudder:, I hope the "retro-soul" thing doesn't play out like that. Wonder who will jump to a major label...............
^^^^^^^^^^^^ I'm guessing the first major label retro funk band to go on a major will be the dynamites. The band members come from a jam band background and they have been playing to some huge crowds on that circuit. Also they have a misguided sense of entitlement and feel like they should be huge. So I see them jumping to a major at the first opportunity. They don't have the work ethic that the daptone crew has...compare the story I told about $400 and a case of beer...when the dynamites come to town they piss and moan about the crowd and blame everyone but themselves for their lack of fans here in Memphis. I see them as going on a major because they feel like they deserve it
The new record is really good. I thought they had run out of gas with the last one. For me, it was a decided step down in quality, tuneswise. I saw them a couple of summers ago and they seemed pretty flat, especially compared to the shows I had seen in 04-05 where they just totally blew my mind. It may have been the outdoor venue which dampens some of her playing to the crowd strengths. It's great that they were able to reload and come strong again.
My kids request this song every night for after dinner dance party. Shit just totally kills it IMO.
Dr. Wu: Yeah, that's a personal favorite too. The arrangement is fucking killer.
And the problem - to me - with a lot of these post-Daptone bands is that Gabe and 'em spent YEARS perfectly and experimenting with the right sound and lot of these new jacks haven't realized how important it is to nail that kind of elusive quality. I'm not singling out the Dynamites (though I'm not that into their songs) but there's just so many bands who've sent me their stuff and it all sounds too...well...clean. There's no grit there.
And the problem - to me - with a lot of these post-Daptone bands is that Gabe and 'em spent YEARS perfectly and experimenting with the right sound and lot of these new jacks haven't realized how important it is to nail that kind of elusive quality. I'm not singling out the Dynamites (though I'm not that into their songs) but there's just so many bands who've sent me their stuff and it all sounds too...well...clean. There's no grit there.
Yeah, their sound is just so spot on. On top of Roth's great production/arrangement skills I think what is more important is that the band just plays so well together. Its that type of chemistry I feel is so rare and so much fun live. Its that "it" factor you just cant get with synths n'stuff. Also Sharon used to be a prison guard at Rikers, I'm sure she has no problem getting the message across at the negotiating table.
Dr. Wu: Yeah, that's a personal favorite too. The arrangement is fucking killer.
And the problem - to me - with a lot of these post-Daptone bands is that Gabe and 'em spent YEARS perfectly and experimenting with the right sound and lot of these new jacks haven't realized how important it is to nail that kind of elusive quality. I'm not singling out the Dynamites (though I'm not that into their songs) but there's just so many bands who've sent me their stuff and it all sounds too...well...clean. There's no grit there.
As a representative of the Newjack community. We know dude... I've been laughed out of multiple recording studios. Self engineering is fing difficult.
And the problem - to me - with a lot of these post-Daptone bands is that Gabe and 'em spent YEARS perfectly and experimenting with the right sound and lot of these new jacks haven't realized how important it is to nail that kind of elusive quality. I'm not singling out the Dynamites (though I'm not that into their songs) but there's just so many bands who've sent me their stuff and it all sounds too...well...clean. There's no grit there.
Yeah, their sound is just so spot on. On top of Roth's great production/arrangement skills I think what is more important is that the band just plays so well together. Its that type of chemistry I feel is so rare and so much fun live. Its that "it" factor you just cant get with synths n'stuff. Also Sharon used to be a prison guard at Rikers, I'm sure she has no problem getting the message across at the negotiating table.
That's the other thing - most of the core of the band has been together since...what? The mid/late 1990s back when they were the Soul Providers? You can't create chemistry like that out of an insta-mix
And the problem - to me - with a lot of these post-Daptone bands is that Gabe and 'em spent YEARS perfectly and experimenting with the right sound and lot of these new jacks haven't realized how important it is to nail that kind of elusive quality. I'm not singling out the Dynamites (though I'm not that into their songs) but there's just so many bands who've sent me their stuff and it all sounds too...well...clean. There's no grit there.
Yeah, their sound is just so spot on. On top of Roth's great production/arrangement skills I think what is more important is that the band just plays so well together. Its that type of chemistry I feel is so rare and so much fun live. Its that "it" factor you just cant get with synths n'stuff. Also Sharon used to be a prison guard at Rikers, I'm sure she has no problem getting the message across at the negotiating table.
That's the other thing - most of the core of the band has been together since...what? The mid/late 1990s back when they were the Soul Providers? You can't create chemistry like that out of an insta-mix
I gotta say that Oliver hit it pretty much right. I think there is something special about what they have created. I still haven't heard anything from King's Go Forth that has that extry that Gabe and Co seem to get. Having seen Budos and SJDK a bunch, I think Tommy might be the secret ingredient. Dude's sound is so distinctive. And he's got more pocket than a billiard hall.
^^^^^^^^^^^^ I'm guessing the first major label retro funk band to go on a major will be the dynamites. The band members come from a jam band background and they have been playing to some huge crowds on that circuit. Also they have a misguided sense of entitlement and feel like they should be huge. So I see them jumping to a major at the first opportunity. They don't have the work ethic that the daptone crew has...compare the story I told about $400 and a case of beer...when the dynamites come to town they piss and moan about the crowd and blame everyone but themselves for their lack of fans here in Memphis. I see them as going on a major because they feel like they deserve it
I can't get into the Dynamites. There's no "there" there. They play like exactly what Hook-Up said...a bunch of jam-band guys who saw what Sharon & the Dap Kings were doing and wanted a piece of it without doing their homework. The grooves are too loose and the songwriting has no hooks.
co-sign on Better Things to Do, the piano that comes in the middle kills me, plus the backup singers towards the end.
Tommy & Homer both deserve tons of credit for being able to play with lots of open space and create such a good pocket, but, unquestionably in my mind, the thing that sets them apart from everyone else is Gabe.
he writes better, catchier songs, arranges them to hit harder, records them closer to the "classic" sound, AND lays down perfectly fitting bass lines, not to mention coaxing amazing performances out of Sharon & the rest of the band (plus those of Budos and other projects he produces).
and the kicker IMO is that he does it all with a great sense of humor, a lot of self-awareness, intelligence, and humility, and as Thes noted in that other thread, without ever taking himself too seriously.
one of my biggest heroes in today's music world, seriously.
oh, and haven't seen Kings Go Forth live yet, but I listened to this at least 10 times this weekend after realizing i had bought the 45 when it first dropped, and then forgot about it in a pile of stuff:
So, what's the Strut's take on the Revelations (featuring Tre)?
They basically take the Daptone formula and add hip-hop to it. But even if I did like that kind of thing, I'd probably think the Revelations were insanely corny.
So happy for those dudes, they really really deserve it.
Seems like yesterday (actually it was 7 years ago) booking them in Fort Worth after Neal called me to see if they could get a show on their way through Texas...me excitedly accepting and then having to sheepishly hand over just a few hundred bucks as they were just playing for the door. But they never complained, in fact they were just excited I got them Negra Modelo (they said they had shitty beer the last few shows). One of the coolest things I have is a recording of the show that contains "Make it Good to Me" that Sharon interjected my name into the lyrics.
They've come a long way from playing for $400 and some change and a case of Mexican beer.
I got pulled up on stage that night by Sharon. I danced my a$$ off. I remember hittin Gabe's bass with one of my flailing arms. Oops! I got a pic of that somewhere.
Such a great night with them, though! Super proud of em.
So happy for those dudes, they really really deserve it.
Seems like yesterday (actually it was 7 years ago) booking them in Fort Worth after Neal called me to see if they could get a show on their way through Texas...me excitedly accepting and then having to sheepishly hand over just a few hundred bucks as they were just playing for the door. But they never complained, in fact they were just excited I got them Negra Modelo (they said they had shitty beer the last few shows). One of the coolest things I have is a recording of the show that contains "Make it Good to Me" that Sharon interjected my name into the lyrics.
They've come a long way from playing for $400 and some change and a case of Mexican beer.
I got pulled up on stage that night by Sharon. I danced my a$$ off. I remember hittin Gabe's bass with one of my flailing arms. Oops! I got a pic of that somewhere.
Such a great night with them, though! Super proud of em.
I think I have a pic as well...I think it is on one of my other hard drives...will post if I find it
until I find that pic...here are a few tunes from that night
Last year when I saw them Sharon kicked ass and got down so fuc*ing hard at one point Bosco came up, put a hand on her shoulder, and made sure she caught her breath before she did herself some damage.
This lady is FIRE, as is her band, and it doesn't surprise me in the least that they a blowing up. Got there new album this week, nice vibe.
SOUL SINGER ELI ?PAPERBOY? REED MAKES CAPITOL RECORDS DEBUT WITH AUG. 10 RELEASE OF COME AND GET IT
MIKE ELIZONDO PRODUCED ALBUM ALREADY BUZZING IN UK; REED ANNOUNCES SUMMER TOUR DATES LEADING UP TO RELEASE
Brooklyn-based soul singer Eli ?Paperboy? Reed will make his major label debut with the August 10 release of Come And Get It on Capitol Records in the U.S. The album, an irrepressible, largely self-penned, 12-song set produced by Mike Elizondo, will be released May 10 on EMI?s Parlophone label in the U.K. where Reed is already generating enormous buzz. He has appeared on Later? with Jools Holland, and MOJO has declared him ?the finest soul belter of his generation.? The album?s lead single ?Come And Get It? is currently BBC Radio 2?s ?Record of the Week.? Reed also lent his trademark howl to London house-music duo Basement Jaxx?s recent album Scars.
The New York Times has noted Reed?s ?raucous, riveting live act,? and he will be taking his electrifying show on the road once again this summer. Reed has announced extensive tour dates throughout Europe and the U.S. leading up to the album?s release. His run of U.S. dates in June will be bookended by shows in Manhattan and Brooklyn, with a homecoming show in Boston, as well as stops in Philadelphia, Chicago and Washington DC. See full dates below.
?It?s been a wild ride, that?s for sure,? says Reed, looking back at the incredible journey that took the soul belter from a Boston high school band room to a Mississippi Delta juke joint, from Sunday morning gigs behind the organ at a tiny South Side Chicago church to headlining the coolest clubs in Brooklyn with his red-hot band, and now, signed to Capitol Records, a historic label with a rich R&B legacy.
On Come and Get It, Reed proves to be the life of a soulful, sweaty party in which everyone eventually gets dragged onto the dance floor. As a performer, Reed approaches each song with nothing less than utter conviction. Admirers have likened him to such luminaries as Otis Redding and Wilson Pickett; the Boston Herald called him ?Boston?s answer to Sam Cooke.? But he?s not merely trying to recreate a sound; Reed is channeling his influences and inspirations into making something all his own.
?For me,? says Reed, ?it?s all about writing pop songs. Soul music was the greatest pop music of the 20th century and its influence is so far-reaching. When I pick up a guitar to write a song, the influence of the music I love invariably comes out. I can?t sing or write any other way than I do.?
Check out what the critics have said about Eli ?Paperboy? Reed:
?There are singers who sing, then there are singers whose sheer power of expression can knock you off your feet. Eli "Paperboy" Reed falls firmly into the latter category.? ?MOJO
??a soul singer who conquered both street corners and punk clubs with a mix of grooved-out rave-ups and slow-burning ballads.? ?ROLLING STONE
?Mr. Reed invokes the stylish and muscular R&B of Otis Redding and Sam Cooke with convincing suavity.? ?THE NEW YORK TIMES
??blue-eyed soul virtuoso Eli ?Paperboy? Reed?croons with tear-jerking tenderness, and turns clich?s into bittersweet truths about the illusory nature of love.? ?NPR
I have to say - and this is by no means meant to be disrespect towards Andy or any of the other dudes in the group - but I just can't seem to get into their sound. Looking forward to the new CD to change my mind but I can't put my finger on what it is that I don't hear in their music that I do hear in other artists.
Comments
http://www.daptonerecords.com/contact-daptone.html
Can't think of a more deserving team. Good work Daptone.
- diego
peace,xavier
ugh, bad zoot suit flashbacks, :shudder:, I hope the "retro-soul" thing doesn't play out like that. Wonder who will jump to a major label...............
I'm guessing the first major label retro funk band to go on a major will be the dynamites. The band members come from a jam band background and they have been playing to some huge crowds on that circuit. Also they have a misguided sense of entitlement and feel like they should be huge. So I see them jumping to a major at the first opportunity. They don't have the work ethic that the daptone crew has...compare the story I told about $400 and a case of beer...when the dynamites come to town they piss and moan about the crowd and blame everyone but themselves for their lack of fans here in Memphis. I see them as going on a major because they feel like they deserve it
My kids request this song every night for after dinner dance party. Shit just totally kills it IMO.
And the problem - to me - with a lot of these post-Daptone bands is that Gabe and 'em spent YEARS perfectly and experimenting with the right sound and lot of these new jacks haven't realized how important it is to nail that kind of elusive quality. I'm not singling out the Dynamites (though I'm not that into their songs) but there's just so many bands who've sent me their stuff and it all sounds too...well...clean. There's no grit there.
As a representative of the Newjack community. We know dude... I've been laughed out of multiple recording studios. Self engineering is fing difficult.
- spidey
It might be getting close.
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=104317949
1) Hanson 2010 = Jamiroquai 1997?
2) Much as I like homages, that video ain't really fuckin' with the OG
I can't get into the Dynamites. There's no "there" there. They play like exactly what Hook-Up said...a bunch of jam-band guys who saw what Sharon & the Dap Kings were doing and wanted a piece of it without doing their homework. The grooves are too loose and the songwriting has no hooks.
Tommy & Homer both deserve tons of credit for being able to play with lots of open space and create such a good pocket, but, unquestionably in my mind, the thing that sets them apart from everyone else is Gabe.
he writes better, catchier songs, arranges them to hit harder, records them closer to the "classic" sound, AND lays down perfectly fitting bass lines, not to mention coaxing amazing performances out of Sharon & the rest of the band (plus those of Budos and other projects he produces).
and the kicker IMO is that he does it all with a great sense of humor, a lot of self-awareness, intelligence, and humility, and as Thes noted in that other thread, without ever taking himself too seriously.
one of my biggest heroes in today's music world, seriously.
..and there it is..what separates jam-band funk from the real deal..
They basically take the Daptone formula and add hip-hop to it. But even if I did like that kind of thing, I'd probably think the Revelations were insanely corny.
I got pulled up on stage that night by Sharon. I danced my a$$ off. I remember hittin Gabe's bass with one of my flailing arms. Oops! I got a pic of that somewhere.
Such a great night with them, though! Super proud of em.
I think I have a pic as well...I think it is on one of my other hard drives...will post if I find it
until I find that pic...here are a few tunes from that night
This lady is FIRE, as is her band, and it doesn't surprise me in the least that they a blowing up. Got there new album this week, nice vibe.
SOUL SINGER ELI ?PAPERBOY? REED
MAKES CAPITOL RECORDS DEBUT WITH
AUG. 10 RELEASE OF COME AND GET IT
MIKE ELIZONDO PRODUCED ALBUM ALREADY BUZZING IN UK;
REED ANNOUNCES SUMMER TOUR DATES LEADING UP TO RELEASE
Brooklyn-based soul singer Eli ?Paperboy? Reed will make his major label debut with the August 10 release of Come And Get It on Capitol Records in the U.S. The album, an irrepressible, largely self-penned, 12-song set produced by Mike Elizondo, will be released May 10 on EMI?s Parlophone label in the U.K. where Reed is already generating enormous buzz. He has appeared on Later? with Jools Holland, and MOJO has declared him ?the finest soul belter of his generation.? The album?s lead single ?Come And Get It? is currently BBC Radio 2?s ?Record of the Week.? Reed also lent his trademark howl to London house-music duo Basement Jaxx?s recent album Scars.
The New York Times has noted Reed?s ?raucous, riveting live act,? and he will be taking his electrifying show on the road once again this summer. Reed has announced extensive tour dates throughout Europe and the U.S. leading up to the album?s release. His run of U.S. dates in June will be bookended by shows in Manhattan and Brooklyn, with a homecoming show in Boston, as well as stops in Philadelphia, Chicago and Washington DC. See full dates below.
?It?s been a wild ride, that?s for sure,? says Reed, looking back at the incredible journey that took the soul belter from a Boston high school band room to a Mississippi Delta juke joint, from Sunday morning gigs behind the organ at a tiny South Side Chicago church to headlining the coolest clubs in Brooklyn with his red-hot band, and now, signed to Capitol Records, a historic label with a rich R&B legacy.
On Come and Get It, Reed proves to be the life of a soulful, sweaty party in which everyone eventually gets dragged onto the dance floor. As a performer, Reed approaches each song with nothing less than utter conviction. Admirers have likened him to such luminaries as Otis Redding and Wilson Pickett; the Boston Herald called him ?Boston?s answer to Sam Cooke.? But he?s not merely trying to recreate a sound; Reed is channeling his influences and inspirations into making something all his own.
?For me,? says Reed, ?it?s all about writing pop songs. Soul music was the greatest pop music of the 20th century and its influence is so far-reaching. When I pick up a guitar to write a song, the influence of the music I love invariably comes out. I can?t sing or write any other way than I do.?
Check out what the critics have said about Eli ?Paperboy? Reed:
?There are singers who sing, then there are singers whose sheer power of expression can knock you off your feet. Eli "Paperboy" Reed falls firmly into the latter category.?
?MOJO
??a soul singer who conquered both street corners and punk clubs with a mix of grooved-out rave-ups and slow-burning ballads.?
?ROLLING STONE
?Mr. Reed invokes the stylish and muscular R&B of Otis Redding and Sam Cooke with convincing suavity.?
?THE NEW YORK TIMES
??blue-eyed soul virtuoso Eli ?Paperboy? Reed?croons with tear-jerking tenderness, and turns clich?s into bittersweet truths about the illusory nature of love.?
?NPR
she will dig it. some earrings too.
Colbert
http://www.npr.org/templates/story/story.php?storyId=126393307
I have to say - and this is by no means meant to be disrespect towards Andy or any of the other dudes in the group - but I just can't seem to get into their sound. Looking forward to the new CD to change my mind but I can't put my finger on what it is that I don't hear in their music that I do hear in other artists.