The Budos Band I (2005)

“Funk” music is forever branded as kitsch and “retro” in our pop culture, and that’s a damn shame.
Given that such music is the foundation for so much contemporary and so-called “futuristic” dance music, funk has an intrinsic timelessness. Ditch the “wonka, wonka” guitar licks, the stereotypical Blaksploitation and 70’s porn stereotypes, and all of the Me Decade’s schlock, and the music has tremendous power. “Heavy-funk,” which strips the music down to pure minimalist groove – as heard from The Meters, James Brown, and Sly Stone, to name too few – is arguably the best incarnation of how the music shoots directly into the body and soul with fewer chords than punk and enough breakbeats to supply hip-hop, jungle, and house DJs for decades. In short, heavy-funk can be pure hypnosis. Listening to the first few meters and the opening snare snap of the Meters’ “The Handclapping Song” is enough to do the job for me. The work of recent “heavy-funk” revivalists such as Sugarman Three, Breakestra, the Poets of Rhythm, and Sharon Jones and the Dap-kings faithfully swing that therapist’s watch and retain the soul without succumbing to telling the music as a punchline that befell to the music in Hollywood and Baby Boomer “what were we thinking back then?” kitsch.
Here comes The Budos Band, walking off a Staten Island ferry and armed with chops they sharpened after school at a community center. There is no amateurishness here; their instrumentals could’ve been performed in 1970 as much as 2005. The 11-piece ensemble’s eponymous debut album, recorded in just three nights, is one of this year’s best dance records, embodying funk’s best elements and keeping the mind locked in their hands throughout most of its too-brief 37 minutes. Although their take on heavy-funk is certainly up there with their label mates on Brooklyn’s Daptone, namely the Sugarman Three and Sharon Jones, they also enrich their attack with deft afro-beat dynamics and hornwork. The sound is equal parts Meters and Fela Kuti as the band follows a simple, cowbell-driven cadence and let the brass sing. The psych tip that graces their guitar melodies, their flute’s trails of echo and tribal rhythms that can lead any Pied Piper march from the club and onto the streets, only augment these touchstones.
Opener, “Up From the South” begins with a “she loves me/she loves me not” bassline. The Afro-funk percussion then struts in, while the brass section and organ riffs all announce the band’s name loud enough to be heard across three states. The following “T.I.B.W.F.” has a stronger groove with a grouchy baritone sax stamping its feet after what seems to be a pitiful breakup as the brasses follow it and repeatedly shout “get over it, dammit!” But even with the raucousness of it all, the trumpet solo is calm, placing an arm on the Romeo’s shoulder. Elsewhere, the band revives Fela’s ghost in the brilliant space out trance of “Eastbound,” and steadily glides through the Latin funk of “Monkey See, Monkey Do.” They later begin “King Charles” with them laughing at a member’s shoddy impression of a monarch before they pepper out a groove akin to an after-hours nap on the last subway train of the night, watching the streetlights dance across the window.
Unfortunately, a few of the slow groove pieces tend to walk in circles. The Budos are at their best when chasing a beat like frenetic but calming “Budos Theme,” and are able fuel themselves enough to launch far into the sky with just three notes in “The Volcano Song.” They amazingly improve on a funk classic in their cover of Sly and the Family Stone’s everyman hedonism of “Sing a Simple Song.” Their full 11-piece orchestration and three-dimensional production all sound like the song is being heard through the walls of a Garden of Eden that grows in Staten Island.

Link This Release

Site Oficial: http://www.thebudos.com/

Budos Band, The – The Budos Band

Label:Daptone Records

Catalog#:DAP-005

Format:Vinyl, LP, Album



Country:US

Released:2005

Genre:Funk / Soul

Style:Funk

Tracklist

A1 Up From The South 3:26

A2 T.I.B.W.F. 2:40

A3 Budos Theme 3:09

A4 Ghost Walk 2:13

A5 Monkey See, Monkey Do 6:01



B1 Sing A Simple Song 3:18

Written-By – S. Stewart*

B2 Eastbound 3:43

Written-By – B. Profilio*

B3 Aynotchesh Yererfu 3:13

Written-By – S. Belay*

B4 King Charles 3:09

Written-By – M. Irwin* , N. Sugarman*

B5 The Volcano Song 2:50

Written-By – A. Green* , M. Deller*

B6 Across The Atlantic 3:28



Credits

Art Direction – Samuel Tresser

Bass Guitar – Daniel Foder

Cabasa – Johnny Griggs

Congas – Duke Amayo

Congas, Bongos – Rob Lombardo

Cowbell, Claves, Tambourine – Dame Rodriguez

Design [Sleeve Design] – Ann Coombs

Drums – Brian Profilio

Drums, Congas – John Carbonella Jr.

Electric Guitar – Thomas Brenneck

Executive Producer – Roth , Sugarman

Flute – Daisy Sugarman

Mastered By – Don Grossinger

Mixed By – Gabriel Roth , Tomás Biosh

Organ – Mike Deller

Photography [Cover Photo] – Jim Sugar

Producer – Bosco Mann , TNT*

Recorded By – Gabriel Roth

Rhythm Guitar, Cowbell, Congas – Bosco Mann

Saxophone [Baritone] – Jared Tankel

Saxophone [Tenor], Tambourine – Neal Sugarman

Shekere – Vincent Balestrino

Trumpet [1st] – Andrew Greene

Trumpet [2nd] – Michael Irwin

Written-By – B. Mann* (tracks: A4, B6) , D. Foder* (tracks: A1 to A3, B4, B5) , J. Tankel* (tracks: A2, A3, B2) , T. Brenneck* (tracks: A1 to A5, B2, B4, B6)

Notes

Recorded and Mixed at DAPTONE STUDIOS, Bushwich, Brooklyn.



Link Original

Daptone Gold 2009

Dear fellow funk enthusiasts and soul searchers everywhere,
DAPTONE RECORDS–that little indie label that could, would and certainly should–continues to bring you the tastiest, most delectable nuggets of Soul, Funk, Gospel and Afrobeat to be found on a vinyl platter. Armed with recipes culled from a former life as Desco Records, we at Daptone earnestly strive to serve only the finest music analog tape can offer.
Musician-owned and run, our Brooklyn-based family of soul-drenched talent channels the spirits of bygone powerhouses like Stax and Motown into gilded moments of movement and joy, be they delivered by the likes of Sharon Jones and the Dap-Kings, Lee Fields, Charles Bradley, Binky Griptite, the Budos Band, Naomi Davis or the Sugarman 3. Whether your preference is for discs 7-inches or 12, LPs or CDs, this is music to be savored and felt, again and again.
Hand-made and heart-stirred, our records are manufactured from the highest quality vinyl available. Our limited pressings can be purchased directly from us or from your local distributor at reasonable prices. Each record is carefully recorded and mixed by the illustrious Bosco Mann to ensure only the hardest, truest sound found this side of the Atlantic. Daptone Records continues to take pride in what we do, and we thank you for your support.

Sincerely,

Gabriel Roth & Neal Sugarman.

Daptone Gold

Label:Daptone Records

Catalog#:DAP-018

Format:CD, Compilation



Country:US

Released:2009

Genre:Funk / Soul, Latin

Style:Gospel, Rhythm & Blues, Soul, Funk

Tracklist

1 Binky Griptite - Introduction 0:51

2 Sharon Jones & The Dap-Kings - I’m Not Gonna Cry 3:22

3 Budos Band, The - Up From The South 3:28

4 Naomi Shelton & Gospel Queens, The - What Have You Done 3:29

5 Sharon Jones & The Dap-Kings - How Long Do I Have To Wait? 4:05

6 Lee Fields - Could Have Been 3:31

7 Antibalas featuring Mayra Vega - Che Che Cole Makossa 4:09

8 Budos Band, The - Budos Rising 4:49

9 Sharon Jones & The Dap-Kings - Got A Thing On My Mind 2:53

10 Charles Bradley & Menahan Street Band - The World (Is Going Up In Flames) 3:22

11 Sharon Jones & The Dap-Kings - Make It Good To Me 4:39

12 Lee Fields And Sugarman & Co.* - Stand Up 3:54

13 Naomi Shelton & Gospel Queens, The - What Is This 3:13

14 Binky Griptite With Sugarman Three, The* - A Lover Like Me 2:38

15 Menahan Street Band - Make The Road By Walking 3:03

16 Sharon Jones & The Dap-Kings - Tell Me 2:46

17 Sugarman & Co.* - Down To It 4:13

18 Dap-Kings, The - Nervous Like Me 3:07

19 Sharon Jones & The Dap-Kings - Giving Up 3:09

20 Budos Band, The - Ghostwalk 2:11

21 Cynthia Langston & Gospel Queens, The - I Need You To Hold My Hand 3:21

22 Binky Griptite & Mellomatics, The - The Stroll Part 2 2:11

23 Sharon Jones & Lee Fields - Stranded In Your Love 5:48



Notes

1 Can only be found on this compilation

2 Is from seven inch single DAP-1031

3 Is from seven inch single DAP-1023

4 Is from seven inch single DAP-1036

5 Is from seven inch single DAP-1020

6 Is from seven inch single DAP-1017

7 Is from 12” inch single DAP-12001

8 Is from The Budos Band album “The Budos Band II”, DAP-011

9 Is from seven inch single DAP-1001

10 Is from seven inch single DAP-1034, DNM-102 (Daptone / Dunham

11 Is from seven inch single DAP-1004

12 Is from seven inch single DAP-1025

13 Is from the Naomi Shelton And The Gospel Queens album “What Have You Done, My Brother?”, DAP-016

14 Was previously unreleased in this version and only existed in a version by Lee Fields And Sugarman & Co. called “You Don’t Know What You Mean (To A Lover Like Me)”

15 Is from seven inch single DNM-101, DAP-1029 (Daptone / Dunham)

16 Is from seven inch Promo single DAP-1038-P and the album ‘100 Days, 100 Nights’ (DAP-012-LP)

17 Is from the album Sugarman 3 & Co “Pure Cane Sugar”, Dap-002

18 Is from seven inch single KD003 (Kay-Dee Records)

19 Was previously unreleased

20 Is from seven inch single DAP-1027 (released 2006) and the eponymous 2005 album (DAP-005)

21 Is from the Naomi Shelton And The Gospel Queens album “What Have You Done, My Brother?”, DAP-016

22 Is from seven inch single DAP-1043

23 Is from the album Sharon Jones And The Dap-Kings “Naturally”, DAP-004



Barcode and Other Identifiers

Barcode: 82314001824

Matrix Number: R02093273 G2 28 Oct 2009 DAPT018 AMI



Link Original

Link Alternativo

Polish Funk Vol. 2 (2007)

Funk, soul and jazz is the music created to dance and lays beneath all modern dance music. Yet it is not very popular among the DJs and you can not very often hear it in a club. Poland is not different from the rest of the world – usually house and techno predominated. Too many pulp DJs following fashions and much too less real music in the clubs. So it was very lucky that four of the most funkiest and musically enhanced polish DJs met to create a very special collective to promote good vibes to clubs of Poland. They were already for almost ten years on the Poland’s club scene doing parties on their own. So it was very natural to unite and under the name of Soul Service promote good groove to the clubs.
From funk to hip-hop from jazz to latin soul from 7”digging to scratching. They cover it all. Adding some visuals and sometimes funky MCs they know how to party. Soul Service is talking loud and saying “get on the good foot” with our funk bomb.
In search for more funky tunes Soul Service turned to dig their secret stash – old polish record crates. For years they were looking through second hand shops, flea markets and granny’s wardrobes to find any polish record influenced by funk. Soul Service wanted to expose power of their homeland beats to the rest of world. This way “Polish Funk” compilation concept was born and was brought to the world with cooperation of the Polish oldest record label still on the market – Polskie Nagrania.
“Polish Funk” series really hit the spot responding to the strong need of such a record among wide audience. It was named the record of the week by “Piccadilly Records” from London, “Dusty Grooves” from Chicago called it “a wonderful introduction to the kinds of grooves we've been digging from Poland for years” and „Jazzman Records” UK calls it “an album espousing the strength and diversity of funky jazz recorded behind the Iron Curtain in '70s Poland”. “Polish Funk” was also acclaimed very warmly by polish artists whose compositions appeared on it. Ewa Bem, a super famous polish jazz singer, calls it, interviewed by “Dziennik” - a major polish newspaper, “A superb record, that gives a chance for a polish music to be introduced to the new dance generation” and Halina Fr--ckowiak a very popular polish pop singer calls “Polish Funk” “A record compiled by well known polish DJs with excellent selection of most valuable polish funk/soul tracks. Recommended for all not only funk lovers”
“Polish funk vol. 1” was issued on July 2007 and will be followed on September by 7” single with two additional tracks. And on October 2007 “Polish Funk vol. 2” will be issued. Also a promotional mix tape that contains tracks from vol. 1 and 2 is already distributed.

Projeto de um quarteto de D.J.’s focado no resgate dos sons produzidos no território polonês na d´cada de 70. Se liga nas Feras:

BURN REYNOLDS – a veteran club and radio DJ, known for his own radio program “Fusion” in Warsaw’s Radio Jazz; Theatrical music arranger; member of EU4YA (European Union For Young Artist ); Warsaw’s Wax Box vinyl shop co-operator.

CPT.SPARKY – best known, among other activities, for running his own record label, creating a jazz/folk band Primitivo, managing different clubs in Warsaw, chef editor of “Jazz” magazine and graphic designer of dozen record covers. For almost 10 years a DJ, VJ and funk music promoter and 7” vinyl maniac, creator of “Triple S Heroes” a comic book style international party concept with DJ Smoove (Acid Jazz/UK) and DJ Stupid Deep (Bureau45/Germany).

DJ MISTY aka Misciak – DJ, promoter, digger, famed for his collaboration with legendary Niewinni Czarodzieje (Innocent Sorcerers) DJ’s/producers’ collective, scratcher, vinyl and coca cola junky, Vespa scooter lover.

PAPA ZURA – well known funk music promoter from Lublin. Despite his DJ career also known as a member of legendary Bloo-Zbir and Plastelina funk bands. Graduated of music school, now excellent oldschool style scratcher, DJ and vinyl records and old instruments collector.
They rocked the parties in clubs all over Europe - Zwitzerland, Germany, Italy, Russia, Bielorus, France, Holland, Litwenia, and UK.

Tracklist:

01 Ide dalej / Further, I Go (Halina Frackowiak, 1974) H. Frackowiak J. Kondratowicz
02 Zyj sobie sam / Live by Yourself (Zdzislawa Sosnicka, 1976) J. Koman B. Olewicz
03 Atma (Niebiesko-Czarni, 1969) Z. Podgajny
04 Do tych dni, kolorowych dni / Back To The Old, Colorful Days (Wojciech Skowronski , 1976) W. Skowronski K. Adam
05 Skad my to znamy / Something Familiar (Krzysztof Sadowski and His Hammond Organ, 1970) K. Sadowski
06 Alfa Centaura / Alpha Centauri (Grupa Organowa Krzysztofa Sadowskiego, 1972) K. Sadowski
07 Oczy ci zaslonie / I Shall Cover Your Eyes (Maciej Kossowski, 1969) M. Kossowski Z. Jerzyna
08 Zechcesz mnie zechcesz / You Will Want Me (Czeslaw Niemen and Enigmatic, 1970) T. Jaskiewicz W. Mlynarski
09 Palamakia (SBB, 1977) J. Skrzek
10 Ksiezniczka / Princess (Andrzej Zaucha, 1974) P. Figiel M. Skolarski
11 Blues and Rock (Wojciech Skowronski , 1973) W. Skowronski P. Moszynski
12 Wodo, zimna wodo / Water, Cold Water (Halina Frackowiak, 1974) K. Gaertner E. Bryll

Site Oficial:  http://www.myspace.com/soulservicedjteam

Link Original

Sharon Jones

SHARON JONES AND THE DAP-KINGS

Sharon Jones was born Sheron Lafaye Jones in Augusta, Georgia on May 4th 1956.  Her mother moved to Brooklyn soon thereafter, however Jones was sent down south for a few months every year to stay with her family.  As a child, she and her brothers would imitate the songs and dances of James Brown, who shared their hometown.  Like many rhythm and blues entertainers, she began performing in church at a very young age where her voice would find a lifelong home and inspiration.  As a teenager in the early nineteen seventies, she began singing outside of the church in talent shows and with local funk groups.  Later she would make her living with a combination of sporadic session work as a mostly anonymous voice on various dance records (sometimes credited as Lafaye Jones), singing with wedding bands, and a handful of day jobs which included stints as both a prison guard at New York’s notorious Riker’s Island, and an armored car guard for Wells Fargo Bank.  In 1996 she was called in to sing back-up at a Desco Records studio session for 70’s soul legend Lee Fields.

Desco was a small independent specializing in traditional funk and soul pressed exclusively to wax.  Co-owners and producers Phillip Lehman and Bosco ‘Bass’ Mann had called Jones in on a tip from a sax player who was seeing her at the time.  As the other two girls never showed up for the session, Jones cut all the background parts for the session herself, and proceeded to cut the impromptu prison rap over Switchblade, which had originally been intended for a man.  Ironically, that rant (slowed down to make it sound like a man) would be her first outing as a featured artist on a record.  Though she was at first skeptical of the 21 year-old jewish kid egging her on from the other side of the glass, a common love and respect for Soul music soon created a trust and friendship between Jones and Mann which would lead them both to a fruitful career.

Over the next four years, Jones sang frequently alongside Lee Fields, Joseph Henry, and Naomi Davis as part of the Desco Super Soul Revue backed by Desco house band the Soul Providers.  Desco would release a handful of singles in her name including The Bump & Touch, Damn It’s Hot, and You Better Think Twice as well as versions of funk classics I Got the Feelin’ and Hook & Sling.  In the UK, a blossoming Deep Funk scene lead by DJ’s Keb Darge and Snowboy among others showed support for these Desco releases and paved the way for Jones and the Soul Providers’ first international tour in 1999, where her command of the stage earned her an overnight title as the ‘Queen of Funk’.

Unfortunately, just as the Jones and the band began to gain momentum and a reputation for a show that couldn’t be missed, internal business conflicts caused the demise of Desco Records in the early part of 2000.  Though the Soul Providers would not perform again, it wasn’t long before Jones and Mann would regroup in another formation.

Guitarist Binky Griptite, would remain at Mann’s side as well as organist Earl Maxton, percussionist Fernando ‘Boogaloo’ Velez, trumpeter Anda ‘Goodfoot’ Szilagyi and Baritone saxophonist Jack Zapata (AKA Martín Perna, who would go on to form Brooklyn afrobeat collective Antibalas) all from the original Soul Providers.  From the Mighty Imperials, a young instrumental organ funk group that recorded at Desco, Tenor saxophonist  Leon Michels (who would later leave the group to form the El Michels Affair as well as his own label, Truth & Soul) and drummer Homer ‘Funkyfoot’ Steinweiss would fill out the line-up.  Both were only 17 years-old at the time.  Now for the first time, the group would be billed as Sharon Jones & the Dap-Kings.

In 2001, the group landed a summer residency at a club in Barcelona.  Knowing that the trip would be a financial disaster without having a recording to sell, Mann penned a few new tunes and assembled the band to record. A rough eight track recording studio was rigged up in the basement beneath the Afro-Spot, a local kung-fu dojo which doubled as an afrobeat nightclub and headquarters for Antibalas’ frontman Duke Amayo.  After a few weeks of tracking and mixing, the band’s debut album was completed.  Dap Dippin’ with Sharon Jones & the Dap-Kings would be Jones’s first full length recording.  Though few hundred copies were pressed to sell on the road, it would take several months and the birth of a new record label before Dap-Dippin’ would be commercially released.

In late 2001, saxophonist Neal Sugarman, whose organ driven Sugarman Three combo had given Desco two of its most prominent releases,  and Gabriel Roth, Desco’s head recording engineer, joined together to form Daptone Records.  With the intention of continuing on where Desco had left off, Daptone’s debut release would be the Dap-Dippin’ album.

Over the next three years, Sharon Jones & the Dap-Kings would tour extensively and build steadily upon a growing reputation as the unrivaled frontrunners of old-school Soul and Funk music.  The band went through several changes in personnel before settling into what would be its permanent line-up.  Sugarman joined the band to replace Michels on tenor saxophone.  Michels would move to baritone where he would stay until 2005, when he eventually left to give Truth & Soul Records his full attention.  He would be replaced on baritone by Ian Hendrickson-Smith, a well known and respected jazz saxophonist in his own right.  The trumpet chair passed from Szilagyi to Todd Simon, and was eventually filled by David Guy.  Maxton left the band in 2003 to play with Antibalas, leaving the band with no organ, and guitarist Tommy ‘TNT’ Brenneck, of the Budos Band, would take up the slack in the rhythm section.

By the time they returned to the studio in 2004, the Dap-Kings roster read like a veritable who’s who of the day’s Soul and Funk scene, most of whom were bandleaders in their own right.  Countless gigs had molded the rhythm section into a redoubtable juggernaut on the bandstand, and the combination of Sugarman, Guy, and Hendrickson-Smith in the horn section was fierce.  Behind the ever-increasing power and stage presence of Jones, the band was becoming a force to be reckoned with.

In 2003, Daptone Records had relocated to a dilapidated two family house in Bushwick, Brooklyn.  Upstairs became the offices, and with some amount of work, the first floor had been converted to a recording studio.  By the time the Dap-Kings came to record their second record in March of 2004, the studio had been outfitted with a sixteen track tape machine.  (Originally, the plan was to record the second and third albums back to back.  Unfortunately, on the last day of tracking the second record, a car accident on the way home from the studio landed Mann in the hospital with serious eye injuries.  From then on he would have to wear protective sunglasses.  It was over a month and a half before work could be resumed on the album and it was decided to scrap the third album for the time being.)

In January of 2005, Naturally hit the streets and set Jones and the Dap-Kings loose on a relentless touring schedule. Fueled by rave reviews of both their new record and the blistering live show, record sales and concert attendance began rising across the country, and as the band began to tour more frequently overseas, international markets soon followed suit. By 2006, audiences in Europe, Canada, and Australia were packing venues to see Sharon Jones & the Dap-Kings.

A high point came when Daptone Records presented a Soul Revue at New York’s Irving Plaza (Fillmore East) to honor Jones’ 50th birthday.  The sold out extravaganza featured The Mighty Imperials, The Budos Band, Charles Bradley, Binky Griptite, Naomi Davis & the Gospel Queens, the Bushwick Philharmonic, Antibalas, and was of course headlined by the Dap-Kings and Sharon Jones herself. 

In the winter of 2006, the band slowed its touring schedule to make time for a return to the studio.  The resulting 100 Days, 100 Nights, slated for a much anticipated release in September of this year, is arguably their greatest achievement to date.  With much more extensive songwriting and arranging contributions from the members of the band, the songs take more distinct and well-crafted forms, enabling a deeper more soulful return to traditional Rhythm and Blues roots.  However, it is the raw fire and Soul which Sharon Jones & the Dap-Kings consistently pour into their music that will make this record an irreplaceable part of many people’s lives.

Resenha Nacional sobre Sharon Jones na Folha

 

  2002 Album

Ficha Técnica:

Bass - Bosco Mann
Congas - Boogaloo Velez
Drums - Homer Steinweiss
Guitar - Binky Griptite
Organ - Earl Maxton
Producer - Bosco Mann
Recorded By - Gabriel Roth
Saxophone [Baritone] - Jack Zapata
Saxophone [Tenor] - Otis Youngblood
Trumpet - Anda "Goodfoot" Szilagyi*
Vocals - Sharon Jones
Voice - Binky Griptite

Set List:

1   (Introduction)
2   Got A Thing On My Mind
3   What Have You Done For Me Lately?
4   The Dap Dip
5   Give Me A Chance
6   Got To Be The Way It Is
7   Make It Good To Me
8   Ain't It Hard
9   Pick It Up, Lay It In The Cut
10  Casella Walk
11  Hidden Bonus Track

 

Link Original

2005 Album

Ficha Técnica:

Artwork By [Art Direction] - David Serre
Bass, Piano, Vibraphone [Vibes], Tambourine - Bosco Mann
Cello - Alex Kadvan
Congas - Boogaloo Velez
Drums - Homer Steinweiss
Engineer [Assistant, Mixdown] - Tomas Biosh*
Executive Producer - Sugarman & Roth
Guitar, Backing Vocals [Back-up Vocals], Voice [Emcee] - Binky Griptite
Guitar, Piano - Tommy TNT Brenneck*
Mastered By - Don Grossinger
Other [Catering By] - Daniela Sugarman
Photography - Dulce Pinzon
Producer - Bosco Mann
Recorded By, Mixed By - Gabriel Roth
Saxophone [Baritone] - El Michels*
Saxophone [Tenor] - Neal Sugarman
Trumpet - Dave Guy
Violin - Antoine Silverman , Entcho Todorov
Vocals - Sharon Jones
Written-By, Arranged By - Bosco Mann (tracks: 1 to 6, 8 to 10) 
Notes: Recorded and Mixed at Daptone Studios, Bushwick, Brooklyn
Mastered at Masterdisk

Strings courtesy of the Bushwick Philharmonic

Tracks 1 to 6 & 8 to 10 published by Boscosound Music (BMI)
Track 7 published by Ludlow Music (BMI)

Set List:

1   How Do I Let A Good Man Down? (3:02)
2   Natural Born Lover (3:04)
3   Stranded In Your Love (5:47) Vocals [Featuring] - Lee Fields 
4   My Man Is A Mean Man (3:16)
5   You're Gonna Get It (4:59)
6   How Long Do I Have To Wait For You? (4:03)
7   This Land Is Your Land (4:31) Written-By - Woody Guthrie 
8   Your Thing Is A Drag (3:33)
9   Fish In The Dish (3:18) Jew's Harp [Jaw Harp] - Stuart Bogie 
10   All Over Again (4:43) Organ - Earl Maxton

 

Link Original

2007 Album

Ficha Técnica:

Arranged By - Sharon Jones & The Dap-Kings (tracks: 1-01 to 1-10)
Artwork By [Sleeve Design] - Ann Coombs , David Serre
Backing Vocals [Backup Vocals] - Dansettes, The (tracks: 1-02, 1-05, 1-10) , Gospel Queens, The (tracks: 1-03) , Voices Of Thunder, The (tracks: 1-01)
Bass - Bosco Mann (tracks: 1-01 to 1-10)
Cello, Leader [Band Manager] - Alexander Kadvan* (tracks: 1-01 to 1-10)
Clavinet - Earl Maxton (tracks: 1-03)
Congas, Bongos - Fernando 'Boogaloo' Velez* (tracks: 1-01 to 1-10)
Drums - Homer Steinweiss (tracks: 1-01 to 1-10)
Executive Producer - Sugarman & Roth
Guitar - Binky Griptite (tracks: 1-01 to 1-10) , Tommy TNT Brenneck* (tracks: 1-01 to 1-10)
Mastered By - Scott Hull (2) (tracks: 1-01 to 1-10)
Organ - Earl Maxton (tracks: 1-01)
Photography [Cover Photo] - Dulce Pinzón
Piano - Bosco Mann (tracks: 1-01 to 1-10) , Cliff Driver (tracks: 1-01) , Earl Maxton (tracks: 1-08)
Producer - Bosco Mann (tracks: 1-01 to 1-10)
Recorded By - Gabriel Roth (tracks: 1-01 to 1-10)
Saxophone [Baritone] - Ian Hendrickson-Smith (tracks: 1-01 to 1-10)
Saxophone [Tenor] - Neal Sugarman (tracks: 1-01 to 1-10)
Strings - Bushwick Philharmonic, The (tracks: 1-01 to 1-10)
Trombone - Aaron Johnson (tracks: 1-01 to 1-10)
Trumpet - Dave Guy (tracks: 1-01 to 1-10)
Vibraphone - Toby Pazner* (tracks: 1-01 to 1-10)
Viola - Christopher Cardona* (tracks: 1-01 to 1-10)
Violin - Antoine Silverman (tracks: 1-01 to 1-10) , Entcho Todorov (tracks: 1-01 to 1-10)
Vocals - Sharon Jones (tracks: 1-01 to 1-10)
Voice [Presenter] - Binky Griptite (tracks: 2-01a to 2-06d) 
Notes: 100 Days & 100 Nights
Recorded at Daptone Records, House Of Soul.

Tracks 1-01 & 1-04 to 1-08 Boscosound Music, BMI.
Tracks 1-02, 1-03, 1-09 & 1-10 BMI.

Set List:

1   100 Days, 100 Nights (3:45)
2   Nobody's Baby (2:27)
3   Tell Me (2:46)
4   Be Easy (3:03)
5   When The Other Foot Drops, Uncle (3:15)
6   Let Them Knock (4:29)
7   Something's Changed (2:56)
8   Humble Me (4:05)
9   Keep On Looking (2:49)
10  Answer Me (4:08)

 

Link Original