VIA PRESS RELEASE | Daptone proudly announces a 20th anniversary reissue of Naturally, the famed album by Sharon Jones and the Dap-Kings. The reissue arrives May 2nd, in time for the late Jones’ own birthday on May 4th. A new vinyl pressing will consist of a remastered 2xLP version that includes instrumentals for all tracks. In addition to the standard black LP, the Indie retail exclusive variant includes opaque orange color vinyl and the Daptone shop exclusive variant includes clear vinyl with orange splatter.
2005’s Naturally was a pivotal moment in the history of soul music. The album has sold over 200,000 copies, with hit singles “How Long Do I Have to Wait” and “This Land is Your Land” streaming in the hundreds of millions—staggering figures for a wholly independent release. It was also the genesis for the Dap-Kings’ collaboration with Mark Ronson and Amy Winehouse, the fruits of which having a lasting, indelible influence on soul, R&B and pop music in general.
Up to this point, Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music.
Recording for Naturally began in 2004 and holds the distinction of being the first Daptone session at the renowned “House of Soul”—a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. (Sharon famously tackled much of the electrical wiring herself.)
One rainy night, just after tracking, drummer Homer Steinweiss gave bassist and producer Gabe Roth (Bosco Mann) a ride home. As they cruised down Troutman Street between Bushwick and Broadway they hit a common hazard in the five boroughs: a rather deep pothole, which triggered the airbag, blowing out the windshield and Gabe’s eyes in the process.
Blinded, bleeding from his eyes, nose and mouth, they rushed Roth to the hospital where he spent several weeks, unsure if he’d regain his sight. Sharon and the band rallied behind Roth, visiting often, bringing him home-cooked food, and even making jokes about how it was a shame he couldn’t see how beautiful his doctor was. As he laid in darkness, anxious to get back into the studio to complete the record, he found solace in listening to rough mixes on his walkman. His sight did come back, but permanent damage to his pupils would require him to forever don his iconic shades in any setting brighter than candle light.
Around this time, the Dap-Kings were really coming into their own as a band. With years of relentless, econoline-style touring under their belt, and the additions of Tommy “TNT” Brenneck (Diamond West Records, Menahan Street Band, Charles Bradley) on guitar, and Dave Guy (The Roots, Tonight Show with Jimmy Fallon) on trumpet, the group was not only the flagship group on Daptone Records, but also the very foundation upon which the label would build their empire.
Naturally altered the musical landscape of the era, eclipsing imitators and the soulfully challenged, wholesale. It made Daptone a household name, helped open doors for many musicians and family who have gone on to do remarkable things, and sparked a renaissance that is still vibrating today. A testament to Sharon Jones’ legacy as the undisputed, reigning Queen of heavyweight soul.
Looking back on the seminal sessions and life-changing event, Gabe Roth reflects on some of the standout tracks on the album.
“Fish in my Dish” I remember showing Sharon some song that she really wasn’t into. We needed something else for the record fast. I knew she couldn’t say no to a song about fishing, so I went upstairs to the kitchen above the studio and scribbled this one out. Came down and showed her on the piano and it was the quickest I ever saw her get into a tune. She loved singing that song. People often read into every song as a metaphor for a man, but this one is really just about how happy fishing made her. That’s Stuart Bogie from Antibalas on the jaw harp in the outro.
“This Land is Your Land” Everybody knows this as a patriotic campfire children’s song, but when it was originally written by Woody Guthrie it was a pretty biting commentary on the inequalities of our country. We rarely hear more than the first two starry-eyed verses about the Redwood Forest and “golden skyways.” It was my sister’s idea to cover it and bring back the later stanzas to reclaim the original meaning of the song. The arrangement was inspired by the Dyke & The Blazers stuff we were wearing out at the time. An iconic Dave Guy solo. Sharon shouts out Staten Island for Tommy, and Riverside, California for me. The song was featured in the intro of a movie, Up in the Air.
“How Long Do I Have to Wait for You” This song, originally inspired by waiting for Binky to show up for a session, has become possibly our most well known song. I’m always amazed that people are still streaming and discovering it. This track starts with Homer’s most legendary drum break, heavily inspired by one of his heroes, New Orleans’ James Black. Also features another memorable Dave Guy solo, which seems to be a theme of our biggest tunes.
“Stranded” (Featuring Lee Fields) My first car was a not-so-dependable ‘75 Oldsmobile that left me stranded more times than I can count. Sharon and Lee always lit up when they had a chance to sing together. She loved singing with him so much. They seemed to lift each other to another level. It gave her a chance to show off how naturally she fell into harmonies. The Bushwick Philharmonic really shines on this one, trading lines with the Dap-Kings horns.
Upon the release of Naturally the buzz was palpable. The crowds were getting bigger, the tours longer and The Dap-Kings were tighter than ever, manifesting their moniker as the Baddest Band in the Land. Offers for late night TV soon followed, and as Roth recalls:
“I think Conan was our first TV show. We did ‘How Long.’ I remember 6’4” Conan towering over Sharon at a mere 4’11”, but she was shining. We were the first band to have him hold up an LP instead of a CD. Then we did Letterman. He kept the studio fucking FREEZING so his guests wouldn’t fall asleep. It was taped, but Letterman famously never allowed re-do’s. Sharon messed up a lyric and told him flatly we were gonna do it again. It didn’t matter where we were, she always seemed bigger than everybody else in the room.”
