Sharon Jones & the Dap-Kings, aka Sharon Jones and the Dap-Kings, are a fun… Read Full Bio ↴Sharon Jones & the Dap-Kings, aka Sharon Jones and the Dap-Kings, are a funk/soul band, founded in Brooklyn, NY, USA (1996). They are signed to Daptone Records, where the Dap-Kings are the house band. They are widely thought to be spearheads of a revivalist movement that aims to capture the essence of funk/soul music as it was at its height in the mid-1960s to mid-1970s. Part of the way this is achieved is to shun modern digital recording methods in favour of using traditional analogue recording equipment. The type of instruments used by the band may also be considered limited to those that would have been available up until the mid seventies.
Sharon Jones was born Sheron Lafaye Jones, in Augusta, Georgia (4 May 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 home-town. Like many rhythm and blues entertainers, she began performing in church at a very young age. 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.
The original incarnation of the band, the Soul Providers, were formed in the mid nineties by Philip Lehman and Gabriel Roth AKA Bosco Mann. The Soul Providers began recording an album consisting of James Brown inspired instrumentals and vocal collaborations with Deep Funk legend Lee Fields. It was during these sessions that Roth and Lehman discovered vocalist Sharon Jones after she recorded backing vocals for one of the Lee Fields tracks. They were impressed enough to record a solo track with Jones entitled "Switchblade", a track that had originally been intended for a man to record. This track along with another Jones solo, "The Landlord", were included on the Soul Providers debut release Soul Tequila, released circa 1996 on the French label Pure Records (defunct). Lehman and Roth then started a new label in Brooklyn, New York. Desco Records was born taking its name from Desco Vacuum, a vacuum cleaner store in West 41st Street underneath which they utilised the basement as studio space and an office to administer and distribute the label. Sugarman 3 organist Adam Scone just happened to live upstairs in the same building. The Soul Tequila album was then reissued as a vinyl only LP renamed Gimme The Paw. The record, which featured Lehman's pet dog Spike on the cover, only kept one of the Sharon Jones collaborations, "Switchblade", omitting "The Landlord".
Having established a scene in New York of performers, Desco aimed to showcase a stable of artists with revue style shows and concentrated on releasing vinyl 45 records by a number of artists including Sugarman 3, The Daktaris, The Mighty Imperials, Naomi Davis & The Knights of 41st Street, Lee Fields, Joseph Henry and Sharon Jones, who backed by the Soul Providers who had become the Desco house band, released three 45's on the label. Desco Records were gaining intrigue and reputation for quality amongst soul/funk collectors and enthusiasts. Many people who bought the early records were unsure that they were modern recordings as recording dates were deliberately omitted from the labels and were often marketed as being released in the 1970s. Two other Soul Providers albums were released, an instrumental soundtrack to a mysterious Sam Lung Kung-Fu film, The Revenge Of Mr Mopoji, credited to Mike Jackson And The Soul Providers and a Lee Fields solo album Let's Get A Groove On where the Soul Providers provided the backing.
In 2000, due to a growing difference of opinion, Lehman and Roth decided to go separate ways and both set up new labels. Philip Lehman set up Soul Fire Records (now defunct, the back catalogue is handled by Truth & Soul Records). Gabriel Roth went on to start Daptone Records with Sugarman 3 saxophonist Neal Sugarman. The Soul Providers split and a new band, the Dap-Kings formed. The band was consisted of label owners Roth AKA Bosco Mann on bass and Neal Sugarman on Saxophone, plus original Soul Providers: guitarist Binky Griptite, organist Earl Maxton, percussionist Fernando Velez and trumpeter Anda Szilagyi. Joining them were original members of the Mighty Imperials whose album, Thunder Chicken, was the last release on the Desco label: tenor saxophonist Leon Michels and drummer Homer Steinwess.
Having secured a summer residency at The Boite, a club in Barcelona, Spain, the band 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 backing on what would have otherwise been a financially disastrous trip. With promotional copies reaching notable funk DJs and reviewers, the album gained a significant reputation and was officially released as the first LP and CD on Daptone Records in 2002 to universal acclaim amongst enthusiasts.
An exhausting schedule of international shows then followed to promote the album and it quickly became clear that promotion of Sharon Jones would be key to the success of the Daptone label. Whilst trying to build upon the revue style stable showcasing and trying to record other groups and artists on the label, other projects have to a certain extent been sidelined in favour of building on the success of Sharon Jones. Expected albums from Lee Fields and Naomi Davis have so far been victim to a lack of time, funds and energy a small independent label has. Neal Sugarman's own band Sugarman 3 who have themselves released several popular albums including one on the Daptone label, Pure Cane Sugar, have also been somewhat sidelined.
Following the album, three 45's of note, not included on the album where also 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)" in 2004 was an uncompromisingly hard funk record which firmly kept the interest of enthusiasts and their cover of "Just Dropped In (To See What Condition My Condition Was In)", released in 2005 but which was apparently recorded for a KFC commercial in 2002 but was never used.
By this time there were a few personnel changes, as organist Earl Maxton and trumpeter Anda Szilagyi officially became members of Antibalas, a New York based afrobeat band. Whilst Maxton was not replaced on organ, Trumpeter David Guy was recruited on trumpet. Also from the Budos Band, Thomas Brenneck, a second guitarist was added. In 2003 the Daptone Recording Studio, complete with a sixteen track analogue tape machine was open for business. It was originally intended to record two albums back-to-back to speed up the next release process. However during the final sessions of the first of these albums, Gabriel Roth suffered serious eye injuries in a car crash on his way home from the studio. This led to a break in the recording process and ultimately plans to limit the sessions to only one album. Their second LP and CD, Naturally, was then released in 2005. This album was a more broad based album than the first (which almost completely consisted of funk numbers) and included a mix of both soul and funk influences. The sleeve notes, written by Gabriel Roth, provided some insight into the vision behind the music, "Somewhere between banging on logs and the invention of M.I.D.I. technology we have made a terrible wrong turn. We must have ridden right past our stop. We should have stepped down off the train at that moment when rhythm and harmony and technology all culminated to a single Otis Redding whine. That moment of the truest, most genuine expression of what it means to be human." The production and recording values of this album were also noticeably crisper than that of the first - attaining a sound similar to the kind of production standard achieved by James Brown at his height, rather than the slightly duller "scratchy 45" sound of the original album. With, again, international acclaim amongst enthusiasts and a steadily growing base of both fans and now imitators, the band embarked on more extensive international tours and promotion of the album.
Leon Michels left the band soon after the release of Naturally to help start a new label Truth & Soul Records on the back of a solo LP that was originally intended to be released on Daptone, Sounding Out The City, credited to El Michels Affair. The label would also fill the void left when Philip Lehman closed the Soul Fire label and moved to the Bahamas, leaving the scene altogether. The back catalogue of Soul Fire would then be handled by Truth & Soul Records who, along with Soul Fire often used many of the same artists in their stable, such as Lee Fields, Homer Steinweiss and Thomas Brenneck but of whom Leon Michels had been the biggest collaborator. Michels replacement in the Dap-kings came as Ian Hendrickson-Smith, a local saxophone player who has released several jazz albums under his own name.
The Dap-Kings were then hired as session musicians on a number of projects associated with New York based DJ/producer/recording artist Mark Ronson. Most notable of these is their extensive inclusion and somewhat unheralded contribution to Amy Winehouse's album Back to Black (2006). Six of the album's eleven tracks feature various members of the Dap-Kings with two notable hits from the album, Rehab and You Know I'm No Good, extensively featuring the Dap-Kings. A further engineering credit goes to Gabriel Roth and several tracks recorded at Daptone Studios are mis-credited as "Dapking Studios". Again various members of the band feature on Ronson's second album, Version (2007), providing contributions on all but one of the album's fourteen tracks. The Dap-Kings then became the backing band used on Amy Winehouse's first U.S. tour. In 2007 the Dap-Kings worked with British singer Ben Westbeech to record a new version of his song "So Good Today"; it was released to mark the first anniversary of Brownswood recordings, the label Westbeech is signed to in the UK. Sharon Jones lends her vocals on one song "The Way We Lived", on Wax Tailor's second album "Hope & Sorrow", released in April 2007.
In late 2006, the band recorded a third studio album, entitled 100 Days, 100 Nights, it was released on 2007-10-02. A single, which is not included on the album, entitled "I'm Not Gonna Cry" was released in April 2007 and featured the same uncompromised funk style of the earlier single, "Genuine".
Sharon Jones was born Sheron Lafaye Jones, in Augusta, Georgia (4 May 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 home-town. Like many rhythm and blues entertainers, she began performing in church at a very young age. 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.
The original incarnation of the band, the Soul Providers, were formed in the mid nineties by Philip Lehman and Gabriel Roth AKA Bosco Mann. The Soul Providers began recording an album consisting of James Brown inspired instrumentals and vocal collaborations with Deep Funk legend Lee Fields. It was during these sessions that Roth and Lehman discovered vocalist Sharon Jones after she recorded backing vocals for one of the Lee Fields tracks. They were impressed enough to record a solo track with Jones entitled "Switchblade", a track that had originally been intended for a man to record. This track along with another Jones solo, "The Landlord", were included on the Soul Providers debut release Soul Tequila, released circa 1996 on the French label Pure Records (defunct). Lehman and Roth then started a new label in Brooklyn, New York. Desco Records was born taking its name from Desco Vacuum, a vacuum cleaner store in West 41st Street underneath which they utilised the basement as studio space and an office to administer and distribute the label. Sugarman 3 organist Adam Scone just happened to live upstairs in the same building. The Soul Tequila album was then reissued as a vinyl only LP renamed Gimme The Paw. The record, which featured Lehman's pet dog Spike on the cover, only kept one of the Sharon Jones collaborations, "Switchblade", omitting "The Landlord".
Having established a scene in New York of performers, Desco aimed to showcase a stable of artists with revue style shows and concentrated on releasing vinyl 45 records by a number of artists including Sugarman 3, The Daktaris, The Mighty Imperials, Naomi Davis & The Knights of 41st Street, Lee Fields, Joseph Henry and Sharon Jones, who backed by the Soul Providers who had become the Desco house band, released three 45's on the label. Desco Records were gaining intrigue and reputation for quality amongst soul/funk collectors and enthusiasts. Many people who bought the early records were unsure that they were modern recordings as recording dates were deliberately omitted from the labels and were often marketed as being released in the 1970s. Two other Soul Providers albums were released, an instrumental soundtrack to a mysterious Sam Lung Kung-Fu film, The Revenge Of Mr Mopoji, credited to Mike Jackson And The Soul Providers and a Lee Fields solo album Let's Get A Groove On where the Soul Providers provided the backing.
In 2000, due to a growing difference of opinion, Lehman and Roth decided to go separate ways and both set up new labels. Philip Lehman set up Soul Fire Records (now defunct, the back catalogue is handled by Truth & Soul Records). Gabriel Roth went on to start Daptone Records with Sugarman 3 saxophonist Neal Sugarman. The Soul Providers split and a new band, the Dap-Kings formed. The band was consisted of label owners Roth AKA Bosco Mann on bass and Neal Sugarman on Saxophone, plus original Soul Providers: guitarist Binky Griptite, organist Earl Maxton, percussionist Fernando Velez and trumpeter Anda Szilagyi. Joining them were original members of the Mighty Imperials whose album, Thunder Chicken, was the last release on the Desco label: tenor saxophonist Leon Michels and drummer Homer Steinwess.
Having secured a summer residency at The Boite, a club in Barcelona, Spain, the band 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 backing on what would have otherwise been a financially disastrous trip. With promotional copies reaching notable funk DJs and reviewers, the album gained a significant reputation and was officially released as the first LP and CD on Daptone Records in 2002 to universal acclaim amongst enthusiasts.
An exhausting schedule of international shows then followed to promote the album and it quickly became clear that promotion of Sharon Jones would be key to the success of the Daptone label. Whilst trying to build upon the revue style stable showcasing and trying to record other groups and artists on the label, other projects have to a certain extent been sidelined in favour of building on the success of Sharon Jones. Expected albums from Lee Fields and Naomi Davis have so far been victim to a lack of time, funds and energy a small independent label has. Neal Sugarman's own band Sugarman 3 who have themselves released several popular albums including one on the Daptone label, Pure Cane Sugar, have also been somewhat sidelined.
Following the album, three 45's of note, not included on the album where also 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)" in 2004 was an uncompromisingly hard funk record which firmly kept the interest of enthusiasts and their cover of "Just Dropped In (To See What Condition My Condition Was In)", released in 2005 but which was apparently recorded for a KFC commercial in 2002 but was never used.
By this time there were a few personnel changes, as organist Earl Maxton and trumpeter Anda Szilagyi officially became members of Antibalas, a New York based afrobeat band. Whilst Maxton was not replaced on organ, Trumpeter David Guy was recruited on trumpet. Also from the Budos Band, Thomas Brenneck, a second guitarist was added. In 2003 the Daptone Recording Studio, complete with a sixteen track analogue tape machine was open for business. It was originally intended to record two albums back-to-back to speed up the next release process. However during the final sessions of the first of these albums, Gabriel Roth suffered serious eye injuries in a car crash on his way home from the studio. This led to a break in the recording process and ultimately plans to limit the sessions to only one album. Their second LP and CD, Naturally, was then released in 2005. This album was a more broad based album than the first (which almost completely consisted of funk numbers) and included a mix of both soul and funk influences. The sleeve notes, written by Gabriel Roth, provided some insight into the vision behind the music, "Somewhere between banging on logs and the invention of M.I.D.I. technology we have made a terrible wrong turn. We must have ridden right past our stop. We should have stepped down off the train at that moment when rhythm and harmony and technology all culminated to a single Otis Redding whine. That moment of the truest, most genuine expression of what it means to be human." The production and recording values of this album were also noticeably crisper than that of the first - attaining a sound similar to the kind of production standard achieved by James Brown at his height, rather than the slightly duller "scratchy 45" sound of the original album. With, again, international acclaim amongst enthusiasts and a steadily growing base of both fans and now imitators, the band embarked on more extensive international tours and promotion of the album.
Leon Michels left the band soon after the release of Naturally to help start a new label Truth & Soul Records on the back of a solo LP that was originally intended to be released on Daptone, Sounding Out The City, credited to El Michels Affair. The label would also fill the void left when Philip Lehman closed the Soul Fire label and moved to the Bahamas, leaving the scene altogether. The back catalogue of Soul Fire would then be handled by Truth & Soul Records who, along with Soul Fire often used many of the same artists in their stable, such as Lee Fields, Homer Steinweiss and Thomas Brenneck but of whom Leon Michels had been the biggest collaborator. Michels replacement in the Dap-kings came as Ian Hendrickson-Smith, a local saxophone player who has released several jazz albums under his own name.
The Dap-Kings were then hired as session musicians on a number of projects associated with New York based DJ/producer/recording artist Mark Ronson. Most notable of these is their extensive inclusion and somewhat unheralded contribution to Amy Winehouse's album Back to Black (2006). Six of the album's eleven tracks feature various members of the Dap-Kings with two notable hits from the album, Rehab and You Know I'm No Good, extensively featuring the Dap-Kings. A further engineering credit goes to Gabriel Roth and several tracks recorded at Daptone Studios are mis-credited as "Dapking Studios". Again various members of the band feature on Ronson's second album, Version (2007), providing contributions on all but one of the album's fourteen tracks. The Dap-Kings then became the backing band used on Amy Winehouse's first U.S. tour. In 2007 the Dap-Kings worked with British singer Ben Westbeech to record a new version of his song "So Good Today"; it was released to mark the first anniversary of Brownswood recordings, the label Westbeech is signed to in the UK. Sharon Jones lends her vocals on one song "The Way We Lived", on Wax Tailor's second album "Hope & Sorrow", released in April 2007.
In late 2006, the band recorded a third studio album, entitled 100 Days, 100 Nights, it was released on 2007-10-02. A single, which is not included on the album, entitled "I'm Not Gonna Cry" was released in April 2007 and featured the same uncompromised funk style of the earlier single, "Genuine".
How Long Do I Have To Wait For You?
Sharon Jones & The Dap-Kings Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How long do I have to wait for you, honey?
Before a girl like me can move on
Ooh, baby, tell me
How long do I have to wait for you honey?
Before I can say that you're gone
Every hour seems like a day
And every day is like a year
And every week is an eternity
Well, I get lonely, baby, when you're not here
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before a girl like me can move on
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before I can say that you're gone
Won't you let me know, yeah?
I'm in an awful state, baby
You said you loved me so
But I just don't know how long I can wait
How long do I have to wait for you, honey?
Before I can say that you're gone
I asked your mama, I asked your papa
Your friends, your preacher and your boss
No one knows where you're going to, baby
Or if you're coming back to me
Or we're together or are we lost
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before a girl like me can move on
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before I can say that you're gone
Won't you let me know, yeah?
I'm in an awful state, baby
You said you loved me so
But I just don't know how long I can wait
Oh, oh baby, tell me
How long do I have to wait for you, honey?
Before a girl like me can move on
Baby, how long do I have to wait for you, honey?
Before I can say that you're gone, ah
How long do I have to wait for you, honey?
Before a girl like me can move on
Baby, how long do I have to wait for you, honey?
Before I can say that you're gone, yeah
How long, baby tell me, how long?
Before a girl like me can move on
Ooh, baby, tell me
How long do I have to wait for you honey?
Before I can say that you're gone
Every hour seems like a day
And every day is like a year
Well, I get lonely, baby, when you're not here
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before a girl like me can move on
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before I can say that you're gone
Won't you let me know, yeah?
I'm in an awful state, baby
You said you loved me so
But I just don't know how long I can wait
How long do I have to wait for you, honey?
Before I can say that you're gone
I asked your mama, I asked your papa
Your friends, your preacher and your boss
No one knows where you're going to, baby
Or if you're coming back to me
Or we're together or are we lost
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before a girl like me can move on
Ooh, baby, tell me
How long do I have to wait for you, honey?
Before I can say that you're gone
Won't you let me know, yeah?
I'm in an awful state, baby
You said you loved me so
But I just don't know how long I can wait
Oh, oh baby, tell me
How long do I have to wait for you, honey?
Before a girl like me can move on
Baby, how long do I have to wait for you, honey?
Before I can say that you're gone, ah
How long do I have to wait for you, honey?
Before a girl like me can move on
Baby, how long do I have to wait for you, honey?
Before I can say that you're gone, yeah
How long, baby tell me, how long?
The lyrics of "How Long Do I Have To Wait For You?" by Sharon Jones and the Dap-Kings are about waiting for someone who may or may not come back. The singer of the song is asking her lover how long she has to wait until she can move on. The waiting is causing her pain and loneliness, and she is unsure if her love will ever return. She has asked others for help, but no one knows where her love has gone, leaving her in a state of uncertainty.
The song has an upbeat and catchy rhythm, which contrasts with the emotional weight of the lyrics. The repetition of the question "how long do I have to wait for you?" emphasizes the singer's feelings of frustration and longing. The lyrics also reflect the universal experience of waiting for someone or something that may never come, making the song relatable to a broad audience.
Overall, "How Long Do I Have To Wait For You?" is a powerful expression of love and waiting. The melody, rhythm, and lyrics work together to create an emotional and memorable experience for the listener.
Line by Line Meaning
How long do I have to wait for you, honey?
The singer wants to know when they will be able to move on from the relationship with their partner.
Before a girl like me can move on
The singer is questioning when they will be over their partner.
Ooh, baby, tell me
The singer pleads with their partner for answers.
Every hour seems like a day
Time passes slowly for the artist without their partner.
And every day is like a year
Days seem to drag on forever without their partner.
And every week is an eternity
The singer feels like they are waiting a long time for their partner to come back.
Well, I get lonely, baby, when you're not here
The singer feels lonely when their partner is not around.
Won't you let me know, yeah?
The artist is asking their partner to give them a sign, to provide some clarity in their relationship.
I'm in an awful state, baby
The artist is experiencing a lot of emotional distress due to their uncertain relationship status with their partner.
You said you loved me so
The artist's partner has professed love to them, but they are unsure if the love is enough to keep the relationship going.
But I just don't know how long I can wait
The singer is questioning how long they can last in a relationship where there is no clear resolution.
I asked your mama, I asked your papa
The artist has sought answers from their partner's family members.
Your friends, your preacher and your boss
The singer has also asked other people in their partner's life for answers.
No one knows where you're going to, baby
Even people close to the partner do not have any answers about their current whereabouts or intentions.
Or if you're coming back to me
The singer is uncertain if their partner will ever return to them.
Or we're together or are we lost
The artist questions whether they are still in a relationship or if the relationship has fallen apart.
Baby, how long do I have to wait for you, honey?
The artist urgently asks their partner for a timeline for resolving their relationship.
Before I can say that you're gone, ah
The singer wants clarification from their partner before deciding whether the relationship is over or not.
How long, baby tell me, how long?
The singer continues to plead with their partner for answers about the future of their relationship.
Lyrics © BMG Rights Management
Written by: . MANN BOSCO, HOMER STEINWEISS, NEAL ANDREW SUGARMAN
Lyrics Licensed & Provided by LyricFind
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@biancaj2478
How long do I have to wait for you, honey
Before a girl like me can move on
Oh baby, tell me how long do I have to wait for you, honey
Before I can say that you're gone
Every hour seams like a day
And every day is like a year
And every week is an eternity
Well I get lonely baby when you're not here
Oh baby, tell me how long do I have to wait for you, honey
Before a girl like me can move on
Oh baby, tell me how long do I have to wait for you, honey
Before I can say that you're gone
Won't you let me know, yeah
I'm in an awful state, baby
You said you loved me so
But I just don't know how long I can wait
How long do I have to wait for you, honey
Before I can say that you're gone
I asked your mama, I asked your papa
Your friends, your preacher and your boss
No one knows where you're gone to, baby
Or if you're coming back to me
Are we together or are we lost
Oh baby tell me how long do I have to wait for you, honey
Before a girl like me can move on
Oh baby, tell me how long do I have to wait for you, honey
Before I can say that you're gone
Will you let me know, yeah
I'm in an awful state, baby
You said you loved me so
But I just don't know how long I can wait
Oooh baby, tell me how long do I have to wait for you, honey
Before a girl like me can move on
Baby how long do I have to wait for you, honey
Before I can say that you're gone
Aaa how long do I have to wait for you, honey
Before a girl like me can move on
Baby how long do I have to wait for you, honey
Before I can say that you're gone
Yeah, how long, ooooh
Baby tell me how long
Do I have to wait, o tell me baby...
@TemisanAdoki
This song brings me back to good times in the 2000s.
@davidbaines1425
The drummer is adding all the tension and release.. The vocals wrap around it so perfectly.
I think even Stone Henge would move to this...
@andrewalbertson1
Was about the say! As a guitarist I don't normally notice the drums as much,, but this one is fire! Not just the playing but the recording tone of it too
@nanolathe1193
that funk. that voice. my goodness~
@user-cb5mv1ux3x
Cette chanson que du bonheur ❤
J'adore. ❤❤❤
@nibyafternight1983
Never get tired of this song. So good
@henokr.g.6215
Perfect timing to listen to this damn song. RIP soul queen
@zenbreaks3607
RIP to the Queen.
@SuspenceMC
man this song is so good. The day she passed I played this and cried. I only found out about this song because of the TV show "Hung" anyone remember that? Her voice is magic and The Dap Kings are amazing, they helped make Amy Winehouse's "back to black'' album a classic.
@jesuswouldkilhimself
YEP! Holy cow Sharon Jones is badass thought this was old!