Sharon Jones & The Dap Kings

I'm so excited about the Sharon Jones show next month that I've decided to give everyone a month to prepare. Described as "the female James Brown", her shows are known to rock out. After four albums and a career as a prison guard, she finally recieved notice for her work with professional mess and talented soul singer Amy Winehouse. I have a feeling Ms. Jones and her band are about to become a lot more famous, so catch her now while the show is only $15.

Here is an NPR interiew.I've also included a Washington Post review after the jump.

9 p.m. Thursday, Jan. 17
Black Cat
1811 14th St. NW
Washington, DC
• Information: 202-667-7960
• Price: $15

Bill Frisciks-Warren wrote about Sharon Jones in October 2007 for The Washington Post:
Sharon Jones's band has been getting all the attention of late for its work with trouble girl Amy Winehouse, and well it should: There's no tighter, more inventive ensemble active in deep funk and soul circles today.

Jones, however, never went anywhere, as her fourth full-length album since 2002 attests. The irrepressible, hard-touring shouter from Brooklyn sounds as committed and in command as ever. Not only that, the album's 10 tracks serve as a primer for just how varied a genre funk can be, with a program that ranges from salty fatback (the title track) and Meters-style chicken-scratch ("Nobody's Baby") to slinky Southern soul ("Be Easy") and Motown-inflected pop ("Tell Me").

"When the Other Foot Drops, Uncle" is rife with gospel-steeped preachments and call-and-response, even if some of the lyrics are hardly the stuff of the choir loft. "Something's Changed," an ominous dispatch from the ashes of a love affair, makes use of swaying Latin rhythms, while in "Keep On Looking," the Dap-Kings vamp like jazz messengers. In "Humble Me," their pain-in-my-heart triplets open things up enough for their leader to show that, more just a first-rate belter, she and her supple alto can plead with the best of them.

Booting horns, juking rhythms and chank-a-lank guitar abound on the album. Its running time might barely exceed 34 minutes, but with grooves this deep and intense, that's just about right, especially when you're getting all meat and no filler.