You also cover The Rolling Stones’ “Moonlight Mile” on the new record. Can you talk about why you chose that song for inclusion? Are there any other covers?
I love that “Moonlight Mile” tune. It tells a story to me, but I don’t know how other people interpret that song. A lot of people have problems interpreting that song, but I saw myself in that song. The rest of the songs on the album were written by our team.
It’s interesting to hear that you used a writing team, because that was definitely an early facet of soul music. These great singers, for example Dianna Ross, would be paired with writers and they would become the storyteller, as you said. That’s not necessarily something you see a lot of today, but it’s nice to see that you have continued that tradition in a contemporary way.
Yeah, man. Everybody writes; everybody tries. It’s a mission to make something that you’re happy with.
From a production standpoint, you use lots of analog equipment from the classic soul era, which gives the sound a very authentic, retro feel. That’s often something that’s associated with the Daptone sound, who you’ve worked with over the years. Is your intention to make the record sound like it was created in the past?
We recorded the album at Truth and Soul’s studio in Williamsburg, Brooklyn. Analog is a major thing. However, you got to keep up with what’s happening to make it sound like something that should have been recorded years ago, but still sounds so fresh. We are actually making songs. We’re actually recording songs just like they were recorded in that era, but we also use technologies that enhance it, without deforming it. Technology shouldn’t be taking away from the structural layers of what it is. That’s why when people listen to it, it sounds old, but it sounds fresh at the same time. We try not to use devices to enhance the sound; we try to use these devices to make the sound clearer. We don’t need devices to alter the sound, but to make it more audible.
Sharon Jones was discovered on one of your singles in the 90s and you’ve worked with the Daptone Family on various projects over the years. Are you still closely associated with that family of musicians?
We’re still tight. I love Sharon from the bottom of my heart and I’m so happy for her success. We’re a family, man. All of us. Everything that has turned out so well. I’m so happy about it. When I see Sharon on TV and Charles Bradley it’s just another feather in my hat. I’m like a kid in a candy store. I’m not about me, I’m about everybody. I’m so selfish, I want everything like I want it to be. I’d like for Sharon, for Charles Bradley and everyone and everything just to be perfect. I want people to get along with each other. I want everyone to be happy.
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