Various Artists Daptone Records Remixed (Scion CD Sampler Volume 19)

A few years ago I'm sure I would have completely dismissed corporate album promotions. Corporations are bad, after all, and certainly any artist's participation in their promotion or enjoyment of their riches would taint and corrupt their craft, leading them down a soul corroding path to irrelevance. These issues don't seem as simple anymore, what with physical music scales and the traditional promotional avenues collapsing, and the corporate versus indie stigma declining in meaning as the formally omnipotent major record companies go further into freefall.

We may be at a point where, for pop music to survive, some type of Matrixesque merger of human and machine must take place if either is to survive. That's pretty ill considered and melodramatic, but the release that actually forced me to discard my dogma was LCD Soundsystem's 45:33. Infamously commissioned by Nike, the mix was one of the most unique and inspired to come along and, in retrospect, a perfect warm-up for the surprising brilliance of Sound of Silver. While the argument can be made that James Murphy compromised himself and allowed himself to be exploited, I have a hard time seeing how Nike could have gained more from this release than he did.

Daptone Records Remixed is not as revelatory as 45:33, but it does serve as a strong collection highlighting the diverse roster of an amazing label. It comes at an ideal time, with the Dap Kings getting some of the afterglow and bloodspray of the Amy Winehouse touring trainwreck, and their real muse, Sharon Jones, finally getting some of the attention she deserves for the marrow deep soul on display in 100 Days, 100 Nights.

Jones is on ample display here, showcased on almost half of the tracks. Thankfully, the collection digs into her earlier work, particularly the stellar Naturally disc, rather than linger on the more recent release, which is essential in its entirety. Also featured are the serious soul chops of the Sugarman Three and the more afropop inflected styles of the Budos Band and the Daktaris.

Although some of the remixes are only serviceable, none are objectionable, and there are a few standouts. Ticklah recasts Jones' How Long Do I Have To Wait For You? with a delicious Carribean organ line that enlivens an already great song. Mad Professor's dub wizadry is a perfect fit to treat the funky instrumental sounds of the Daktaris. Mark Ronson, whose work with Winehouse and Lily Allen has taken some of the Daptone vibe into mainstream pop over the last year or two, takes the epic 70s funk of The Budos Band's Chicago Falcon and amps it up into an irresistable party starter, aided by an energetic verse by Wale. Most thankfully, all of the originals are included in an accompanying disc, offering proof that Daptone, rather than being retro gimmick slingers, are one of the finest labels of today, packed tight with unrivalled musicians.

Daptone Records Remixed also happens to be Scion CD Sampler Volume 19. Scion, marketing itself as the automobile for some type of hypercool urban culture (because New Yorkers love cars so damn much), has taken to releasing CDs, sponsoring events, and generally giving hip artists a wider exposure beneath the Scion banner. While efforts like this may create a segregation between independent artists whose work can be palatable to the masses given some exposure, like LCD and Daptone, and the more idiosyncratic artists who can't function in this type of package, I don't think the sliver of corporate exposure has been a bad thing. In fact, if the Globochems of the world want to keep finding deserving acts to showcase and putting out collections of such quality, I really don't think I mind at all.