There is a tremendous optimism on Button Up’s MySpace page, where they claim to be soul/jazz/experimental. No Dancin’ is experimental in the same way that teenagers experiment with alcohol: they know exactly what is going to happen, but have great fun doing it.
The most remarkable thing about Button Up is their ability to recapture an early 1970s soul sound. The guitars have a warmth, the piano a sultry elegance and the bass a languid prowl. That the core band is made up of a rhythm section might explain the solidity of the grooves, and the revolving cast of keyboardists, vocalists, guitarists and horn arrangers gives them their diversity. Light instrumental interludes lend the album a mellow vibe, taking in soft reggae, urgent but not distressed funk and jazz-funk- without the horrible goateed hipster irony that has ruined the fun since the late 1980s.
Of course, there is little originality on display- Checkin’ Out could be the James Taylor Quartet, It’s Better to Have could be any number of early white soul men with gravel voices: but whatever they copy, they bring love and enthusiasm- as well as accuracy. And Justin Currie deserves a special mention for his version of Return of the Prodigal Son, which dances around a difficult vocal melody and includes a splendid theological commentary on this old fable.
No Dancin’ is more fun than the wretched posturing of most pop bands- about as original, Button Up are really a cool covers band who happen to have written note perfect pastiches.