Whenever I talk to relatives or family friends about music, I’m often besieged with the common complaint of how “they just don’t make music like they used to.” It’s true that many new genres and subgenres of music have developed over the past several decades, but if people are complaining about the lack of “old-school” music in the modern day, then it’s clear they have not heard about Sharon Jones and the Dap-Kings.

Grammy nominee and subject of acclaimed documentary Miss Sharon Jones!, Sharon Jones had an awe-inspiring career as a soul singer before her tragic death almost exactly one year ago, on November 18th, 2016. Jones and the Dap-Kings released seven studio albums over the course of 17 years, each one encapsulating the raw, Aretha-like authenticity that Jones made a standard in her work. The release of the group’s newest album Soul of a Woman almost exactly one year after Jones’s death is a sad yet significant reminder of the inspirational power possessed by this incredible woman.

Soul of a Woman relates directly back to the title as a reflection of album’s thematic context. The tracks vary in subject matter, ranging from elements of love and break-ups to the importance of hard work and in some cases even religion, yet they demonstrate the day-to-day experience of a modern woman. Every lyric of this album is relatable to a level that is almost uncanny. While listening through this album for the first time, I often found myself believing Jones was singing directly to me about own experiences — something I can honestly say I’ve never experienced before.

The album begins with the strong opening of “Matter of Time,” a song rich with gospel-influenced call-and-response elements. The simple harmonies add invigorating, but not overpowering, dimension to Jones’s dominant voice. The track is upbeat and light-hearted and sets the listener up for what seems to be a fun, bluesy journey. Interestingly though, this is not the case; while many of the earlier songs on the album are upbeat, the tempo goes through a notable downwards trend as the album progresses, with songs becoming more impactful in terms of orchestration, shifting genres from blues to soul to gospel, and finally coming to rest with its inspiring terminus “Call on God” and its optimistic chorus “Call on God/and He’ll carry you through.” It carries the message of Soul of a Woman in a soft yet powerful manner and is the perfect closing to an album about love and loss.

The climax of this album, in my opinion, comes with the second to last track “Girl (You’ve Got To Forgive Him).” Jones takes on the role of an instructive friend: her vocals, laden with intense emotion, are laid over heightened orchestral sound, which will leave this song echoing in the listener’s mind for the rest of the album’s duration.

If you’re looking for an empowering album that perfectly captures the spirit of ’60s and ’70s soul, then this album is a must. Soul of a Woman not only succeeds in proudly carrying the torch of what many incorrectly consider to be a dying genre, but also encompasses the enormous spirit of Sharon Jones herself.