Re: Jamiroquai-Different Sounds - Th
Anfos Sin
Alright - Honestly, I really love this song because of GTA V, it's the only Jamiroquai song in GTA V (Car Radio), and it is a banger. I know this sounds crazy but just running from the cops and doing drifts in the car with this song playing just creates an amazing experience.
After the success of "When You Gonna Learn", the band were offered major-label contracts. Kay signed a one-million-dollar, eight-album record deal with Sony Soho2.[7][10][11] He was the only member under contract, but he would share his royalties with his band members in accordance to their contributions as musicians.[11] Their label for US releases would be under the Work Group.[12][a] The band released their debut album, Emergency on Planet Earth, where it entered the UK albums chart at number 1.[13] Kevin L. Carter of The Philadelphia Inquirer commented that the album "is full of upbeat, multi-hued pop tunes based heavily in acid jazz, '70s fusion, funk and soul, reggae and world music".[14] With it, the band would continue to build upon their acid-jazz sounds in the following years.[13] The album's ecologically charged concept gave Kay press coverage,[15] although Mark Jenkins of The Washington Post found the record's sloganeering "as crude as the music is slick".[16]
Jamiroquai's music is generally termed acid jazz,[59] funk,[60] disco,[61] soul,[15] house,[62] and R&B.[27] Their sound has been described by J. D. Considine as having an "anything-goes attitude, an approach that leaves the band open to anything".[63] Tom Moon wrote that the band "embrac[es] old-school funk, Philly-soul strings, the crisp keyboard sounds of the '70s and even hints of jazz fusion", blending these with "agitated, aggressive dance rhythms to create an easygoing feel that looks both backward and forward".[64] Ben Sisario facetiously commented that Jay Kay and Toby Smith as songwriters, "studied Innervisions-era [Stevie] Wonder carefully, and just about everything the group has recorded sounds like it could in fact have been played by [Wonder] himself."[65]
Kay is the primary songwriter of Jamiroquai. When composing, he sings melodies and beats for band members to transcribe to their instrumentation.[1] The band relies on analog sounds, such as running keyboards through vintage effects pedals "to get the warmth and the clarity of those instruments".[64] Parry Gettelman of the Orlando Sentinel described Kay's vocals as "not identifiably male or female, black or white".[66] Other writers said Toby Smith's keyboard arrangements were "psychedelic and soulful",[33] and compared Stuart Zender's bass playing to the work of Marcus Miller.[67] Wallis Buchanan on didgeridoo was met with either praise or annoyance from critics.[29][63][65][68]
"Miraculously, Jamiroquai managed to survive the acid-jazz crash of the early 90's, when kids traded mellow sounds like the Brand New Heavies, Young Disciples and Guru for the bed-of-nails wails of Nirvana, Soundgarden and Pearl Jam."
@telecharge thanks for replying. Yeah I previously found this page! :-) I had a listen and IMO it is fairly different to the sound on at record though. It sounds quite bit like a regular EP with plenty tremolo. The record sound is more metallic IMO. I guess if there was an app which resembled the Nord Stage 2 I could make a start.
I don't own one of those x-stations, this would be amazing if I did. I suppose if I had the knowledge, I could try and match those sounds on one of the synths I DO own (on iOS I mean). But I don't really have a good idea what I'm doing with each knob and dial. I can obviously hear the changes as I dial, but to actually describe like 'yeah this gate is effecting the envelope of LFO 1' etc. no! I'm fairly in the dark. Learning more through experimentation. But still beginner!
These sounds are available now as a free download for all X-Station and XioSynth users. You can download the patches, or even play them online with our custom patch player. Just click on the player window to start.
That quote you gave (from Novation), I google'd it. Appears to have been written taken from an Australian site called Innovative Music.
"These sounds are available now as a free download for all X-Station and XioSynth users. You can download the patches, or even play them online with our custom patch player. Just click on the player window to start."
I was really happy to hear that you could actually try out the sounds in their 'online player'. But by the looks of it.. Whatever player they had on their page has long since passed. (The page has broken/image placeholders, and a horizontal section where presumably the flash player would have been).
Let me know if there's any on that list in particular you're interested in. Think there may be 40-50 patches not sure. I'll try to find out. (They're included at the beginnng of a Factory bank, and I'm not sure where Jamiroquai sounds end and Factory start)
First and foremost, it sounds really good. A lot of songs from decades past have the sound of that time period. I mean, when you hear something like I Ran by A Flock of Seagulls, or Sunglasses at Night by Corey Hart it sounds like the 1980\u2019s. When you hear You Get What You Give by the New Radicals or Bye, Bye, Bye by Nsync, it sounds like the late 90\u2019s. Because of the band\u2019s unique blend of sounds, it doesn\u2019t come off feeling old. Sure it\u2019s a different sound than the hip-hop heavy beats our culture is steeped in today, but it\u2019s not that out of place.
The lyrics of this song almost seem prophetic looking back. In a world transitioning from the grit of grunge to the manufactured sounds of bubblegum pop, Virtual Insanity painted a landscape of a world more akin to a sci-fi thriller. A world with \u2014 as Charlie Chaplin would have described as \u2014 machine men, with machine minds, and machine hearts. A world of selfishness where \u201Cwe can always take, but never give\u201D. A world of virtual insanities in which we find ourselves consumed with \u201Cthese useless, twisting, of our new technology.\u201D Where \u201Cthere is no sound, for we all live underground.\u201D
Stoney adds that the Roland VP9000 has also proved very easy to use. "It's amazing. If you're dealing with an awkward drum loop, for example, you can mess about until you get it exactly how you want it. There are also some very good effects and, above all, it is simplicity itself. So far we've got some great sounds from it. We just did a Kool & The Gang track for their new album, taking all the brass they'd given us and using the Roland to speed it up. It handled this easily without losing any quality. Having a piece of equipment like the VP9000 changes everything because you can use material you wouldn't normally be able to use, and this gives you an opportunity to put down ideas that might previously have seemed impossible."
Though much of the hip-hop currently coming out of Chicago largely disregards the city's soul-sampling rap past in favor of more exquisitely destructive sounds, 20-year-old Chance Bennett-- aka Chance the Rapper-- is something of a throwback. His 2012 mixtape 10 Day, which was partially recorded while he was on a 10-day suspension from Chicago's prestigious Jones College Prep High School, features the type of soothing, jazzy textures, and narrative, open-hearted wordplay of pre-superstar Kanye West or Common mixed with the zooted spontaneity of vintage Eminem. He describes the tape as a "coming out-- this is what it's like to go to a gifted school, to be addicted to drugs, and to be 18 in Chicago."
Part of his sonic gambit involves lacing another homegrown style-- fast-moving juke music-- into his repertoire on the tape's first single, "Good Ass Intro" (another 'Ye reference). "I'm just making really dope music and experimenting with a lot of sounds and a lot of drugs," he says on the phone from the back of a car driving through East Lansing, Michigan.
CTR: There are a lot of different acid jazz sounds I'm playing with on there, too. There's a lot of Jamiroquai, and all the influences for acid jazz, like disco and funk and soul, trying to put all of that into this new acid rap shit that I'm making. It sounds so damn good.
Every song on 10 Day is a completely different sound-- the cadence, the flow, even the production-- because I like so many different types of music and because my taste is so refined. Acid Rap is another tape where every song sounds different. But there's still a certain sound, not just my voice, that flows through it, so people can make that connection. This time, niggas will be able to hear a new song from me and be like, "Oh, that's Chance."
Well I'm still in awe I had been introduced to Jamiroquai through my children in 1999 and he came to San Francisco in 2005 but I missed his concert. My daughter bought two tickets for my 60th birthday! Let me tell you I have seen Elton John, steely Dan, and many groups at the old winterland theater but this was the BEST live show bar non! Jamiroquai has so much soul and he sounds just like his CDs. Well my daughter and I started on the lower level area for a couple of hours and then we went to the balcony and you couldn't believe the sea of people from that view old young all genders he brought everyone together! And while we were on the main floor just talking to people and singing everyone was just vibing they had the lounge area and drinks with two bars this was a wonderful experience for me and my daughter! Thank you for coming back to San Francisco Jamiroquai. I love you!
Such unconventional dimensions make this album different to the prevalent bread of Indie pop. While such eclectic compositions sometimes hit the spot with tracks such as Picture Club and I See You, the amalgamation of sounds and sometimes eccentric lyrical content occasionally verges on the ostentatious. A pleasingly hedonistic offering, but it might sound all the better live.
Next level sounds, feel, and pop intuition: I'm an experienced writer/producer with deep Ableton fluency who can elevate a track with detailed production that flows and leaves space for the most important elements. I love sprinkling in unique elements and textures to give a song its distinct sonic trademark.
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