![]() ![]() But even when injecting a new flavor, Kay and Co. There are a few minor tweaks to the Jamiroquai template, like the noisy riffage of “Hurtin'”. It’s as though Kay’s age is catching up with him, and he needs more breaks in the live set where he can get away with not running up and down a conveyor belt. It’s also where the album really stumbles, as there’s way too much of the half-speed stuff. Witness “All Good in the Hood”, (I’ve seen footage of the tony mansion in which Kay and his fleet of sports cars resides, and it’s hardly a “hood”) with its insistent Larry Graham bass and four on the floor dance rhythm.Įven the slow jams (“Blue Skies”) sound either dated or classic, likely depending on whether you love or loathe Jamiroquai. ![]() Not that there’s anything wrong with that, because fans of any artist are fickle, wishing for artistic development on one hand and longing for the sounds of the glory days on the other. Jamiroquai’s retro-funk sound, nearly two decades along, still mines much of its sound from a period in the mid-’70s when funk made the coke slide into disco. Jamiroquai is sort of like M*A*S*H, the classic sitcom which squeezed 11 seasons of television out of a three year war. But what’s there to feel guilty about? What Jamiroquai does isn’t hurting anyone, except maybe whatever birds have sacrificed their lush plumage for frontman Jay Kay’s goofy trademark hats. Whenever Jamiroquai comes up in conversation, the words “guilty” and “pleasure” are almost guaranteed to follow. ![]()
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December 2022
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