2-CD reissue from one of the UK's most innovative artists, featuring the worldwide hit "Virtual Insanity". Part of the reissue series of Jamiroquai's first 3 albums, each entirely remastered and featuring a bonus disc of B-sides, live performances, and rarities.
180 gram 2 x audiophile vinyl, insert, printed inner sleeves, gatefold sleeve, remastered audio. 'Travelling Without Moving'  intentionally offers more of what Jamiroquai does best: highly addictive funky grooves with a social consciousness that is matched by front man Jay Kay's charisma. The third effort of Jamiroquai was carried by an inventive video for 'Virtual Insanity'; the album's flagship song. Pressed on two heavy weight vinyl packed in a gatefold sleeve, 'Travelling Without Moving' is finally available on vinyl again, this time with remastered audio for maximum aural pleasure. Also available from Music on Vinyl: 'Emergency on Planet Earth' and 'The Return of the Space Cowboy'
Synkronized With songs that fall exactly in between Michael Jackson's Off the Wall period and A Taste of Honey, Jamiroquai's Synkronized is a funk-disco inferno that is distinguished from its 1970s counterparts only by its 1990s production. It contains all the same ingredients: wah-wah guitar, electric piano, soft-sided strings oozing out melody, pot-bellied bass, and a blasted-out horn section that evokes images of three guys stepping in sync while their sequined flairs swipe over white patent-leather loafers. While the funk is steamy enough to flatten the tallest 'fro, Jay Kay's impeccable ability to emulate Stevie Wonder's vocals brings on the cool side. But the album isn't all about a time warp. Just when you think Jamiroquai isn't going to step a toe beyond 1978, "Supersonic," the seventh track, throws down an acid-house riff that works in didgeridoo and a synthed-out cow bell. "Where Do We Go from Here" rocks with a leap-frogging blues piano and tangy bongos. The album's grand finale, "King for a Day," is a regal rock-operatic excursion embellished with fully orchestrated piano and strings. Overall, this Jamiroquai jamfest is an irreplaceable summer-in-the-city album. --Beth Massa
A Go Go John Scofield's stature as a modern jazz master on electric guitar puts him in a sweet spot for this simmering, sexy collaboration with acid jazz pathfinders Medeski, Martin and Wood, Scofield's taut and spicy lines striking sparks against the soulful grooves pitched by drummer Billy Martin, keyboard colorist John Medeski, and bassist Chris Wood. Far from a cheap commercial shot, the leader's plunge into this reheated '60s style is appropriately redolent of its funk heritage and his own astringent command of sharp lyrical and smart harmonic asides. --Sam Sutherland
Almost 4 years from the releaseof their last album, Funk Odyssey, Jay Kay and his band return with their eagerly anticipated 6th studio album, Dynamite. The new album includes the lead single 'Feels Just Like It Should', as well as the tracks 'Dynamite', '(Don't) Give Hate a Chance', 'Black Devil Car', and 'Seven days in Sunny June'. Epic. 2005. Jason Kay melds his longtime '70s fixations with '80s style synths on Dynamite, Jamiroquaiâ€™s first record since 2001's A Funk Odyssey. It's been a long time since the acid jazz/funk hit "Virtual Insanity" (1996's Traveling Without Moving, to be exact), and even though the band never became the huge hit machine they seemed destined to become, they've continued to put out solid work. Odyssey and 1999's Synkronized showed off Kay's dexterity with this material, mining urban dance grooves from a goldmine of Motown, Stevie Wonder and far-ranging disco and soul. Dynamite keeps going, constructing an exuberant club vibe out of R&B styles, but also borderline electro ("Electric Mistress"), jumpy Squeeze-style pop ("Black Devil Car") and soulful, smooth nostalgia ("Seven Days In Sunny June"). A would-be guilty pleasure, only without the guilt, Kay's musical obsessions combine with his burgeoning talent on Dynamite to create another winner. --Matthew Cooke