-Kwabena Nkwatia.
GREETINGS. Welcome to the sounds grooves and the harmonies of original FUNK. The 20th Century Soul the Synagogue of Satan claim they invented here in London.
THE LIST THAT JAY KAY, JAMIROQUAI AND HIS SATANIC MOB ARE TRYING TO SUPPRESS THROUGH CYBERSTALKING ABUSE, CRIMINAL HARRASMENT, BLACK MAGIC RITUALS AND MURDER THREATS…AS I SAID WHEN I STARTED THIS SITE IN 2017…. THEY CAN FUNK OFF!
1.)A response to quotes (Lies) by Jay Kay.
SMOKE AND MIRRORS AY!
Yeah that’s Right! Because no one knows who Isaac Hayes is do they… I mean no one has ever heard of The Brothers Johnson, George Duke, CHIC! Or Imagination have they. I mean there were no such people as Rick James and The Stone City band, Earth Wind and Fire, or Barry White! …I mean we don’t know the sound of Roy Ayers or Confunkshun, or Tom Browne or The Commodores…. They were all a figment of our imagination weren’t they! There was no such thing as 1970’s/1980’s FUNK was there huh. You, Gilles Peterson, Eddie Pillar and your gang “invented” it all in the 1990’s didn’t you! GTFO.
Kwabena Nkwatia
FFS as if practically “his” entire so called discography isn’t stolen from someone else. And as for the ridiculous claim that he doesn’t use any outside influences.!!! I recognize all the musical identities, signatures and constructs on every one of their so called songs on every one of their so called Soul albums from the 1970’s/1980’s and you don’t have to take my word for it either. THAT is why the SOULHEAD TALES exists. Total bollocks as we say in London. As if he wrote a single song himself. Not only many 70’s/80’s Funkster but also 1990’s Funksters schooled in THE GROOVE know that to be a complete load of rubbish as many media outlets in the 1990’s will testify when you read the archives. See the amount of stick these thieves got in the press for their blatant plagiarism. Kay was about 11 years old when we were jamming in the nightclubs of the late 1970’s and early 1980’s. He was not old enough to have been a London Soulhead of the disco/post Disco era. He never set foot on a disco dance floor and came of age during the Electro era of the mid 1980’s.
I deal with this elsewhere on this site, but i
And of course you will find no club report, Album or single review mentioning this non existent genre. Neither will you find any “acid jazz” chart. You will hear no mention of this non existent genre on any Black Music Television show such as Soul Train U.S or most importantly our British version of soul train hosted by Geoffrey Daniels of Shalamar. Remember they claim that this so called acid jazz genre came out of London. It did not. No one had even heard of that record company,.Gilles Peterson unknown to anyone but a tiny group of Latin pirate radio listeners had nothing to do with any sound here in London at any time. Not with our old Brit Funk sound or our late 1980’s Americanised sound. And as I say you will see no reference to any of these lies in any Black music archive of the 1980’s. We had what they called acid House which was a different sound however at no time was there ever anything called acid jazz. Bands Playing retro 1970’s Funk were playing just that FUNK. The fact that Eddie Pillar and Gilles Peterson decided that they were going to march into Black culture and rebrand THE FUNK as their own creation called acid jazz does not as I will keep saying , constitute the existence of a music genre,
In order to change history you have to control the narrative. The seat of their deceit is Wikipedia. After people complained to Wikipedia about the lies written on this page they the deleted the comments on the talk page. They then tried to ban the I.P Addresses used to to make the complaint. This is standard practice especially on Wikipedia political pages. Anything which does not suit the globalist /serpent agenda they try and delete. When I first scrutinized the page probably around 2013/14 I saw that Jamiroquai had gotten a warning for editing their pages as it was a conflict of interests. Though now as many of you will know wikipedia has been taken over by that mob.
After they failed to stop people they brought in a Gatekeeper Michael Bink Knowles. A Man who worked at the Satanic Bohemian Grove. Acid Jazz records, Jamiroquai and those behind Daft punk are all part of this satanic mob, so they brought in one of their own to guard the page. A Californian. That’s right. Eddie Pillar and Gilles Peterson’s mob are using so called Wikipedia editors to re0write the history of Black Britain, They brought in a Californian to guard this page of lies. A page of lies which credits Gilles Peterson, Eddie Pillar and the Synagogue of Satan with Black music here in late 1980’s London. The creation of bands like Light of the World, The Pasadenas, Soul To Soul, Omar etc etc.
Michael Bink Knowles
Michael Bink Knowles. Eddie Pillars Gatekeeper.
The Californian who doesn’t seem to know where Essex is, has never heard of The Goldmine or Caister. The most famous Soul clubs in London….which art in Essex! Yet thinks he’s more qualified than us and people from Essex to write the history of music in Black London. The anonymous AMERICANS and people from places like Sweden, India, South Africa, Holland etc -rewriting Black music history and the history of Black Britain.
Disinformation being spread all over the internet by the synagogue of Satan. They are trying to wipe British Soul and the people who actually created the sound of 1980’s Black Britain completely out of History.
BACK WHERE THE LIE STARTED.
See below all these bands playing Jazz Funk and Soul were fraudulently labelled and sold to the kids of the era (early 1990’s) as 100% Acid Jazz. And now all these years later in the early 2020’s when you read what they have written on Wikipedia you can see why. It was their plan from day one.
100% ACID JAZZ? SAYS WHO? EDDIE PILLAR? GILLES PETERSON?
So according to Gilles Peterson, Eddie Pillar and the synagogue of Satan all this FUNK was invented here in London by Gilles Peterson here in London in 1988. Who also incidentally lists himself as a “notable acid jazz” artist on Wikipedia! The ego of these serpents. Below a list of bands on wikipedia whom the synagogue of Satan claim play a Black music genre called acid jazz invented by Gilles Peterson. All they have done is listed a bunch of Jazz Funk, Latin Soul, Rare Groove bands together and then claimed that they owe their sound to their Satanic record label created in 1988.
Above- some SOUL compilations being claimed as “Acid Jazz” the Invention of Gilles Peterson.Go check the Internet and see how many of these compilations they have put out….
And below- Brit Funk/Rare Groove, Jazz Funk, Soul and bands playing the Latin (South American ) sound (Bossa Nova, Salsa,Samba). All listed as so called “Acid Jazz” bands playing a Black Music genre invented here in London by Gilles Peterson!
GILLES PETERSON IS A NOTED AS A “KEY ACID JAZZ ARTIST” DON’T YOU KNOW….Though He’s never had a hit in his life and he can’t tell you the name of a single acid jazz song belonging to his non existent genre because, Well it doesn’t exist. Peterson is just the front man for this cynical cultural theft exercise
So these are the bands they fraudulently categorize as playing Gilles Peterson’s Acid Jazz genre. And as any authentic Funkster can see all they have done is listed a bunch of Jazz funk, New Jack Swing, Neo Soul, Brit Funk bands together to fool their target audience the youth of the 21st Century. There is nothing called acid jazz and they know this that is why They have taken over the page and delete comments as they do on the Jamiroquai page. This is a well thought out International campaign and as I mention elsewhere they have started created numerous websites all parroting the false information carried on the Wikipedia page which completely re-writes the history of Black music here in the late 29th century. Their page is a COMPLETE LIE.
More BS…As if a DJ here in London England is responsible for all these Jazz Funk and Soul acts. As If any of these bands or singers owe their existence to a parasitic record label run by Eddie Pillar and his mob. A record Label which infiltrated Black Britain in the late 1980’s and are now trying to wipe Black Britain from the history books, replacing them with the likes of Plagiarists Jamiroquai.
So you can see the extent of their deceit and you can see the Generational myth they are trying to create among the kids of today. And you can also tell they know nothing about Black Music. In another 20 years they will be claiming that FUNK is a serpent genre created by them and the likes of Jay Kay are the people who invented it. This is exactly how the serpent works across the board.
THEY HAVE TAKEN OVER THE WIKIPEDIA PAGE AND DELETE COMMENTS
As you will see in 10 Easy Ways To Debunk The Acid Jazz Lie. We have been monitoring their lies since 2016/2017, They were warned in 2018 but they continue to delete comments in their effort to re-write history. So when New millennial kids search for Acid Jazz they are being told that it is a musical genre invented by Gilles Peterson…..
So Eddie Pillar, Gilles Peterson and their International mob know exactlywhat they are doing in trying to Indoctrinate the masses.
3). How to spot a satanic serpent…
(I’am Automaton/ Legend of the Iroquis Serpent )
So called “Native American” Legend.
JAM……..IROQUAI
NOT ON MY WATCH SERPENT. YOU WILL CHOKE THE LIFE BLOOD OUT OF NO ONE.
Kwabena Nkwatia
THE HORNED SERPENT
Whats all this serpent” stuff that all you spiritualists and conspiracy theorists keep going on about?
And also these are NOT Jews. They have nothing to do with the African people spoken about in the plagiarised ancient texts they selected to include in what they call the Bible. Theses are people from the Iberian peninsular and from the Caucus mountains. “Sep en RA” does not refer to them as being chosen. It refers to the First People on Earth being chosen. The only beings who have chosen them are the Dark lower vibrational energy beings they worship at places like Bohemian Grove. In their masonic lodges and in their homes.
Remember also that the mainstream media, academia, politics and the so called scientific community are all controlled by this global cult. Do your own reserch and awaken yourself. And remember “Conspiracy theory” was a phrase invented by them to try and discredit people who saw through the Kennedy assassination. This same term is now being used to discredit those of us who know what the globalist agenda is. Happily after years of work the global populous are awakening. Thats another story . This is about the FUNK but connect the dots. This mob are not just connected to the globalist serpent they are of the same Ilk. Psychopathic, lying murderous criminals.
The wolf in sheeps clothing………. says it all does kin it.
The serpent proxy (These degenerate satanic criminals) and any negative service to self type embarking on a major project of deceit has to tell you what he is and what his intentions are. That, he thinks absolves him from any Karmic , kickback. If I warn you and you take no action to stop it then I can take it. Now I said they think that it will absolve them from Karmic Kickback. It won’t.
Smoke and mirrors—(The art of obscuring things)……
When you get a group of people working together steadfastly towards a particular goal if no one intervenes then the Universe must give you what you seek. The New world order is working on the same principle. A global cult of millions all working together to bring about the Global Police State you can see being erected right around you.
Smoke and Mirrors, Wolf in sheep’s clothing, Scam Should I lie should I steal should I Care is all serpent Jay Kay telling you what his evil intentions are coupled of course with his choice of name Jam-serpent (Iroquai). He’s also told you he’s an Automata. Another name we use and was used for these negative serpents who work with low vibrational energies. The ones that John Lamb Lash, Controlled opposition leader David Icke and many others have been telling you about for years. But hey we’re crazy spiritualists and conspiracy theorists. There is no such thing as generational satanism is there. No censorship by Globalist corporations like Facebook, Youtube and the like. No removal of truth speakers from forums. No 13 families, no Sabbatean Satanic global cult. People like Jay Parker and hundreds of other satanic abuse survivors just made it all up didn’t they.
Automata
So remember the Automaton Album…. I AM AUTOMATON..how do ancient texts describe these serpents?
The ancient gnostics describe the serpents as locust like reptilian automata. They are robotic, they mimic others but have no creative ability. They are what we can describe as an AUTOMATON. They don’t just commune with these creatures. They become them. The serpent proxy, these murderous, psychopathic criminals are real and they walk among us.
-John Lamb Lash–
(Founder of the KALI-KA War party)
“I’m Automaton”- Jay kay 2016
I know what he is. So will any Tarot Oracle reader Diviner worth their salt. Plus He’s even telling you what he is….. got it yet?
So unluckily for Peterson and his International disinformation cabal them there are hundreds and thousands of London Funksters still about INCLUDING the bands that invented the British Sound that the synagogue of Satan claim credit for. And No one, NO ONE over here will credit Acid Jazz records of Gilles Peterson with the Invention of any music genre
THE SOULHEAD TALES
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
PLEASE CLICK HERE FOR A REVIEW OF JAMIROQUAI’S EMERGENCY ON PLANET EARTH
So lets see if you can find anything “invented” by Gilles Peterson on this Album!
FRAUDULENT RE-CLASSIFICATION OF BLACK MUSIC BY JAMIROQUAI ACID JAZZ RECORDS AND THE synagogue OF SATAN ON WIKIPEDIA…………
Emergency on Planet Earth is a SOUL ALBUM. It can be classified a Soul, R&B or FUNK. There is nothing on this album called acid jazz or Club Jazz. Both names created by The Synagogue of Satan to culturally appropriate 20th Century Soul. No such genres exist. If you claim that there is a so called acid jazz song on this album then tell me which track below I have got wrong. Tell me which track is so called acid jazz and not what I classify it as Below.The correct classifications for the songs on The Emergency on Planet Earth Album are as follows…….
When you Gonna learn and Too young to die
…Are straight forward 1970’s/1980’s SOUL tracks,which copy sounds from Earth Wind and Fire, Herbie Hancock, Roy Ayers, Curtis Mayfield, Stevie Wonder, Bob James, Johnny Hammond and others.
Hooked up Is a James Brown style FUNK track featuring elements of Roy Ayers, Earth Wind and Fire, Brass construction and of Go Go DC the sound of Washington DC during our era (70’s/80’s).
If I like it I just do it, a SOUL track which copies Earth Wind and Fire, Stevie Wonder, and others.
Music of the mind Is a JAZZ-FUNK track featuring SAMBA percussion Black South American (So called “Latin”) copied from Hammond Smith and the Mizell Brothers sound of the early to mid 1970’s.
Emergency on Planet Earth Is a Late 1970’s early 1980’s Disco/post Disco era FUNK track featuring elements of Kool and the Gang, Curtis Mayfield, The Isley Brothers, TheBrothers Johnson, Rick James and others.
Whatever it is I just can’t stop Is a late 1960’s, early to mid 1970’s style FUNK track featuring elements of James Brown, Parliament Funkadelic and others.
Blow You mind is a 1970’s JAZZ-SOUL (TWO STEP) groove which copies Roy Ayers, The Blackbyrds and others.
Revolution 1993 Is a JAZZ-FUNK/GOSPEL track which copies Ronnie Laws plus the sound of Larry Graham, and others…
Didgin out Is the sound of early 1970’s experimental JAZZ-FUNK which copies the groove of Roy Ayers, Herbie Hancock, Patrice Rushen and others adding the Didji sound of Earth Wind and Fire.
So the correct classifications for the songs on Emergency on Planet Earth are Funk, Soul, Jazz-Funk,Gospel, Samba (So called Latin) and Jazz Soul aka Two step. Note Jazz Soul can be fast as well a slow. Two step is the slowed down mid tempo groove popular in the mid 1970’s and the mid 1980’s. There is nothing on this album invented here in London England in 1988 or at any time not by Gilles Peterson or anyone else. So ask Gilles Peterson, Eddie Pillar and Michael Bink Knowles exactly what track on this album is acid jazz.
Please Click Below
EMERGENCY ON PLANET EARTH-AS REVIEWED BY AN AUTHENTIC 1970’s FUNKSTER
6) THE RETURN OF THE SPACE COWBOY
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
The continued fraudulent reclassification of Black Music on Wikipedia. It say’s usually classified under Funk AND Acid Jazz?
CLASSIFIED BY WHO EXACTLY? WHO CLASSIFIES 1970’s FUNK AS A MUSIC GENRE INVENTED BY CRIMINAL GILLES PETERSON?
This album contains SOUL Music . It’s correct classification when it was released in 1994 would have been Rare Groove (Retro 1970’s Funk).
THE RETURN OF THE SPACE COWBOY-CLICK HERE FOR MY REVIEW
The correct classifications for the songs on The Return of the Space Cowboy Album are as follows….
Just Another Story (COSMIC FUNK/JAZZ FUNK) is 1970’s Funk. It sounds like a pastiche of incorporating the musical Identities of Parliament Funkadelic, Bernie Worrel and Bootsy to be precise, Roy Ayers, The Brothers Johnson, Herbie Hancock, Rose Royce, The Commodores, Grandmaster Flash and the Furious five and Jack Mc Duff...
Stillness in Time is a 70’s/80’s LATIN (Black South American) tinged, track which sounds like Stevie’s Another Star, has elements of Earth Wind and Fire, David Joseph /Lonnie Liston Smith and Donald Byrd.
Half the Man Is a straight forward 70’s/80’s (SOUL) ballad. Basically a replay of Patrice Rushen (Giving up is giving in) and E.W.F’s (Dreams) incorporating elements of Sly Stone.
Light Years (FUNK) A straight forward Funk that track that rips Tom Browne and the Queens NY Sound of the late 1970’s (Bernard Wright, Marcus Miller, Don Blackman etc), has elements of the Gap Band and Parliament-Funkadelic
Manifest Destiny (JAZZ FUNK & SOUL) An early to mid 1970’s Johnny Hammond style track along the lines of (California Lovers) has elements of The Commodores and Pleasure.
The Kids (ROCK/R&B) A Jimmy Castor groove with what sounds like FAZE-O’s Chorus in the track (Let’s Rock)
Mr Moon (FUNK) A straight forward Post disco era FUNK track done in the old Britfunk style of Shakatak, Incognito, Atmosfear, Freeeze and the like. The intro sounds like the intro to Parliaments get off your ass and jam. This sound goes back to America to Roy Ayers, Captain Sky (Moonchild). The Gap Band (Can you feel it) and others especially Patrice Rushen in the mid 1970’s. Its nothing invented over here in London in the 1990’s.
Scam A FUNK track with so called LATIN elements. Steals elements of Idris Muhammad, Jam by L.T.D and Garden Party by Mezzoforte. A total scam.
Journey to Arnhemland A 80’s Brit FUNK groove from Sahara (Love so Fine) done in the early 70’s experimental Jazz Funk Style of Herbie, Miles, Patrice Rushen and many others, with what sounds like elements of Mavin Gaye and Roy Ayers.
Morning Glory (SOUL) A standard 70’s/80’s ballad track with so called “Latin”elements Basically a copy of Stevie Wonders (Visions) and what sounds like elements of Loose Ends (choose me rescue me).
Space Cowboy (FUNK/TWO-STEP) Sounds like an Isley Brothers track, has elements of Arnies Love (I’m out of your life) copies Parliaments (No head no backstage pass) and Bootsy’s (Bootzilla) in the chorus then goes in to a two step groove along the lines of Roy Ayers, Renne and Angela and others.
We Gettin Down (FUNK) A remake of Weldon Irvines (we getting down)
Space Clav (JAZZ FUNK/LATIN-TWO STEP) This sounds like Herbie Hancock and Loose Ends
So those are the correct classifications for the tracks on Return of the Space Cowboy. It’s a straight forward Soul album full of recognisable grooves. Return of the Space Cowboy contains Jazz, Funk, Soul, Latin, Two Step and Rock. There is nothing on this album called “acid jazz” invented here in London in 1988 or at anytime. Acid Jazz does not exist. All of these sounds were in existence before Acid Jazz records infiltrated Black music in 1988.
THE RETURN OF THE SPACE COWBOY-CLICK HERE FOR MY REVIEW
7)TRAVELING WITHOUT MOVING
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
PLEASE CLICK HERE FOR MY REVIEW OF TRAVELING WITHOUT MOVING
Again there is nothing called “Acid Jazz” on this album. Note again below those who have taken ovwer the History of Black Music on Wikipedia (Acid ajzz records/Jamiroquai etc) claim that Jamrioquai are a Jazz Funk and an Acid Jazz band. Inference being that “Acid Jazz” is a style of Black Music in its own right apparently invented here in London in 1988 by then Pirate Radio DJ Gilles Peterson. There is no such genre. Needless to say ask Gilles Peterson which style of Funk he is responsible for here. Funk and acid jazz?
CLICK HERE FOR MY REVIEW OF TRAVELING WITHOUT MOVING
The Best Selling FUNK album in History….. REALLY?
So below they shout out on Wikipedia that this is the best selling FUNK album in music history. REALLY? well firstly I though you were telling us that this is a music genre called “acid jazz” invented by Gilles Peterson in 1988. The very idea that this 1990’s copycat album is being advertised as if it was some fantastic benchmark of SOUL or is relevant to Black Music history will be absolutely preposterous to any AUTHENTIC 1970’s/1980’s Funkster. There is absolutely nothing special about this album.
FUNK……AND ACID JAZZ. The latter apparently invented by Gilles Peterson!
Virtual Insanity (FUNK-TWO STEP) Stevie and Djavan Luz (Samurai). This is late 70’s /early 80’s along the lines of Queens NY sound, It incorporates elements of Marvin Gaye ,Johnny Hammond and The Gap Band.
Cosmic Girl (FUNK) this is 1970’s/early 80’s Disco/Post Disco Era FUNK containing elements of Hyldon, Phil Fearon and Galaxy, CHIC! Deodato, The Commodores, and others.
Use the Force (FUNK) A Straight forward 1970’s/1980’s track featuring elements of what sounds like Forrest, Cameo, Al Hudson with a chorus from Idris Muhammed
Every Day ( SOUL) A standard 1970’s/1980’s Ballad which copies Teddy Pendergrass (Love T.K.O) and Foxy
Alright, Another 70’s SOUL Track which mimics Candido, Idris Muhammed and others.
High Times (ELECTROPHONIC PHUNK) A standard 70’s/ 80’s Synth Funk track which copies the Intro of Pleasure (Universal mind), comes over like the early 1980’s early Johnny Gill (Half Stepping) and others, It also brings in the Keyboard sound of the The Commodores
Traveling Without Moving (FUNK) A 1970’s track which mimics Larry Graham and mimics the sound frequencies of Aurra/Slave, Patrice Rushen, Leroy Burgess and others.
Drifting along (REGGAE) This is commercialised Reggae Music.
Didjgital Vibrations (JAZZ FUNK/TWO STEP) Which mimics a Herbie Hancock track via Barry White and incorporates elements of Jimmy Smith/ Earth Wind and Fire.
You are my Love (FUNK) A 1970’s track incorporating elements of Quincy Jones, Pleasure, Jeff Lorber, Marvin Gaye and others.
Spend a Lifetime (SOUL) A 1970’s/80’s track which sounds like Stevie and Parliament
Funktion (FUNK) A 1970’s track which copies Vernon Burch, The O’jays, Idris Muhammed and others.
Slipping and Sliding (FUNK) 70’s/80’s gives the impression of the old Shuffle Groove. Copies Stevie, Johnny Guitar Watson, The Gap band and has Roy Ayers style horns.
Bullet (FUNK) 1970’s FUNK track containing elements of Roy Ayers, Johnny Hammond, The Brothers Johnson, Marvin Gaye and others. A bit of scratching makes it more 80’s then 70’s.
Titan/Everybody’s going to the Moon, (ELECTROPHONIC PHUNK) late 1970’s early 1980’s Sounds like a Brothers Johnson (Light up the night) loop with what sounds like the vocal style of Blondie.
Do You know where you’re coming from UK/D&B..
Hollywood Swinging (FUNK) A remake of Hollywood Swinging by Kool and the Gang.
Our Time is Coming (No it ain’t)—(FUNK) A 1970’s groove which plagiarises Roy Ayers and Earth Wind and Fire.
Radio (R&B.ROCK) This is sounds a bit like early Prince.
Those are the correct classifications for the songs on Traveling without moving. Again the only people who will tell you this album is so called acid jazz are those who don’t know what any of these sounds actually are. Or have read the wikipedia page crafted by Acid Jazz records.
CLICK HERE FOR MY REVIEW OF TRAVELLING WITHOUT MOVING
NOW WE MOVE ONTO THE POST DISCO ERA…1980-1983
8) SYNKRONISED
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
SYNKRONISED- WHY THE CHANGE IN SOUND?
I have seen them try to create all sorts of fake BS and silly myths and legends about their change in sound. Ignore them. Once younger readers get to understand all these sounds and the difference between the sound of the early 70’s and the Disco post disco era of the late 70’s/early 80’s, then you will realise that all they are doing is hoovering up the different sounds of FUNK history. This will be apparent to any 1970’s/1980’s Funkster who listens to these albums back to back. Run it by your elders who grew up in the late 20th century. They will know the difference between old school Funk, 1970’s Disco era Funk and the 1980’s Electro-Funk sound.
In the early 1990’s jamiroquai mostly mimicked the sound of the early 1970’s. The Rare Groove sound which was basically a summary of Black American Jazz Funk from the first half of the decade (1970’s). Sounds that they are now trying to claim were invented here in London in 1988 and are called “acid jazz”. So having copied most of the early 1970’s Jazz Funk sounds in the early 1990’s, at the turn of the decade 1999/2000 Jamiroquai moved (With the Timeline) into the Post Disco era. Synkronised is a SOUL/R&B Album which mimics the sound of a post Disco (1980-83) album. It sounds different because the sound of FUNK is different in this time period. from late 1978 into 1980 FUNK began to change as it became more and more Electrified (Synthesised). The disco era around reached it’s peak in the golden years of 1979/80 . I will take you through all the sounds on my Synkronised review. Click below or read on if you wish to make a quick check the different styles of Funk on the album.
CLICK HERE FOR MY REVIEW OF SYNKRONISED
So as you can see they claim that this Post Disco album contains FUNK, Rock AND Acid Jazz. Well as someone who actually knows what Rock is I can tell you there is no Rock on this album. And as one who know the FUNK I can tell you that there is no Acid Jazz on this album either. And taht is because there is no such thing as a Black music genre called acid jazz. It does not exist.
CLICK HERE FOR MY REVIEW OF SYNKRONISED
Canned Heat (FUNK)
This is Late 1970’s/early 1980’s Disco/post Disco era styled track featuring the groove of George Duke, CHIC, The Brothers Johnson and others.
Planet Home ELECTROPHONIC/ELCETRIFIED PHUNK
Late 1970’s early 1980’s FUNK featuring among others the sound of The Barkays, Parliament/Rick James/Stone city band/Cameo, Shalamar, Earth wind and fire/Mandrill.
Black Capricorn Day (FUNK)
Mid 1970’s FUNK. The sound of the Blackbyrds, Roy Ayers and others.
Destitute Illusions (JAZZ-FUNK)
A 1970’s/1980’s track featuring the sound of MAZE
Supersonic (FUNK)
A 1970’s track copied from Roy Ayers,
Where do we go from here (JAZZFUNK)
Post disco era (1980-83) featuring grooves from Bill Brandon, The Isley Brothers, Tom Browne, Skyy and others. You could also classify this as Sophista-Funk.
Soul Education (JAZZFUNK)
Mid to late 1970’s sounding Jass Funk in the groove of The Commodores, Isaac Hayes, The Brothers Johnson and others. This could also be classifed as Sophista-Funk
Falling (SOUL)
A 1970’s/1980’s SOUL ballad straight out of Stevie Wonder and Jermaine Jacksons groove.
King for a Day (SOUL)
SOUL with 1970’s Ecclesiastics from Stevie Wonder
Deeper Underground (ELECTROPHONIC PHUNK)
Based on the mid 1970’s this is a Late 1970’s/ 1980’s Stevie Wonder, The Isley Brothers, Prince, The Jackson Five, and Black Britain’s (Ain’t no Rockin in a Police state.)
Butterfly (ELECTROPHONIC PHUNK)
1980’s Electrified Phunk featuring the sound of Roy Ayers and a groove by The Rah Band (Clouds Across the Moon)
Getting Funky
Late 70’s early 80’s ELECTRO along the lines of Clinton/ Zapp
Wolf in Sheep’s clothing (ELECTROPHONIC PHUNK)
Dominoes. (Donald Byrd’s) Synthesised up
King for a Day and Black Capricorn day belong in the mid 1970’s. Not to say you wouldn’t have heard them at the odd party but in the post Disco era these pre-disco era sounds are old fashioned. So those are the correct styles of FUNK on Synkronised. Please click on the link below for my full review of this album. You will love the reccomendations.
CLICK HERE FOR MY REVIEW OF SYNKRONISED
8) 2001 A FUNK ODYSSEY
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
CLICK HERE FOR MY REVIEW OF 2001 A FUNK ODYSSEY
On 2001 A Funk Odyssey we are still in the Post Disco era.(1980-83) If synkronised would have been released in 1980/1981, then this album would have been released in 1982/1983. It has a slightly later sound though you would have heard tracks like Feels so Good and Little L at the same time as Canned Heat in the post Disco era.
They are though still pastiches of other peoples sounds, so to call these albums in the traditional sense of people creating self written albums is a misnomer. These albums are non credited replays by people who think that no one will recorgnise all the music they have stolen. Please click for my review or read on.
CLICK HERE FOR MY REVIEW OF 2001 A FUNK ODYSSEY
More BlackMusic disinformation on Wikipedia
2001 A Funk Odyssey-The correct Classifications of the songs on this album are as follows…
Feels so Good (ELECTROPHONIC PHUNK)
A post Disco era Pastiche featuring the sounds of Gwen MC Crae, Beverly Johnson, Nick Straker, High Fashion and others.
Little L (ELECTROPHONIC PHUNK)
Another Post Disco era Pastiche with the groove of Prince, A Taste of Honey, Evelyn champagne King, Dexter Wansel and others.
You give me something (FUNK)
A Staight forward FUNK track with a familiar bassline from the 70’s/80’s. This track features the sounds of Earth Wind and Fire, Stevie, The Jackson Five and others.
Corner of the Earth (BOSSA NOVA)
A 1970’s/ 1980’s track along the lines of Earth Wind and Fire (Mom), Patrice Rushen (She will take you down to love) etc featuring what sounds like (Mars the Bringer of War) by Gustav Holst.
Stop Don’t panic. (SYNTH-POP/ ELECTRO)
A 1980’s track featuring elements of “Dance off“ style Electro. The hardcore Electrophonm#ic Phunk sound that Breakdancers and body poppers used to dance to in the early 1980’s. This is commerciallised (Mainstream) so it borders on Synth Pop
Love Foolosophy (FUNK)
A late 1970’s Gambel and Huff style Disco era FUNK track copied from Roy Ayers, and The S.O.S Band among others
2001 (SYNTH-POP/ ELECTRO)
Another 1980’s Commercialised Electro Track.
Black Crow (SOUL)
A standard 1970’s SOUL ballad which sounds like it’s copied from Marvin Gaye and Wayne Henderson.
Main Vein (FUNK)
Early 1970’s copied from Randy Muller (BT Express) featuring the style of Curtis Mayfield, Isaac Hayes, the Barkays and others. You could also call this early 1970’s Jazz-Funk. Many of these guys were ex-Jazzmen.
Do it like we used to (FUNK)
Another early 70’s SOUL track, basically Mein Vein 2.
Picture of my Life (BOSSA NOVA)
Another 1970’s/1980’s South America (Aka Latin) track.
So good to be real (FUNK)
A 70’s FUNK track copied from L.T.D ‘s Time to be real
So as I said A Funk Odyssey is a post disco album. Please Click below for my opinions on this album
CLICK FOR MY REVIEW OF 2001 A FUNK ODYSSEY
DYNAMITE
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
9) Dynamite
CLICK HERE FOR MY REVIEW OF DYNAMITE
This album contains Pop, Rock and Synth pop as well as SOUL/R&B. By now they have run out of FUNK to copy. They go for the old Post Disco Brit Funk sound in Runaway and don’t give hate a chance, plagiarise Stevie and a few others then as far as the Groove is concerned that’s it. They then switch their attention to Synth pop and Rock. I am not all that concerned about these other genres of music, Its their attempt to steal The FUNK through their serpent deception that is my primary concern. However I can tell you what the different styles of Music are,
Soft Rock. Obviously there were many style of Rock. Jazz Rock, Funk Rock fusion or the stuff which still sounded like the Blues. We never really used the term soft rock back then. Or at least I never heard the term. Then again I wasn’t a Rocker. It was just Rock and Hard Rock. Hard rock being the more Headbanging stuff. It was the same principle with SOUL. We never really called the likes of Cameo or The S.O.S Band Electrofunk in the 1980’s. We just called it FUNK the only time we used the term Electro at least after 1981 was to describe the hardcore breakdancing stuff. So it’s just Rock really.
So anyway to avoid any chance of them trying to claim that one of these sounds are acid jazz to new millennials I have categorised all the grooves in to their correct genres and as such have given them no hiding place. So that can’t come back and say “oh well that synth pop sound is acid jazz”. Their deception depends on ambiguity so I leave them no way to slip that lie in anywhere. There is nothing here called acid jazz either as acid jazz is not a musical genre. Like all the other albums there is nothing new or innovative. We heard all these sounds and grooves in the 1970’s and the 1980’s. These are the correct classifications for the styles of music on Dynamite…
Feels just like it should (ELECTROPHONIC PHUNK)
An Electrophonic track which copies The Commodores Fancy Dancer and the style of Cameo, The Barkays, Prince and others.
Dynamite (ELECTROPHONIC PHUNK)
Early 1980’s track sounds like Randy Jackson and Dynamite by Euro Funk.
Time won’t wait (FUNK)
Late 1970’s Disco era FUNK track along the lines of Roy Ayers Rose Royce and others.
Seven Days in sunny June (SOUL)
1970’s SOUL Stevie Wonders Golden lady, Summersoft and others
Smile (SOUL)
1970’s SOUL which sounds like Minnie Ripperton, The Stylistics, Johnny Mathis and others.
Star Child (FUNK)
1970’s Basically fight the power by The Isley Brothers and elements of Heatwave.
Don’t give hate a chance (FUNK)
Late 1970’s Disco era FUNK Sounds like The Olympic Runners (Keep it up/whatever it takes) with elements of Rod Stewart and of Prince.
Runaway (FUNK)
Late 70’s early 1980’s Disco/Post Disco Era The sound of Roy Ayers, Light of the World and others.
Tallulah SOUL (TWO STEP)
1970’s/1980s SOUL along the lines of Stevie Wonder/Carl Anderson.
Electric Mistress (SYNTH POP)
1970’s/1980’s from Mandre/Morroder/Cerrone etc to 1980’s Brit synth pop.
Thats the Funk on the album, This is the rest……
World he wants (R&B/POP)
1970’s/1980’s commercialised SOUL along the lines of Elton John.
Black Devil Car (ROCK)
1970’s/ 1980’s ROCK along the lines of Cheryl crow all I wanna do is have some fun
Hot Tequila Brown (POP/ROCK).
1970’s/1980’s A soft rock track.
Love Blind (R&B/ROCK/POP)
CLICK HERE FOR MY REVIEW OF DYNAMITE
10) ROCK DUST LIGHT STAR
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
CLICK HERE FOR ROCK DUST LIGHT STAR
FAKE HISTORY- On wikipedia they claim that Jamiroquai they started off playing this non existent “Acid Jazz” genre. No they didn’t they were a 1970’s/1980’s Funk tribute band playing retreads. They then claim they decided to explore different Avenues! Absolute and total BS. No, when they had run out of FUNK to copy they then turned their attention to 1970’s/1980’s Rock, Pop and synth Pop. Then plagiarised people like Bryan Ferry and Roxy Music.
Rock Dust Light Star
This album also contains Pop, Rock and Synth pop as well as SOUL/R&B There is nothing here called acid jazz either as acid jazz is not a musical genre. These are the correct classifications for the styles of music on Dynamite.
She’s a fast persuader
1980’s R&B/POP/ROCK Sounds like the type of stuff Nick Kershaw, Howard Jones etc used to do in the early 80’s..
Just cant get enough
Early 1980’s FUNK with what sounds like grooves from Peaches and Herb, Roy Ayers and Forrest.
Goodbye to my Dancer (REGGAE)
Late 70’s & 1980’s Commercialised REGGAE
Blue Skies
1970’s/1980’s SOUL (TWO STEP). Stevie Wonder /Carl Anderson and others.
Hang it over
SOUL (1960’s Psychedelic Soul, featuring the Charleston) Straight off a Stevie Wonder or Earth Wind and Fire Album.
Hey Floyd
1980’s SOUL/POP/REGGAE with so called “LATIN” Percussion.
Hurtin
ROCK/R&B along the line of Beautiful South.
Lifeline
Commercialised British SOUL along the lines of Elton John, Paul Mc McCartney and others.
All Good in the Hood
Late 1970’s early 1980’s POP and commercialised SOUL
Snooze you loose
1980’s REGGAE/SYNTH FUNK/ROCK
Rock Dust Light Star
This is a 1970’s/1980’s POP/”SOFT ROCK”
Never Gonna be another
This is 1970’s/1980’s R&B / “SOFT ROCK”
Smoke and Mirrors
This is POP/ROCK/R&B
White Knuckle ride
A late 1970’s FUNK Bassline which sounds like Kwick incorporating a TECHNO/HOUSE Chorus.
Natural Energy
A FUNK track which sounds like the mid to late 1980’s when people were sampling James Brown drum patterns.
Brothers like your- Not
A 1970’s FUNK track which sounds like Parliament, Pleasure/ Melle Mel and others.
Angeline
A FUNK track sounds like The Temptations (Papa was a rolling stone) the chorus of Beat It by MJ, Pleasure and others.
CLICK HERE FOR ROCK DUST LIGHT STAR
AUTOMATON
As reviewed by an authentic 1970’s/1980’s London Jazz-Funkateer (SOULHEAD)
10) Automaton.
CLICK HERE FOR MY REVIEW OF AUTOMATON
Here Kay cuts the rest of the band loose to try and gain some credibility after The original SOULHEAD TALES Called Jamiroquai’s Influences from 70’s & 80’s Funk Showed him up for the fraud that he is. This album also contained stolen artwork as well as music taken from the original Soulhead Tales Jamiroquai’s Influences.
What is AUTOMATON? This is Basically a 1980’s Synth Funk and Synth pop album. The correct classifications for this album are as follows….
Nice and Spicy (ELECTROPHONIC PHUNK)
An 1980’s track which copies Manhattan Rhythms (Sweet Lady) and The Barkays.-Reccomemnded on the Original SOULHEAD TALES
Vitamin (ELECTROPHONIC PHUNK)
A 1980’s track which copies Loose Ends, Roy Ayers and Stevie.
Automaton
A 1980’s SYNTH POP track which sounds like its copied from Alphavilles sounds like a melody.
Something about you
A SYNTH POP Commercialised Soul track which copies Junior Giscombe, Michael Mc Donald, CHIC, Barry White and others.
Dr Buzz
A 1980’s SYNTH POP Track which copies grooves from Cymande, Incognito, Loose Ends,Barry White, Van Mc Coy and D Train.
Carla
A 1980’s SYNTH POP track sounds a bit like Denise Williams, Unlimited touch and others.
We can do it
A 1980’s style commercialised REGGAE track using grooves from James Brown and along the lines of The Specials.
Shake it on
A 1980’s SYNTH POP track, from Herbie Hancock and Mandre to Morroder and Yazoo.
Nights out in the Jungle.
A 1980’s Commercialised SOUL track Stevie’s Part Time lover bassline with what sound like elements of Ray Parker Junior, Herbie Hancock and others.
Summer Girl
1980’s Commercialised SOUL track which sounds like a groove from Harvey Mason and others.
Superfresh
Early 1980’s SYNTH POP track, again from Mandre and Morroder to Cerrone
Hot Property
1980’s FUNK/SYNTH POP. featuring groove from Unlimited Touch, The Human League, Soul Sonic Force and others.
Cloud 9
Early 1980’s commercialised FUNK/SYNTH POP
CLICK HERE FOR MY REVIEW OF AUTOMATON
BLACK AMERICA GAURD YOUR HERITAGE
SO, SEEN ANYTHING UNIQUE, NEW OR INNOVATIVE ON ANY JAMIROQUAI ALBUM? HOW MUCH WOULD YOU SAY THEY WROTE THEMSELVES AND HOW MUCH WOULD YOU SAY THEY STOLE WITHOUT GIVING CREDIT. WHAT DO YOU THINK OF THESE QUOTES BY JAY KAY NOW THEN? OH AND DID YOU SEE ANY “ACID JAZZ”? NO YOU HAVEN’T. BECAUSE THERE IS NO SUCH THING AS ACID JAZZ. WHAT DO YOU THINK OF THE LIES BEING SPREAD ALL OVER THE INTERNET BY EDDIE PILLAR /GILLES PETERSON AND THEIR INTERNATIONAL CABAL OF DIS INFO AGENTS AND CULTURAL THIEVES TRYING TO RE-WRITE BLACK MUSIC HISTORY?
BLACK AMERICA GUARD YOU HERITAGE FROM THE SYNAGOGUE OF SATAN
No one here in London is responsible for any style of Jazz, Funk or Soul. There are no such things as Acid Jazz, Club Jazz or E.D.M, All are names dreamed up by the Synagogue of Satan to steal the 1970’s Jazz Funk and Soul and 1980’s Electrophonic Phunk respectively.
Kwabena Nkwatia-Author
soulboytales.com 