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Funk - Released December 13, 2006 | Columbia

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Pop - Released September 9, 1996 | Sony Music CG

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Pop - Released March 8, 2013 | Sony Music UK

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Pop - Released September 11, 2001 | Epic

After the jarring reception of 1999's Synkronized, Jamiroquai constructed A Funk Odyssey, something more polished and slick inside the band's own brand of funky disco-rock. Jason Kay and keyboardist/songwriter Toby Smith perfected a maturation that was left keyed in Travelling Without Moving but left open-ended on Synkronized for a wide scope of musical delight. A Funk Odyssey taps into various illustrious grooves of the Latin world, classic rock, and mainstream club culture, and Jamiroquai is tight and eager to make everyone shake their groove thing in their own light. The first single, "Little L," beams with Kajagoogoo-like synths while warping into a funk-driven hue of orchestral whirlpools, but Jamiroquai allows the band's extroverted and unattached personality to shine on the worldbeat-tinged "Corner of the Earth." Kay strips aside all disco humor and grandeur for something personally inviting, something that's heartfelt, too. A Funk Odyssey sparks classic enthusiasm, and it feels good. Dance music is not just a design, it's something far more tangible, and Jamiroquai surely captures a fierce desire to make it more emotional on the band's own level. © MacKenzie Wilson /TiVo
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Pop - Released March 8, 2013 | Sony Music UK

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Funk - Released April 30, 1999 | S2

Three years after their breakout Travelling Without Moving, Jamiroquai returned with another album that charts Jay Kay's continuing fascination with club-bound music of the 1970s -- from disco to jazz-funk to rare groove to later Motown -- but also shows signs of maturity. Produced by Kay with Al Stone, who also collaborated on Travelling Without Moving, the album includes several tracks (like the single "Canned Heat") that work infectious acid jazz grooves, and Kay's hipster vocals give out feel-good vibes through a set of ambiguously good-time lyrics. Though other tracks show a bit of an electronica update to the affairs, each still spotlights how strong and tight the band is. It may not be a leap ahead in sound, but Synkronized is another solid Jamiroquai record. © John Bush /TiVo
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Funk - Released January 7, 2005 | Sony Music UK

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Pop - Released March 31, 2017 | EMI

As the title implies, Jamiroquai's eighth studio album, 2017's Automaton, is a dancefloor-friendly production inspired as much by lead singer Jay Kay's famous love of sports cars as Giorgio Moroder's synth and drum machine-heavy productions of the '70s and '80s. More broadly, the album also fits into Kay's fascination with the effect technology has both positively and negatively on our lives and on the planet (i.e., 1993's "Emergency on Planet Earth" and 1996's "Virtual Insanity"). Which is to say, this is pretty much the same album Kay has been making since at least 2001's A Funk Odyssey. Here, we get several catchy club-ready singles ("Automaton" and "Cloud 9") front-loaded with a handful of inventive album tracks designed for Kay to rock the European tour circuit. To those ends, Automaton works quite well, finding Kay in fluid vocal form and living up to his image as a global, time-traveling, playboy magic-man. Helping Kay conjure the funk magic this time is longtime keyboardist Matt Johnson, who co-produced and co-wrote much of the album. While previous outings found Jamiroquai evincing Moroder's slick robo-funk, Automaton is the closest they've come to making an outright Moroder-style album. Which means that the album plays well with the disco end of their output (think "Little L" or "Cosmic Girl"). In that sense, Automaton fits nicely alongside similarly inclined works like Daft Punk's own Moroder homage Random Access Memories and Two Door Cinema Club's Gameshow. With Kay's lithe croon at the center, cuts like the aforementioned "Cloud 9" and the steamy "Something About You'' are black-light dancefloor bangers full of pulsing synths, icicle-crisp guitars, and the occasional goosebump-inducing orchestral string flourish. Also infectious are tracks like the Rick James does '70s Europop number "Hot Property" and the humid disco anthem "Summer Girl," replete with a chorus of female backing singers. There are few bands who play classic disco-funk with as much genuine love for the genre and care in the productions as Kay and Jamiroquai. Ultimately, it's that sense of love and good vibes that drives much of Automaton. © Matt Collar /TiVo
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Pop - Released October 2, 2020 | Sony Music UK

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Electronic - Released November 12, 2010 | Late Night Tales

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Electronic - Released November 12, 2010 | Late Night Tales

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Pop - Released March 3, 2017 | EMI

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Pop - Released January 14, 1997 | Work

Hailing from the same neo-R&B scene that spawned Soul II Soul and Brand New Heavies, Jamiroquai continues to filter '70s soul through a sieve of '90s acid jazz on its third album. Sounding remarkably like Stevie Wonder, singer Jason Kay's airy vocals float over fat basslines, disco rhythms, and lush strings on "Cosmic Girl." "High Times" takes more of a bottom-heavy, P-Funk-meets-the-EWF-horns approach. Other uptempo jams include "Use the Force," with its Afro-Cuban beat, and the equally funky, scratch-laden title track. Jamiroquai's eclectic bag of influences includes reggae (the loping "Drifting Along") and world music. Two instrumentals center on the otherworldly sounds of a didgeridoo. "Didjerama" is an ambient track that accentuates the instrument's hollow timbre with chirping birds and assorted percussion. "Didjital Vibrations" is quiet storm music. An unlisted drum-n-bass collaboration with M-Beat, "Do You Know Where You're Coming From," wraps up this vibrant package of Brit-soul. © TiVo
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Pop - Released March 9, 2018 | EMI

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Pop - Released March 3, 2017 | EMI

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Pop - Released January 1, 1992 | Columbia

Jamiroquai made a large initial splash in 1993 with Emergency on Planet Earth, a psychedelic melange of tight funky rhythms, acid rock intimations, and '70s soul melodies. Frontman Jay Kay introduces himself with an environmentally oriented manifesto inside the sleeve, and his lyrics smack of idealist save the planet revolution. But this revolution would be held on the dancefloor if the band's impressive rhythm section had anything to say about it. Horns, string arrangements, and a didgeridoo provide full texture on most of the album's tunes, and the socially aware party vibe raged into the U.K.'s number one album slot. For a debut, Emergency shows quite a range of diversity, from the up-tempo jazzy instrumental "Music of the Mind" to the stop-start funk of "Whatever It Is, I Just Can't Stop." © Troy Carpenter /TiVo
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Pop - Released October 14, 1994 | Work

Jamiroquai's sophomore record had all the slinky grooves and great musicianship of the debut, but it also offered a better set of songs and more ambitious musical themes. As with Emergency on Planet Earth, Jason Kay's dead-on impression of Stevie Wonder and Sly Stone drives the group's blend of acid jazz and funky R&B. "Space Cowboy" and "Light Years" were hits all over the world, and made the band stars in Europe and Japan, while substantial clubplay earned them a degree of recognition for American audiences. But Jamiroquai refused to be known as simply a party band; the group takes on social issues such as homelessness and Native Americans' rights. © John Bush /TiVo
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Funk - Released April 15, 2005 | Sony Music UK

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Pop - Released July 14, 2017 | EMI

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Pop - Released November 1, 2006 | Columbia

Collecting most of Jamiroquai's singles since lead singer Jay Kay first donned a large furry buffalo hat for the band's 1992 debut, Emergency on Planet Earth, High Times: Singles 1992-2006 is a superb listen and a great summation of what has made the retro-futurist funk band so successful. Sure, High Times doesn't include every single they released -- the fantastic "Light Years" and "You Give Me Something" aren't included -- and admittedly it was largely put together to fulfill and finish off Jamiroquai's contract with Sony. Nonetheless, as an encapsulation of what makes Jamiroquai such a phenomenal pop-funk-dance entity, it's an infectiously listenable affair. Running chronologically through the most recognizable singles Kay and company have released, High Times is easily the best collection of Jamiroquai tunes on one disc and hits all of the most memorable tracks off each of the group's albums. Included are such well-known tracks as "Virtual Insanity" (the band's breakthrough single) and "Cosmic Girl," as well as such similarly catchy and funky cuts as the didgeridoo-driven "When You Gonna Learn," the blissed-out "Space Cowboy," and the latter-day would-be disco classic "Little L." Also included are two new recordings, "Runaway" and "Radio," that solidly stand on their own pop merits. © Matt Collar /TiVo