Jamiroquai
A Funk Odyssey

The Jamiroquai with this work confirm themselves as one of the most pleasant and high-quality acts in easy listening. They are brilliant in their simplicity and in the ability to create, even in this album, catchy tracks that are a delight to listen to.
What always amazes about Jamiroquai is precisely the apparent ease with which they produce these great "party" tracks. Upon reaching their fifth album, they effortlessly and calmly produce a truly excellent and quite varied record, having mended the wounds after the split with bassist Stuart Zender. The genre is at the crossroads between the most common ’70s disco music, acid jazz, R’n’B, funk, and electronic music.

One cannot overlook the natural charm of the good Jason Kay, singer and frontman of the group, especially in live performances; his dances and jumps border on the acrobatic/epileptic, his improbable clothing, and his unmistakable singing: sharp, imaginative, and unpredictable in fast songs, capable of great lightness and sweetness in ballads. Jason's voice is undoubtedly one of the distinctive features of the group (his trademark) along with the predominance of the bass in the kaleidoscope of instruments and Wallis' Didgeridoo. Memorable is Twenty Zero One, in which the group shows they have learned and adapted the lesson (no less!) of the Chemical Brothers to their needs. Listen to believe it.

Special mention also goes to “Corner Of The Earth,” truly a heavenly piece with Brazilian suggestions.
“Feel So Good” has a refrain that doesn't let you stay still, just like “Little L”... there’s no need to list all the tracks.
Suffice to say, it's a piece of work that makes you feel good and is a good album in its genre, which is absolutely and exclusively easy listening.

Let's get to the painful notes: the lyrics. From the generally conscious/environmentalist mood of the first two albums, Jason has moved on to classic themes; love, feel good, dance, and occasionally some vague social critique... really very little, but you cannot expect more from someone who, just after making money, bought four Ferraris and regularly thanks someone named "Luca Di Montezemello" (sic) in the credits of his albums.
What can be said in his defense, apart from emphasizing the absence of "artistic" pretensions in the character? It reminds me of an old song, not written by him, but that fits him perfectly:
"He's a freak of nature but we love him so..."