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JAMIROQUAI 20TH ANNIVERSARY REISSUES

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Bavaretzzz
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В честь 20-летия выхода дебютного альбома Jamiroquai "Emergency On Planet Earth" Sony Music перевыпускает первые три альбома, каждый из которых будет ремастерён и укомплектован новым буклетом и бонусным диском с би-сайдами. Дата релиза альбома – 8 марта.

"Emergency On Planet Earth"
Track Listing:

DISC 1
1. When You Gonna Learn?
2. Too Young To Die
3. Hooked Up
4. If I Like It, I Do It
5. Music Of The Mind
6. Emergency On Planet Earth
7. Whatever It Is, I Just Can't Stop
8. Blow Your Mind
9. Revolution 1993
10. Didgin' Out
DISC 2
1. When You Gonna Learn? (Cante Hondo Mix)
2. When You Gonna Learn? (Live at the Leadmill)
3. Too Young To Die (Extended)
4. If I Like It, I Do It (Acoustic)
5. Emergency On Planet Earth (London Rican Mix)
6. Revolution 1993 (Demo Version)
7. Didgin' Out (Live at the Milky Way, Amsterdam)
8. Brothers Like You (Live at Glastonbury, 1993)
9. God Made Me Funky (Live at Glastonbury, 1993)
10. Music Of The Mind (Live at Glastonbury, 1993)

"The Return of The Space Cowboy"
Track Listing:

DISC 1
1. Just Another Story
2. Stillness In Time
3. Half The Man
4. Light Years
5. Manifest Destiny
6. The Kids
7. Mr Moon
8. Scam
9. Journey To Arnhemland
10. Morning Glory
11. Space Cowboy
DISC 2
1. Light Years (4 To Da Floor Mix)
2. Space Cowboy (David Morales Mix)
3. Space Cowboy (Demo Version)
4. Morning Glory (Instrumental)
5. Stillness In Time (Edit)
6. Space Clav
7. Light Years (Live at the Theatre Du Moulin)
8. Scam (Live)
9. Journey To Arnhemland (Live)
10. We Gettin' Down (Live)

"Travelling Without Moving"
Track Listing:

DISC 1
1. Virtual Insanity
2. Cosmic Girl
3. Use The Force
4. Everyday
5. Alright
6. High Times
7. Drifting Along
8. Didjerama
9. Didjital Vibrations
10. Travelling Without Moving
11. You Are My Love
12. Spend A Lifetime
DISC 2
1. Virtual Insanity (Salaam Remi Remix)
2. Cosmic Girl (Quasar Mix)
3. Alright (Alan Braxe and Fred Falke Remix)
4. High Times
5. Do You Know Where You're Coming From?
6. Bullet
7. Slippin' 'N' Slidin'
8. Hollywood Swinging
9. Alright (Live at the Verona Amphitheatre)
10. Virtual Insanity (Live at the Verona Amphitheatre)

http://sonymusic.ie/news/jamiroquai-20th-anniversary-reissues
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Игорь
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СообщениеДобавлено: Вт Янв 15, 2013 10:50 am Ответить с цитатой
Офуенно, очень даже здорово! Very Happy
К Международному женскому дню...
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JKfan
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СообщениеДобавлено: Вт Янв 15, 2013 11:44 am Ответить с цитатой
что-то не особо впечатлили бонусные треки..но новость отличная, все (сони особенно) срубят еще бабла...
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pSycho
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СообщениеДобавлено: Вт Янв 15, 2013 7:48 pm Ответить с цитатой
та что мы там не слышали)))

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Bavaretzzz
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СообщениеДобавлено: Вт Янв 15, 2013 11:14 pm Ответить с цитатой
Ну я бы лично послушал, что там за ремастеринг и буклет посмотрел. А для продвинутых фанов на бонус-дисках, конечно, ничего нового.
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Philtr
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СообщениеДобавлено: Пт Янв 18, 2013 2:46 pm Ответить с цитатой
Ну меня кста поставил в тупик трек High Times в бонусе к TWM. Чо это за бонус такой без дополнительных указаний? Shocked

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pSycho
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СообщениеДобавлено: Пт Янв 18, 2013 11:38 pm Ответить с цитатой
Видимо, та самая немного другая версия, которая была только на подозрительных "зе бестах" на аудиокассетах.
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Bavaretzzz
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СообщениеДобавлено: Сб Янв 19, 2013 12:53 am Ответить с цитатой
Есть альтернативная версия, которая отличается сэмплом из Esther Williams "Last Night Changed It All". У меня импортный американский TWM, и там как раз такая версия.
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pSycho
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СообщениеДобавлено: Вс Янв 20, 2013 10:50 pm Ответить с цитатой
Вот о ней-то я и говорила, просто название сэмпла забыла Smile у меня твм из лондона (купленный в конце 90-х), но там "обычная" версия.

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Bavaretzzz
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СообщениеДобавлено: Вт Мар 12, 2013 6:15 pm Ответить с цитатой
Вот так выглядят дисочки (Jamirotalk):
http://s1085.beta.photobucket.com/user/Boedo/library/Jamiroquai%20Remastered
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Marselle
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Красота!!))
Эмёрдженси хорош на фото

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Liner notes Джея Кея к новым изданиям альбомов (Jamirotalk).

EMERGENCY ON PLANET EARTH NEW JK REMASTER LINEAR NOTES
transcribed by JamiroFan2000

Jay Kay писал(а):
Really, there are two key tracks on the album: When You Gonna Learn and Emergency On Planet Earth. When You Gonna Learn kicked the whole thing off - the sound, the flavour, the concept. Emergency On Planet Earth defined it. When You Gonna Learn was something I wrote long before I went to Sony, long before I signed to Acid Jazz even.

At the time I was heavily influenced by the American and First Ration Indians and their philosophies and what they were about - the name Jamiroquai was styled from Iroquois, the Canadian tribe: the fur hat, the coat made out of an old Pendleton blanket, the logo with the buffalo horns, were all inspired by Native American culture. In particular, the Cree Indians have a saying: Only when the last tree has died, and the last river has been poisoned, and the last fish has been caught we will realize we cannot eat money. To me that seemed to get straight to the point of everything that was wrong with the world. I'd also just seen this horrific cull of elephants on a programme on the television - something like 40 elephants being shot dead from a helicopter - which I found deeply disturbing.

Anyway, I was working on some songs, trying to get tracks together to take to record companies, and at one point the guy I was working with popped out for lunch and I got on the keyboard. I plonked out these chords and started writing this tune, and almost immediately the lyrics came out: Yeah yeah, have you heard the news today? / money's on the menu in my favourite restaurant / well don't talk about quantity / because there's no fish left in the sea / greedy men been killing all the life there every was...

It must have taken 30 or 40 minutes beginning to end, to write. By the time the guy I was meant to be writing with came back from lunch I'd already put the whole thing together. Straight away my manager got very excited about it, so I went into the studio, the Round House in Camden, to record it properly so we could take it to record companies and publishers. Of course, as soon as I started recording it people were telling me what to do, and trying to get me to take lyrics out because there were too many of them and nodboy was going to get it and they wouldn't like it. The guy producing it took whole sections of vocals out, which annoyed me no end, and then he started trying to make it sound just like everything else in the charts that week. I knew that I wanted a particular sound, and I knew that it wasn't the tinny PWL pop sound, or the equally tinny acid house sound, that everything had then. I was a funk kid. I'd been listening to my mate's record collection which was full of Dexter Wansel, Earth Wind & Fire and tracks like Johnny Hammond's Los Conquistadores Chocolate. I wanted a proper live band with a proper live sound.

Typically, by the time he's finished with it, he'd cut out half the lyrics and made the whole thing sound awful. I was there for days, arguing, trying to get it put right. In the end I had put my foot down. I took all the shinny shinny stuff off and put all the words back in. Then we got Wallis, who I knew when we used to skate together, to play didgeridoo at the beginning: we added the string intro - which was an idea I got from Pleasure's track Joyous, which had these amazing strings at the end - and next thing I know I've signed to Acid Jazz and Trevor Nelson's playing When You Gonna Learn on Kiss FM.

Twenty years on, I think that track still rings true. Lyrically it's still relevant, and musically it hasn't dated - unlike all the other tinny, shinny stuff that was around at the time.

Between releasing When You Gonna Learn on Acid Jazz and signing with Sony, my manager told me he'd found this amazing keyboard player. So Toby came along, played a few chords which I just loved and I thought, Yeah, I can work with this guy. But that didn't last long because he also had a tendency to play these very ravey, very acid housey chords, which I wasn't having, and which he wouldn't stop playing, so I told him to forget it and I got someone else. A couple of weeks latrer we were supporting the Brand New Heavies at Brixton Academ, Toby was there and he came up to me afterwards and said: Shit man, I didn't realize you were doing that kind of stuff. After a bit of tete-a-tete, we agreed to give it another go, on the condition that he didn't play anyt more ravey chords, which he didn't. That was a critical moment. Toby really got it, what I was after, what I wanted to do.
The first song we wrote together was Too Young To Die. I'd just signed an eight album deal with Sony and we had When You Gonna Learn and not a lot else, and the record company were already trying to foist Erasure's and Sinitta's producer on me: an offer which I declined. So the pressure was on. We had to stick to our guns, but we knew that if we didn't come up with something that would reach a decent number in the chart, it would be over - eight album deal or no eight album deal.
We were in this studio in East London trying to come up with a second single, and I started singing this bassline - I have very limited musical ability in terms of playing, so when I'm writing I sing everything, all the parts: bass, drums, percussion, piano, guitar, horns, strings. I'm singing the bassline and the drums, Toby's working out what the chords are and where they go, and bang, we've got this great groove going. It was all about the kick of it, and the rhythm and the movement. Then I'm coming up with lyrics - I was quite an angry young man at the time. It didn't like what I was seeing on the television, wars raging all over the place, and that all started coming out. But when we hit the chorus I couldn't think of anything to sing over it. So I started scatting: do do do do, da da doh, da da doh. And it just sang out like a bird. By the time we'd added the horns and the strings we knew we had the perfect second single.
When it finally got released though, the thing that seemed to cause the most interest was who the amazing black girl singer was. I did one of my first interviews at a radio station in Birmingham and the DJ kept asking who the girl singer was. I kept telling him it was me, but he wouldn't have it, he kept saying: I know you do the music, but who's that amazing black girl you've got singing on it? And I kept saying: No, that's me. I AM the singer. Once we had When You Gonna Learn and Too Young To Die, the album pretty much started to shape itself.

If I Like It, I Do It always reminded me a bit of The Isley Brothers Harvest For The World, that same good natured vibe: I was starting to learn that things didn't have to be aggressive, that we could do nice stuff too. Music Of The Mind was another nice laid back, natural track. It's a freedom track. Freedom was a big theme on the album. I always had a penchant for Latiny-jazzy chords and Music Of The Mind was where that really started to come out. It was heavily influenced by Flora Purim's Moon Dreams, another track from my mate's record collection that I absolutely loved. It has to be said, there was a fairr amount of emulation on the album. Like Whatever It Is I Just Can't Stop, that was me trying to get the feel of that funky feel that only comers from having a real drummer. Blow Your Mind was another nicer, sweet, easy track. That came at a rehearsal for a gig somewhere. The band were on the stage - by now we had Nick the original drummer, and Stuart on bass, and a great horn section - Toby was noodling some lovely chords and I started singing Love ya, I need ya over the top. We recorded that in one take, and the brass was feeling so nice that when we got to the end I didn't want it to stop, so I motioned to the guys to go again, which is why there's the reprise. I remember thinking that was an incredibly clever thing to do.

It was so great finally having a proper band. The thing is though, when you'ver got all these great musicians you want to use them, you want to give them room to play. And I wanted this to be an album, not a collection of three minute songs. I didn't want tracks to be rigid, stuck in that verse, chorus thing. All the people I'd been listening to were jazz-fusion bands, they didn't do three minute tracks, they just played, which is why Blow Your Mind is eight and a half minutes long.

The other thing I wanted was balance. If we did a soft track, the next one needed to be hard and gritty. After Blow Your Mind and they were recorded in this order, you get Revolution, all ten minutes and 16 seconds of it. That had real impact - paramilitary drums, grinding bass: it was hardcore, cool, exactly where I wanted to come from. It said something, musically and lyrically, and it rounded off all the other things I'd been saying on the album. And I certainly had a lot to say on this album. I was angry about everything and everyone. You only have to look at the sleeve notes, which I wrote off the top of my head art the very last minute, to see that. Not that they were that wide of the mark. There are some things in there that are the kind of thing you say when you're 22, but reading them back now they're fairly eloquent and together.
For me though, Emergency On Planet Earth was where we really got to the point of everything we were trying to do and say, That was the real triumph track. The whole groove of it, all the syncopation, the strings gliding over the top, we were definitely winning with that one. And the lyrics were the hammer to the nail: The kids need education / and the streets are never clean / I've seen, a certain disposition, prevailing in the wind / sweet change, if anybody's listening / emergency on planet earth / is that life that I am witnessing / or just another wasted birth.
Emergency was a monumental track. It linked Too Young To Die and When You Gonna Learn, and oncer we had it, the whole concept of the album came to life. I was like, Right, this is what the album's going to be. Which is why it had to be the title track. When we had that we really knew what were onto.

I remember being nervous when the album came out, but at the same timeI had a feeling it would do well. Kevin our manager said it was number 32. I thought. That's not bad on the album chart, that's alright. Then I thought, I bet it's not, I bet it's higher than that, he laughed and said: No, it's number 1. And then it was number 1 the next week. And the next.

After three weeks at number 1 I thought, Right, that's it, I'm in the game

JK (March, 2013)



Последний раз редактировалось: Bavaretzzz (Чт Мар 28, 2013 9:13 pm), всего редактировалось 1 раз
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Bavaretzzz
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THE RETURN OF THE SPACE COWBOY NEW JK REMASTER LINEAR NOTES
transcribed by JamiroFan2000

Jay Kay писал(а):


After the success of the first album, I wanted to get straight on with the second. I was hot on the trail of it and I realised the danger in lolling around too much and wasting time. The intention was to get back in the studio over Christmas, but our drummer at the time, Nick Van Gelder, who played on the first album, said that he was off on holiday. I said to him: Errr, well, don't go on holiday too long, I've got a big studio booked, we're in the game now, we've got a proper budget for the album, we've got a budget for strings, everybody's being very nice to us, giving us everything we want. I told him: We're in the game now, we can't afford to lose momentum.

This was three or four months after Emergency On Planet Earth came out. By the time we'd been out and toured and done all the promo, so as soon as I could I booked us into the studio. But Nick said he was going on holiday for four or five weeks, and we already weren't getting on, having constant arguments, usual band stuff, so I thought, Sod this, and started looking around for a new drummer. The first day Derrick came in to audition we wrote Just Another Story, from scratch, and recorded it in one take.

We didn't have anything written before we went into the studio. We were coming up with it all on the spot, and Just Another Story was an amazing start.

I knew a couple of people who'd been blown away and stabbed, the streets were fairly ruthless in that period of time as I remember it, and I wanted something that reflected that. I wanted a real Streets Of San Francisco, filmic, anthem kind of vibe. We started up with this dark bass, and then Darren the DJ comes in scratching, and then Derrick doing these stuttering, gritty fills, all very '60/'70s TV soundtrack type of thing, which went perfectly with the lyrics and the story of the track - it was important to me to have the music and the lyrics match somehow. The finished track was phenomenal - hard and rough, and I thought, This drummer's great, he's the man. And that was that, Derrick, was in.

At this point in the proceedings life couldn't have been better. As a band we were improving, and the influence of Derrick was making us better still. Our street cred was right up there, we were in the cool zone, everybody wanted to know us, we were hip, we were funky, we were in the game. I was getting a lot of nice attention from lots of very lovely ladies, and all in all was very pleased with myself and my choice of career. People were responding to the music, and the messages in the lyrics, and the things that I was saying in interviews. And most of all, we'd come off the back of a successful album, which was well on it's way to selling a million and a half copies, and we were off to a flying start with the next one.

Then second album syndrome suddenly kicked in and it all came crashing to a very definite halt. Everyone goes through it, the thing of how to follow what you did with the first album: how to say what you've already said, but say it better, and fresher, while matching the first album's success and everyone else's expectations. After the initial great start, I remember beign totally up against it, null and void of ideas and how to get around stuff, I wanted to push everything and make it better, and I remember not being happy with anything we were doing, and scrapping stuff, and starting again. What made it worse was the fact that I'd been getting deeper and deeper into the whole drug thing. I'd gone form a bit of weed and few magic mushrooms to hoofing up lines every time I needed inspiration, and by now I was going off my mind with it. I started to think, Oh god, this is a nightmare. The record company wanted to know what we'd got, which wasn't much, and they kept saying that, of what we did have, none of it sounded like singles.

Everything we were doing was so complex. The chords, the key changes, it was very ambitious, because I wanted to push things, but it was hard even for us to get our hands around. Everything was more delicate. Songs were more chord than bassline driven, and they were much, much harder to get a melody for. And that's where it was falling apart: the melodies and the words. I was becoming indecisive, I'd scrap lyrics, rewrite everything, I didn't know what I was doing. Everything was just so fucking difficult to get done.

Stillness In Time was the track that came when I was at my lowest. I was going out of my mind basically, it was an appalling time in my life. I was sat there in my flat, on my own, I hadn't been out or seen anyone in days: I was trying to write lyrics and melodies, but I was off my trolly that I couldn't, and suddenly the sheer soul-destroying loneliness of where I was in my own head made something click: There's a stillness in time / which I cannot define / does your heart bleed like mine / for a place we can go / where the troubles of our time are far away / and I have all my life in front of me / now my darkest days are trouble free.

The sweetness of Stillness In Time was really wishful thinking: a hope that things would get better. Like a lot of tracks on this album, I was writing it for my own self-healing. It was always 'we' not 'me', I was telling myself that we could do this. I realised that I was getting myself in a lot of trouble, and if I wasn't careful I was going to throw it all away before I'd even started, and that was fucking terrifying.

When I did finally get back into the studio, the record company were getting worried, still asking where the singles were, and we still didn't have any to show them. But I had come up with another sweet melody and the lyric: Yesterday I was / half the man I used to be / oh, maybe that's because / you're the other half of me. Toby came up with this beautiful keyboard part and very quickly we had Half The Man, which went on to become the second single from the album. It wasn't quite the lead track the record company were looking for, but it was a start. Again, another song that's deceptive in it's sweetness. It's actually sort of a homage to having had a twin and him not being around - he died soon after we were born - and that sense I always have a part of me being missing, but it also doubles up really nicely as a love song.

Mr. Moon was about the only one of the sweet songs on the album that didn't have a subtext. It was a love song for a girl I met at a rave one night, who I decided was The One - no doubt thanks to the acid I'd done. I thought the planets had aligned. I thought it was written in the stars. I'd met the girl of my dreams. She was absolutely gorgeous and after five hours of talking to her I'd decided this was it. I thought, I'll be married by the morning. Then I left her for two minutes and Toby copped off with her. So that was the end of that, hence the line: my destiny seemed to slip away from me / before I got to know your name [because Toby copped off with you]. Still, Toby did a great job putting what is an incredibly complex chord structure to that song, so I forgave him.

The thing in me in the studio is I get really bored, really quickly. Which is why when we're writing we tend to go back and forth between hard and soft songs. I don't remember which order everything was recorded in, but I can pretty much guarantee that after Mr. Moon came either Light Years or The Kids.

Light Years has got a very heavy vibe to it, and The Kids is just aggressive. And I wanted to do something aggressive, something that captured the feeling of the streets at the time. There was a real tension in the air, like people didn't like powers that be, and the Criminal Justice Bill was about to be brought in to allow the police to arrest anyone who went to one. It felt like kids were being demonised. Once we had that riff, the lyrics just seemed to feed off it: The kids got funky soul and groove emotion / but if you don't give the kids a chance to use it / they're always more than likely to abuse it / Everybody's talking about the kids / it's taking time for you to realise / now hunger turns to anger in their eyes / I say the revolution will be televised.

The other track which really said something was Manifest Destiny. It's so beautiful and tender, but lyrically incredibly heavy. I'd been reading Bury My Heart At Wounded Knee, Dee Brown's book about the massacres of Native Americn women and children at Wounded Knee, which were justified by the doctrine of Manifest Destiny: the belief that indigenous people wil always be slaves and white people will always be the conquerors: that the only good Indian was a dead Indian. It's quite full on and got me so angry that I felt I had to get it off my chest. It was one of the few times in the writing of this album that I felt absolutely sure of what I was doing. It came together like a dream, the chorus was spot on and there's something so fragile in the vocal. But then I was fragile, I wasn't in a good place. Sometimes I'd be in tears writing these songs, I was fighting for everything. Every track was a battle.

The turning point in the album was Space Cowboy. It was written about halfway through recording, when the album was on top of me, my drug intake was completely out of control, and I was losing my mind. I was desperately trying to get myself back from the brink before it all went wrong. We hadn't even finished our second album and I already felt everything slipping away. I needed a comeback anthem, Space Cowboy was it.

Everyone thinks it's a nice song about getting stoned, which it is, but for me it went much deeper. When I write I tend to jump about - first person, third person - and be a bit smoke and mirrors: Is it about me or someone else? Is it about marijuana or cocaine? What it was about was someone who was very lost, trying to hang on and come back before he drifted off into a blackhole never to be seen again. Writing that was my bid to restart the programme. Thankfully it did exactly that, because it finally gave us the lead single we were looking for, and the momentum to push on and finish what I still think is one of our most creative and accomplished albums.
JK (March, 2013)

Сказали Спасибо (4): Marselle, da boogie, Philtr, Nika
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Bavaretzzz
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СообщениеДобавлено: Чт Мар 28, 2013 9:43 pm Ответить с цитатой
Очень интересные вещи Джей Кей рассказал о моих любимых песнях! Оказыватся, Stillness in Time была им написана в очень тяжёлый период, когда он страдал от депрессии, и он специально написал такую весёлую песню, чтобы как-то себя подбодрить. А слова Half the Man – о брате-близнеце Джея Кея, который погиб сразу после рождения. А Mr Moon – о девушке, которую о встретил на вечеринке, и которая показалась ему идеалом, но стоило ему отойти на две минуты, как она ушла с Тоби. А Blow Your Mind они записали с первого дубля, и Джей Кей был так доволен, что жестами показал музыкантам, чтобы они продолжали играть, и поэтому там в конце эта инструментальная реприза.
Сказали Спасибо (1): da boogie
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Philtr
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СообщениеДобавлено: Пт Мар 29, 2013 12:19 am Ответить с цитатой
Да, Джей расщедрился на исторические зарисовки) Пусть теперь расскажет что стало с оригинальным Синкронайздом Laughing И там же вроде третий диск ещё с текстом,не? Surprised Very Happy

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