Tidal – Song Download from Zooma @ JioSaavn
Zooma 3 2. Grind 3. The Smile Of Your Shadow 3 4. Goose 5. Bass ‘n’ Drums 2 6. Fingers 7. Snake Eyes 8. Nosumi Blues 9. Tidal Total time It opens with the sound of sea gulls and waves, but don’t be fooled because there is a storm coming like nothing you’ve ever experienced. Jones comes in on his 10 string bass and shakes the foundations. Oh my! Talk about the bass from hell! The drums are heavy and we get this sick guitar solo later. Some strange sounds from an instrument called a kyma that fits the mood perfectly.
Monster track. Some massive bass comes and goes. Jones has his 12 string bass out for this one and he’s making sounds that are coming from the depths. There’s a brief conversation part way through. Trey Gunn follows that up with a touch guitar solo as the drums pound and the bass shakes the windows. Killer bass as usual. Fantastic rhythm. You have to hear this guy’s bass man. A 12 string bass that should come with a warning label. A wall of sound after 4 minutes then it calms down until it ends.
Fingers” hits the ground running, no it digs up the ground actually. A deep and powerful onslaught from hell. Trey Gunn’s back with his touch guitar but the bass and drums are eating him up.
Great song! There’s a blues vibe to this one early and Jones treats us with an organ solo too before 3 minutes. Later we get some orchestration from the London Symphony Orchestra which is a nice touch.
Check out the organ that’s still ripping it up. One of the best tracks on here. Man can Jones play guitar or what? This is tight man. Heavy duty too. The bass lap steel makes some noise 2 minutes in as it turns into absolute chaos.
This is so close to 5 stars for me. He can’t fool me though. All of the best songs were actually contributed by Mr. John Paul Jones! And this instrumental album actually proves it one crunchy bass line at a time! Zooma is one really heavy album that will most likely put many of Led Zepplin compositions to shame. I’m not talking about the production values which are understandably superior to Zeppelin’s 70’s records but Zooma is dominated by the heavy sounding bass which really makes these compositions almost sound like the later King Crimson material.
This can actually also be contributed to Trey Gunn soloing on some of the tracks with a Crimsonesque type of vibe. This is truly a must have album for fans of heavy prog music. So if you are lucky enough to find this album, grab it and never let go! Pete Thomas,album’s drummer, is real hero of this record as well – it’s often quite difficult to say if this album isn’t drummer’s solo release. Paul Leary is competent guitarist and Trey Gunn’s Warr guitar sound in many places gives you very Crimsonian feeling.
I have quite mixed feeling after some listening of this album though. Great energy, some groove and very competent musicianship from one side, and quite simplistic, straightforward compositions from the other. Bluesy roots here and there.
Missing link between Led Zeppelin and post King Crimson? Possibly yes, but never as good as Led Zeppelin or King Crimson itself. Easy accessible music though, could have more fans I believe. In many places I felt Plant vocals would be a great improve of the compositions.
This is a groovy kind of album where his bass is all over the places, lots of great chops here with plenty of experimental twists and atmosphere. All album is instrumental and on each tune JPJ show that he is apt to call him one of the best and most influencel bass players ever. Zooma has many great moments on pieces like Zooma, Grind or Bass n’ Drums. The album overall has a progressive direction and the arrangements are intricate and well performed.
This a a fairly solid album that will please most of the experimental instrumental albums with crunchy bass parts. He also hid some “big tricks” under the Zep’s big hat.!!.. If the “riffs” were not Jimmy’s they were “Jonesy’s”. But, as a well versed multi-instrumentals, he is also well aquainted with less prog oriented flavors like country, rag, funk and also the Renaissance-like styled compositions. Zeppelin’s “Houses of the Holy” prog-funk orientation is one of his evident contributions to the band, as “No-Quarter”; one of the most prog oriented, Zeppelin songs.
The experience is quiet a thrill, being for starters, that JPJ stands outside the “Zep’s” enormous shadow, but would not sacrifice his own language and intention, in the way. So this project is more directed towards un-structured experimentations-like songs, very un-Zep , within a limited range, of course. The use of opposite styles, prog and not, are wisely used, as not to become the songs themselves but part of the “whole” song. So with a touch of different styles in some songs, the “transitition”, turns out more like a “Jonesy” project than Zep’s.
The music in this one is really heavy prog combined with ambient music, it has a lot of influences of King Crimson, as one of their members Trey Gunn pa I’ll begin this review by saying that Led Zeppelin and King Crimson are my two favorite bands. Overall, this album by LPJ sounds more like a demo than a finished product.
That is really unfortunate. I hear a lot of good foundations and ideas that could have been further developed into outst You must be a forum member to post a review, please register here if you are not.
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Missing link between Led Zeppelin and post King Crimson? Possibly yes, but never as good as Led Zeppelin or King Crimson itself. Easy accessible music though, could have more fans I believe. In many places I felt Plant vocals would be a great improve of the compositions. Second song has vocals JP Jones himself , I am not sure that was good idea. John also plays all string big list and all keys. In fact, all the musicians team is duo JP Jones plus drummer Terl Bryant with three guest guitarist , each just played on one or two tracks.
The music is complex and muddy, but with real lack of composition. It looks JP enjoy playing so many instruments, mixing the sound in one final product.
But too often it is more attractive to himself, than to listener. I love it! Plenty of dirty energy in sound, but the result is too faceless again or it was the initial idea – just to record real punk opus, which should be faceless, dirty and full of energy. Sounds as LZ goes KC. Far from masterpiece, it brings some interesting moments from music and musicians we love.
Don’t think it has any attraction for newcomers. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever. JONES also plays a number of other instruments, such as guitar, koto, lap steel guitars, autoharp, mandolin, ukulele, sitar, and cello. Both of his parents were in the music business, and the family often performed together when touring England.
He studied music formally at Christ’s College in Blackheath, London, and at the age of 14 became organist and choirmaster at a local church. In the same year he also bought his first bass guitar, a Fender Jazz Bass; one year later he joined his first band, The Deltas. From to he worked incessantly as a sessionman, and was very much in demand both as a player and an arranger.
However, his experience and musicianship were crucial elements for their worldwide success; in particular, his skills as a keyboardist added a new dimension to the heaviness of their sound, as, for instance, can be heard in his showpiece, “No Quarter” from “Houses of the Holy”.
The live version featured in the movie “The Song Remains the Same”, over 12 minutes long, includes a haunting fantasy sequence, with JONES impersonating a masked horseman, and playing both piano and organ. JONES, who had continued his session work even while a member of the band, started collaborating with He also set up his own recording studio, called Sunday School.
His first outing as a solo artist was in , with the soundtrack to Michael Winner’s movie “Scream for Help” Jimmy Page also appears on two tracks. Studio Album, 3. Overall, this album by LPJ sounds more like a demo than a finished product. That is really unfortunate.
I hear a lot of good foundations and ideas that could have been further developed into outstanding pieces. I agree with an earlier reviewer that some tracks could definitely have used either a vocalist or in my opinion a lead guitar soloing over the other instruments. Nosumi Blues succeeds fairly well thanks to the lead guitar. It could have been used on other tracks as well. Fripp arrives before 40 seconds and just impresses like he usually does the rest of the way.
The title track is a top four opening with thunder and rain before we get this uptempo sound with vocals which is unfortunate. Check out Beggs and Jones on this one! An uptempo barn burner with some organ later. The biggest letdown for me is “Angry Angry” a punk inspired tune with terrible vocals and lyrics.
Just blows me away that people like this style of music. A lame track that I actually despise haha. Reserved vocals and piano mostly. Mandolin dominates late but early on the guitar arrangements really impress. This is a good one with a very unfortunate 6 minute track called “Angry Angry”. After building the beast that Led Zeppelin came to be, JPJ had the freedom to choose any path he wanted to. For years, he became an arranger R. Yet, even when both albums can be branded as avant-garde rock, The Thunderthief is richer in variety.
Don’t get fooled, this is no masterpiece, it’s just one of the most talented and captivating musicians in the rock scene doing his mojo. And the result is brilliant, funny, and musically felt but light-hearted.
No need to be profound for JPJ, it is just not his style. Instead, we are offered with groovy, awe-inspiring, and sometimes intricate songs that make you wonder why he hasn’t played them live. The only three songs in the album that can be related back to Zooma are Leafy Meadows including a solo by you “Kc”now who, Daphne, and Shibuya Bop.
These are all songs showcasing why JPJ is regarded as one of the most influential bassists in the rock scene. Shibuya Bop is my favorite of these three, because that bass line is just terrific. Then, there are two other instrumentals: the awe-inspring Hoediddle, and the classic folk song Down to the River to Pray. Hoediddle is just an amazing song I’d rather not spoil to you, just listen to it! Finally, there are four song sang by JPJ himself, with his not so-nice yet lovely and acceptable voice.
Lyrics are mostly absurd, and those four songs are quite diverse in style and atmosphere. Again: variety is the spice of life and the spice of this album. This album has songs from two rock styles widely regarded as opposites: prog and punk. There you have it, JPJ did it again for fun and that’s partly what punk’s about: having fun in the face of the old naysayers!
First, JPJ’s triple neck guitar solo. This is my favourite guitar solo, as JPJ uses the loop pedal to raise the bar in guitar soloing.
Inspiring and fun. Review by admireArt Prog Reviewer. He also hid some “big tricks” under the Zep’s big hat.!!.. If the “riffs” were not Jimmy’s they were “Jonesy’s”. But, as a well versed multi-instrumentals, he is also well aquainted with less prog oriented flavors like country, rag, funk and also the Renaissance-like styled compositions. Mark Cappelletty. Franz Kafka. Ike Hall.
Tom Landon. Joe T. Download card insert. Purchasable with gift card. Fractal Zoom Wire Shock What Actually Happened? Pierre In Mist My Squelchy Life Juju Space Jazz The Roil, The Choke Ali Click Disturbed Being Web Web Lascaux Mix Decentre I Fall Up Bonus Track The Harness Bonus Track My Squelchy Life Bonus Track Tutti Forgetti Bonus Track Stiff Bonus Track Some Words Bonus Track Juju Space Jazz Bonus Track Under Bonus Track Little Apricot Bonus Track Over Bonus Track Tags ambient electronic electronic experimental United Kingdom.
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Bassist John Paul Jones hasn’t let the grass grow under his feet since Led Zeppelin came to rest at the turn of the ’80s. Constantly in demand for his arranging and compositional skills, he’s now produced his first solo album, Zooma. John Downloar Jones is best remembered as the bass player for Led Zeppelin, although his playing and production career stretches from to the present day and makes interesting reading.
And that’s just a small sample of the people John worked with in the ’60s. From toJohn’s career with Led Uohn is well documented; since then, he has been busy producing and writing musical commissions for film and TV. Адрес, he has completed his first solo album project, Zooma, an instrumental album featuring perhaps unsurprisingly the bass guitar, albeit often in unexpected ways.
John recorded and produced the album in his private London studio, where he agreed to meet me to explain how the album, and indeed his interest in recording, came about. I’ve been john paul jones zooma download ever since then, and of course the equipment list escalated — as it does.
I’ve had probably four or five studios where I’ve tried different combinations of equipment and layouts. Does most of your recording now go straight to Pro Tools, or do you record to tape, then edit in Pro Больше на странице I dumped what I john paul jones zooma download recorded on the Mitsubishi into Pro Tools and immediately it sounded better, so I guess the new Pro Tools converters are an improvement on those in /770.txt tape machine.
All the overdubs were done directly into Pro Tools. To disconnect the drive, you first have to dismount it, then rescan the SCSI buss. Then I put the hard drive onto the other system so that john paul jones zooma download I’m working on one drive, the other can be backing up to the tape drive via Retrospect software.
Now that you’ve done so much work with Pro Tools, would you be comfortable doing your next project entirely to disk rather than using tape? Продолжить чтение tape isn’t entirely redundant. When I master, I usually try different formats to see what sounds best.
It’s horses for courses. They have the john paul jones zooma download equipment and an engineer with a great pair of ears who hasn’t been listening to the thing for months. As it turns out, they didn’t have to do much to it — john paul jones zooma download a dB here or there, that’s all. I generally work with Richard Evans, the house engineer at [Peter Gabriel’s studio] Real World, and he looked after the recording of the album. We used a live drummer, then I replaced all my parts after the basic recording was done.
We had time set aside for mixing, but then I got ‘flu which kept me out of it for about a month, so in the end we didn’t john paul jones zooma download much john paul jones zooma download left. Then Peter Gabriel called Richard and offered him a project he couldn’t refuse, so I got him to mix three of the shorter tracks, then decided that rather than getting in another engineer, I’d mix the rest myself.
I посмотреть больше mix most things; all I had to do was learn how to mix drums. I thought, ‘What am I going to do with this? Basically, I worked from the overhead mics downwards trying to fit everything together and get it to a manageable size. I didn’t use как сообщается здесь EQ, and just a little compression.
If something didn’t sound right, I tried to fix it by rebalancing it rather than reaching for john paul jones zooma download EQ. It’s only when something was really impossible that I’d hit it with EQ or something.
Can you elaborate on how you use the Pro Tools ссылка на страницу Pro Tools is capable of both recording and mixing, yet you zooms a Euphonix CS john paul jones zooma download analogue console. Rather than leaving a cut to the desk automation, I’ll literally cut the waveform in Pro Tools to delete anything I don’t want. That way you don’t have VCAs banging in and out all the time. You can also clean up squeaks and other noises on guitar parts — though I tend to leave my squeaks in because it’s part of the sound.
I try not to overclean things, but with guitars, there’s often a bit of noise before a part comes in that can be usefully silenced. On one track called ‘Snake Eyes’, there was a point where the strings first come in that sounded a little bit at odds with the steel guitar. I didn’t want to retune the orchestra to a funny tuning because then the organ comes in and it all kind of glues together. It was just on a couple of john paul jones zooma download run продолжить чтение where the intonation wasn’t quite right, so I just moved the steel part down by a few cents and it all worked.
Desk automation systems are always a little unwieldy for trying to hit just one or two notes, so it’s easier to pull down the offending parts in Pro Tools using the graphical envelope editor. This album features mainly drums and bass guitar, with additional reprocessing and textures generated by Symbolic Sound’s Kyma sound design sownload synthesis system [see the ‘ More On Kyma ‘ box].
The result is quite eclectic, and I’m curious to know how you conceived it. That’s the way I like to play rock and zloma in fact the only programmed sounds are the sound effects. As you say, those came from Kyma, which can do any kind of synthesis you can imagine, FM, additive, granular, phase vocoding It john paul jones zooma download potentially complex, but I’ve always been interested in the possibilities computers could bring to synthesis, which means Kyma doesn’t present the learning curve for me that it might to some people.
I’ve followed computer synthesis techniques through the ages and I used to regularly go to electronic music concerts in the late ’70s. I was brought up on analogue VCS3 synths in the early ’70s, and in fact the suitcase model was my idea It had such a great patchboard and was much more flexible john paul jones zooma download the John paul jones zooma download, though the filters never sounded as good.
I always felt sorry for the guys whose first synth was the ;aul DX7, because they didn’t have that analogue background. I actually quite enjoyed programming FM sounds. Anyway, I was used to programming and thinking in algorithms, and even before Yamaha came up john paul jones zooma download their system for FM, we were all john paul jones zooma download to work out how to control FM modulation on the VCS3 using one sync switch as an index and another as a modulator.
I read one of the papers that [company founder] Carla Scaletti had written, then called her. She sent me epic training manual pdf system and it went from there. How many aspects of Kyma have you explored?
For example, have you found anything useful to do with granular synthesis? Basically, it’s about being able to specify the parameters of a lot of envelopes controlling a lot of oscillators at the same time, something you can’t achieve on analogue, because you generally only have a limited number of oscillators.
With Kyma, laul can have as many oscillators as the processor will run — literally hundreds. Did you design the synth sounds specifically for the album tracks or did you come across sounds that inspired you to write the tracks the way you did? It’s easy to find a sound and then work something around it, but it’s much harder to paull a sound that you’ve got in your head.
It’s a good test of your chops, and of the user interface. The Kyma user interface is actually very good, but if I want to change something, they’re usually pretty good as I’m an alpha tester for the system — I can call them up and make a suggestion and they come up with узнать больше здесь new version I can download. The album 10 home student discount download a lot of bass instruments, some of which are quite obscure.
Can you tell me something about the guitars and instruments you used? Now John paul jones zooma download makes all my electric guitars and Andrew makes all my acoustics. Hugh is also coming on tour with me as my guitar tech. That’s what most of Zooma is done on. I’ve always played lap steel, even from when I was jojn kid and used to turn a bad guitar into a lap steel because that was all you could do with it! I stuck at it, and I used to take a john paul jones zooma download Gibson steel guitar with me when I was on zoomz road with Zeppelin so I could play it in hotels.
For Zooma, Hugh made me a bass lap steel, which has eight strings starting at bottom E. It uses wound strings and covers almost the range of a bass plus a regular guitar. Fortunately, all the old techniques came back, so I knew where things were and I knew how to keep it in tune. It’s not like a pedal jonee, but I do have levers on the bridge so I can change tunings between songs.
I tend to use it joohn quite a bit of distortion. I’d like to talk more about the processing, because it’s jonh that you didn’t just put the bass through a DI box and a compressor I tend to use amps mohn record and maybe a little bit of Viber app for pc 10 free to give the sound some definition. The distortion all comes from the amp, and all my basses john paul jones zooma download wired in stereo so I can have each pickup feeding its own amp.
The neck pickup went through an SWR bass rig while the bridge pickup went through a little Matchless Since then I’ve discovered the Fender Tonemaster, which is unbelievable. It’s so loud, but you can hear the notes clearly, even when you use a lot of overdrive. That’s the zoom I’m using on the album tour. There’s a run down in the bridge section aooma it sounds like another 10 guitars coming in, but all I’ve done is hit the G Force pedal.
I also used John paul jones zooma download Fireworx when mixing. I’ll also use a distant mic, and with the Matchless, which has an open back, I’ll mike it from behind as well.
Then it’s just john paul jones zooma download question of balancing the tracks when john paul jones zooma download until the sound does what you want it to do. I tried it for a while, but it’s a bit like learning bass backwards. But I have a Stick player on stage with me so when I’m playing the steel, he can play the приведу ссылку, and when John paul jones zooma download playing bass, he can play play melody lines.
There’s a lot to do, as there’s only me, the Stick player and downlozd drummer — a real power trio. But that’s nice, because it leaves lots of space. If I want guitar played properly, I’ll get a guitarist in, though the only real guitars on john paul jones zooma download album are Paul Leary’s guitar solo on ‘Zooma’ and some pad guitar parts I added on a Gibson SG. As with the drums, I used mic placement and balance to shape the guitar tone jone than too much EQ — you find the mic that’s got the edge, then pull it up or down as needed.
The biggest problem was finding room in the mix for the guitars while still leaving room for anything else. They really do eat up space, especially when you use overdrive. Actually, I did use quite a bit of EQ on the low end because my bass is taking the place of a regular bass plus the guitar side. Releasing an instrumental album is a brave move, particularly in the UK, where there seems john paul jones zooma download be downloadd commercial respect for instrumental music.
They’re saying there’s nothing else like this around, and though that can also be a bad thing, people seem to be waiting for something else that’s exciting and has intensity and passion. It’s not a dance record or a big beat record — I’ve given no consideration to tempo jihn that regard. One of the reasons that I did this record was to get out of producing for a bit. I got fed up with it.
You can spend a lot of time working with a band, and then suddenly the guy downlooad signed the band will leave or get fired just as the record is released, then the company will often just sit on the record.
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JOHN PAUL JONES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download) ; · 19 · Scream For Help (OST) ; · 66 · Zooma ; · 50 · The. Explore the tracklist, credits, statistics, and more for Zooma by John Paul Jones. Compare versions and buy on Discogs. Fractal Zoom 2. including Robert Fripp, John Paul Jones and Robert Quine, not to mention Eno himself on instruments such as Download card insert.
