‎Zooma by John Paul Jones on Apple Music.Zooma Songs Download - Free Online Songs @ JioSaavn

‎Zooma by John Paul Jones on Apple Music.Zooma Songs Download - Free Online Songs @ JioSaavn

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Zooma by John Paul Jones on Amazon Music - - Heavy Prog 

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Listen and download music for free on Boomplay! Download and listen to John Paul Jones's album songs - Zooma for FREE. Zooma is a music album by John Paul. Listen to Zooma songs Online on JioSaavn. English music album by John Paul Jones 1. Zooma - John Paul Jones, 2. Grind - John Paul Jones, 3.    

 

John paul jones zooma download.John Paul Jones – Zooma (1999)



  Sign up for Deezer for free and listen to John Paul Jones: discography, top tracks and playlists. Zooma. by John Paul Jones. fans. Music, radio and podcasts, all free. Listen online or download the iHeart App. Connect. Photo by Matt Riley, UVA Athletics. Channel your inner national champion through John Paul Jones Arena. (Download this Zoom background).  


- John Paul Jones: albums, songs, playlists | Listen on Deezer



 

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 steel, but I do have levers on the bridge so I can change tunings between songs.

I tend to use it with quite a bit of distortion. I'd like to talk more about the processing, because it's evident that you didn't just put the bass through a DI box and a compressor I tend to use amps to record and maybe a little bit of DI to give the sound some definition.

The distortion all comes from the amp, and all my basses are 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 amp I'm using on the album tour.

There's a run down in the bridge section where it sounds like another 10 guitars coming in, but all I've done is hit the G Force pedal. I also used TC's 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 a question of balancing the tracks when mixing 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 bass, and when I'm playing bass, he can play play melody lines. There's a lot to do, as there's only me, the Stick player and a 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 the 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 rather 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 to be little 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 in 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 who signed the band will leave or get fired just as the record is released, then the company will often just sit on the record.

Through no fault of anybody's, the record gets dumped. I hated the business for that, and everybody has stories like that to tell. I asked what Robert did about his own records, and was told that although King Crimson comes out on Virgin, Robert has this other record company called Discipline Global Mobile.

The artists retain their copyright — Robert insists on this — and there are no contracts at all. Actually, that isn't so unusual, because in the early days of Zeppelin, we never had a contract with Peter Grant, much to Atlantic's horror when they found out! I thought about mail order and the Internet, but in addition to mail order, Robert's company also has really good relations with Pinnacle and Rykodisc in the States, so it started to sound better.

And I think that if enough people get to hear the record, a fair number will like it because there really isn't anything else out there like it. I'm lucky in that I've been able to make the album I wanted to make and I have my own studio to do it in.

I also wanted to make music that was fun to play — I didn't want to be in another band, and I didn't want to be part of a democratic project for that matter, so I thought if I did a record, I could take it out on the road and tour. I'm more confident in my mixing. The steel and bass stuff really worked well and I also like the way the riffs and the electronics work together. I may use more keyboard on the next album, but this wasn't a keyboard album — there's only one organ solo on the whole album.

As you can see from the photographs dotted around this article, John Paul Jones' studio is a serious facility. The main monitoring comprises a pair of Dynaudio monitors running from Chord power amps and there's also a REL Studio subwoofer under the Euphonix console to extend the range of the system. A Box stereo width meter sits atop the desk.

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.

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. It is, at times, repetitive, and at times it has powerful intensity. I find the non-prog numbers to be, in general, executed better than the prog ones, in fact. 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.

I expected that the music was somewhat similar like his solo work afterwards but I was wrong - it's a mixture of various styles of music especially pop and rock. The opening track 'Spaghetti Junction' sets the tone for the whole album with relatively fast tempo music in a loop programming style featuring guitar work by Page and organ by Jones.

Quite an interesting opening, really - well The second track 'Bad Child' features Jones in vocal. I love the two tracks where Jon takes vocal work: 'Silver Train' and the famous 'Christie'.

If all songs were performed as the movie is on, I think all songs form a cohesive story line. But in this case is just a collection of songs.

Overall - it's a good collection of songs and a good start for Jones solo work. Keep on proggin'! Review by snobb Special Collaborator Honorary Collaborator. 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. We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie Notice. We also use these cookies to understand how customers use our services for example, by measuring site visits so we can make improvements. This includes using first- and third-party cookies , which store or access standard device information such as a unique identifier.

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