Joe Jackson 1979-1983
It’s a shame Elvis Costello and Graham Parker released stellar albums at the same time Joe Jackson released Look Sharp!, his debut, in 1979. Parker unleashed Squeezing Out Sparks, arguably his finest, and Costello had Armed Forces, also arguably his finest. But Jackson, the quintessential angry young man, should never be forgotten and his albums from the time frame above are documents that prove he should have been more popular than he was/is.
Starting with the debut, then: Look Sharp! was my introduction to the man and the track Sunday Papers is the reason I started playing the bass guitar. It’s (the album) got reggae, humor, bitterness, plenty of pop hooks (like the massive hit Is She Really Going Out With Him?, One More Time, Look Sharp and Pretty Girls) and guitars, guitars, guitars. But the overall emotion here is jealousy. One look at the lyric sheet will tell you that. Witness an example from Happy Loving Couples:
“I’ve just been to see my best friend
He’s got another girl
Says she’s just about the best thing
In the whole damn world
And he says can’t you see what the little lady’s done for me
Says it like he thinks I’m blind
But the things that you see ain’t necessarily the things you can find
But those
Happy loving couples make it look so easy
Happy loving couples always talk so kind
Until the time that I can do my dancing with a partner
Those happy couples ain’t no friends of mine”
Jackson followed up with I’m The Man, a virtual clone of the debut but no less successful. More power pop than anything he’s done since it nevertheless contains some of his finest songs, like the beautiful and sad It’s Different For Girls. On Your Radio and the title track are two of my favorite “let’s rock with abandon” Joe Jackson tracks, and most of the others, although slightly slighter, follow suit.
Time for Joe’s first left turn. Beat Crazy, released in 1980, embraces reggae, ska and even a bit of dub, as was the trend of the time, and this album is only a tad less successful than the first two in that it lacks any real standout songs, although the title tune is fantastically catchy. This marks the album that he started toying with jazz elements, too, as on One To One.
My favorite album from this period is Jumpin’ Jive, in which Jackson immerses himself in the swing of Cab Calloway and Louis Jordan. The commitment to authenticity is impressive, and his vocals suit the music well. The tunes he chooses to cover were all fantastic to begin with but he is able to put his own stamp on virtually all of them. The best thing about this album, and why it remains my favorite to this day, is that it’s consistent in tone and tune. Jackson’s albums, especially after 1983, can be inconsistent affairs. Jumpin’ Jive, however, is one genre exercise that works quite well.
Night And Day was Jackson’s break out album, spawning two huge hits in Steppin’ Out and Breaking Us In Two. It’s his ode to Manhattan, which means the albums mood simply oozes class by utilizing a bit of lounge, a bit of Latin jazz and a bit of classic pop. The original after hours record, in other words; a record to listen to at 2am with a gin martini looking out at the New York skyline from a penthouse (the cover sketch says it all, doesn’t it?). Joe Jackson toured this album by opening up for the Who, and I remember him getting booed off the stage. I don’t think he ever fully recovered from that horrible experience, and I don’t think he ever did another album to top this one, although Volume 4 comes pretty close.
Mike’s Murder, the soundtrack to a simply awful movie, followed. Side one contains songs in the vein of Night and Day. Some of his best material is found here, such as the driving Memphis, Cosmopolitan (which should have been on Night And Day), and 1-2-3 Go (This Town’s A Fairground). Side II contains 3 instrumental tracks, none of which are particularly earth shattering. As far as I know they have never seen fit to release this record on CD or MP3 format, and it’s a bitch to even find the vinyl version. If they ever release this again I’ll be first in line to purchase it.
Joe Jackson’s bass player (Graham something or other) is absolutely great. The lines on “Got The Time” and “I’m The Man” are incredible.
PS- I hate the Night And Day lp- between that and Elis C’s “Imperial Boredom” I lost faith in both of ‘em during that period.
How can I download songs from Blaze of Glory, including that track? Can’t seem to find it anywhere. Had bought the cassette years ago.
Mike’s Murder is available on CD (http://www.amazon.com/Mikes-Murder-Joe-Jackson/dp/B000E0VL68). And as judged by the price, it was a bargain to get it for 32 Euros when it was released on CDback in 2006 and I needed a replacement for the scratched vinyl LP.
The soundtrack of “Mike’s Murder” was released on CD. First on the Deluxe Edition of “Night & Day” (only the three songs of side one) and later as a complete CD by Lilith Records.
Mike’s Murder was released on CD in 2006, but that version is way out-of-print.
Also, Joe’s bass player is named Graham Maby.
Mike’s Murder was available VIA Lilith records. It is on Amazon for $198.
Great synopsis of some amazing albums. If you’re able to find the double CD version of Night & Day lots of Mike’s Murder tracks are on the second CD. Hope that helps.
The first side of Mike’s Murder Sdtk is available on the deluxe edition of Night & Day.
I’ve been a fan of, and wriitng about Joe Jackson since his first album (well maybe not writing about him since then, but…). The great thing about the guy is that he never panders to an audience, but instead experiments with his music and follows it where it leads, while we get to come along and listen.
That’s why he’s got a discograpy as ridiculously diverse (and wonderful) as the first two records, Beat Crazy, Jumpin Jive, Night & Day, Symphony #1, Blaze of Glory, Big World, Heaven & Hell, NIght Music, Body & Soul, Symphony #1, etc. etc. – not to mention trio stuff (live and in-studio) that he’s been doing lately, the soundtracks (Tucker and Mike’s Murder), and stuff like a cover of the Pulp song “Common People” with Ben Folds and William Shatner.
With Jackson, I’ve had a chance to really watch an artist do his art for over 30 years, and that’s a rare and wonderful thing.
Oh – and it’s Graham Maby, and you’re right – he’s phenominal. Still plays with him in fact. You’re wrong, however, about Night and Day AND Imperial Bedroom, both of which are brilliant.
The only thing better than Joe Jackson albums is seeing Joe Jackson live. Everytime he is in town (not that often unfortunately) I’ve gone to see him. Like his albums, every concert is entirely different from each other. Always a treat to see the different ways he performs his hit songs, and always a treat to see him perform his new songs. I just want to send out my thoughts here to Graham Maby his bass player and key collaborator who sadly lost his wife this month.
I couldn’t disagree more that Joe’s albums become “inconsistent affairs” after 1983. Every album is a different flavor of excellence, and the span from 1983-1991 produces, in my opinion, four albums of absolutely landmark quality: “Night and Day,” “Body and Soul,” “Blaze of Glory,” and the massively underrated pop masterpiece “Laughter and Lust.” That isn’t even to mention 1997′s brilliant experiment “Heaven and Hell,” 1999′s “Night and Day II,” which spawned the best tour I’ve ever seen, and 2007′s “Rain,” which may be his best album since “Night and Day.”
The great thing about Joe is that he challenges his listeners to learn new grooves, new genres, and new sound palates with each new album; sometimes with each new song.
Also, “Mike’s Murder” received a German CD release a few years ago. Also, much of the music from it is on the second disc of the “Night and Day” special edition CD.
Disc 3 of the European “Joe Jackson: The Ultimate Collection” box is “Mike’s Murder” in its entirety — I’ve seen it in the $20-ish range online as opposed to $100+ used on Amazon!
I’ve been a fan since Look Sharp and have everything he has released since. So many of his albums evoke memories of good times, specific places and wonderful friends. Not only is his output wide ranging but it invariably sounds great. Production quality is usually very high with the result you can hear details buried in the mix, follow along with backup vocals and discover little counter melodies inserted like easter eggs for fans to enjoy. I think I’ll go listen to some Joe now….. Great summary ! PS- I agree about Graham Parker….very under rated artist and his albums from 78-80 rank among the very best of the era.
I’ve been going back to JJ a lot the last few weeks – maybe I need to read this blog more, huh? – and find his stuff just so refreshing.