Joe Jackson: Stepping Out: The Very Best Of Joe Jackson
Portsmouth's bug-eyed Mekon lookalike Joe Jackson is an interesting musical character. A most unlikely-looking "pop star", his beginnings were in the "new wave" of 1979 he progressed to dabbling in jazz, world music and classically-influenced stuff. He was/is a most underrated and creative artist.
Initially, Jackson seemed to have found himself at the vanguard of the “new wave” by default, because he wore punk-era thin ties and drainpipe trousers and had the afore-mentioned anti-rock star oddball look. Therefore, it was almost as if he was under pressure to be “punky”, whereas, as would be shown in later years, his tastes were for jazz, big band and even classical music. But, 1978-79 was all about musical brevity, back to basics and a “new wave” which eschewed anything lengthy or too experimental. So, new wave it would be, at least for the first two albums.
It wouldn't be long, though, until, like so many punk and new wave bands, considerable changes occurred in his style.
Anyway, the period he is best known for is this 1979-1985 one, and with a few later exceptions, it is that era that this collection covers. For detailed reviews of individual albums click on the label link at the bottom of the page.
In the meantime, as an appetiser, let's take a look at those pretty women out walking down my street....
We begin with a big hit for Jackson in the catchy, “new wave” single, Is She Really Going Out With Him? Jackson’s voice is a unique sneer, like Parker and Costello but in a far worse mood. Joe doesn't understand why all the girls he sees have chosen other, better-looking guys to go out with. Hmmmm. I wonder why?
The bassy, new wave reggae ballad Fools In Love is just so typical of 1979 - that reggae guitar sound, rumbling bass and slightly clumsy non-Jamaican drum sound that does its best. I like it, though. Jackson gives us that voice again.
I'm The Man is an upbeat, raucous, rocking delight - a great beat, drums, chorus and some witty lyrics about contemporary crazes like Kung Fu and skateboards. When I hear the instantly recognisable bass and keyboard intro to the wonderful, atmospheric It’s Different For Girls I am instantly transported to my student bedsit room and the dark November evenings of 1979. This gave Jackson his second hit single, it was all over the radio back then.
Beat Crazy is an appealing, rhythmic shuffler with a really catchy beat to it, while the irrepressible retro bop of Jumpin' Jive was the first diversification into uptempo big band music.
This was further exemplified on the huge hit single, the bassy, jazzy Steppin' Out, which had another mesmerising hook, both in the vocal and the bass line. People who weren’t necessarily Joe Jackson fans bought this single. It is probably the one he was most known for and it became a Radio Two staple for many years.
A Slow Song is a big, dramatic slow piece of piano-backed rock from 1982's Night And Day album, but here it is presented in (arguably more powerful) live concert form, from the excellent Live 1980-86 double album, one I can heartily recommended - it is full of live atmosphere and varied interpretations of the songs.
We have now got to 1984, and the Body And Soul album. It was the eighties, so this great musical changeling now gave us some jazzy, funky disco in the excellent You Can’t Get What You Want ('Till You Know What You Want), a track that overflows with vitality and more superb musicianship. From the same album, Be My Number Two is just lovely - a moving piano and vocal ballad with another of Joe’s emotional but cynical lyrics and a big production, orchestrated ending.
In 1986, Jackson took the unusual step of releasing a live album of new material, entitled Big World. The album doesn't sound live, however, and that is because there is no crowd noise - Jackson had requested that the crowd remain silent during the performance! What it does show, though, is just how damn competent Jackson's band were - the sound is simply superb. The two tracks we get are the politically-motivated cynicism of Right And Wrong and the lilting highly attractive summery groove of Home Town. Both of these are really good tracks. I highly recommend the album they came from. They are the two best on there, by the way, and were both released as singles.
Down To London is instantly recognisable as Joe Jackson, I can't quite describe what I mean in detail, but if you hear I am sure you know what I mean. Its dual male-female vocals reminds me of The Style Council in places.
The nostalgic and wise Nineteen Forever is an excellent number on which to end this fine collection. Both these last two tracks came from Jackson's 1989 Blaze Of Glory album, which was probably the last from his most fertile years.
We all want to be nineteen forever.....
This doesn't have anything from Mike's Murder, which is one of my all-time favorite movies so I bought the album. It was about half instrumentals then a couple good regular songs like Laundromat Monday. I think I had another instrumental album by him too. I also used to like Body and Soul and Beat Crazy.
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