Joe Jackson Night And Day MFSL Gold CD Neu OVP Sealed UDCD 539 Ultradics I Japan Pressung
Label: Mobile Fidelity Sound Lab
Import aus: USA
Format: Audio CD
1. Another World (4:02)
2. Chinatown (4:05)
3. T.V. Age (3:48)
4. Target (3:46)
5. Steppin' Out (4:20)
6. Breaking Us In Two (4:52)
7. Cancer (6:04)
8. Real Men (4:04)
9. A Slow Song (7:02)
Joe Jackson stieg 1982 mit Night And Day (mit dem Knaller Steppin'Out) vom Status des New-Wave-Heroen in den Pop-Olymp auf.Die CDs Body And Soul und Blaze Of Glory demonstrieren, wie wohl er sich dort später fühlte. Ähnlich lohnende Angebote gibt es von Chris de Burgh, Jimi Hendrix, Supertramp und anderen.
Der englische Sänger, Songschreiber und Pianist Joe Jackson verlegte seinen Wohnsitz 1982 nach New York und veröffentlichte im selben Jahr sein bis dato erfolgreichstes Album. Das musikalische Chamäleon Jackson hatte sich auf "Night And Day" amerikanischer Popmusik mit leichten Jazz- Einflüssen zugewandt, und mit "Steppin' Out" gelang ihm gleich ein weltweiter Hit. Dieselbe kompositorische und interpretatorische Klasse wiesen auch "Breaking Us In Two", "Cancer" und vor allem der superbe "Slow Song" auf. Als Gold-CD klingt das ambitionierte Werk leider nur unwesentlich besser als vom Standard-Vinyl.
Review by Stephen Thomas Erlewine
1982 will forever be known as the year that the punks got class — or at least when Joe Jackson and Elvis Costello, rivals for the title of Britain's reigning Angry Young Man — decided that they were not just rockers, but really songwriters in the Tin Pan Alley tradition. (Graham Parker, fellow angry Brit, sat this battle out, choosing to work with Aerosmith producer Jack Douglas instead.) Both had been genre-hopping prior to 1982, but Jackson's Night and Day and Costello's Imperial Bedroom announced to the world that both were "serious songwriters," standing far apart from the clamoring punkers and silly new wavers. In retrospect, the ambitions of these two 27-year-olds (both born in August 1954, just two weeks apart) seem a little grandiose, and if Imperial Bedroom didn't live up to its masterpiece marketing campaign (stalling at number 30 on the charts without generating a hit), it has garnered a stronger reputation than Night and Day, which was a much more popular album, climbing all the way to number four on the U.S. charts, thanks to the Top Ten single "Steppin' Out." Night and Day had greater success because it's sleek and bright, entirely more accessible than the dense, occasionally unwieldy darkness of Imperial Bedroom. Plus, Jackson plays up the comparisons to classic pop songwriting by lifting his album title from Cole Porter, dividing the record into a "night" and "day" side, and then topping it off with a neat line drawing of him at his piano in a New York apartment on the cover. All of these classy trappings are apparent on the surface, which is the problem with the record: it's all stylized, with the feel eclipsing the writing, which is kind of ironic considering that Jackson so clearly strives to be a sophisticated cosmopolitan songwriter here. He gets the cosmopolitan, big-city feel down pat; although the record never delivers on the "night" and "day" split, with the latter side feeling every bit as nocturnal as the former, his blend of percolating Latin rhythms, jazzy horns and pianos, stylish synths, and splashy pop melodies uncannily feel like a bustling, glitzy evening in the big city. On that front, Night and Day is a success, since it creates a mood and sustains it very well. Where it lets down is the substance of the songs. At a mere nine tracks, it's a brief album even by 1982 standards, and it seems even shorter because about half the numbers are more about sound than song. "A Slow Song" gets by on its form, not what it says, while "Target" and "Cancer" are swinging Latin-flavored jams that disappear into the air. "Chinatown" is a novelty pastiche that's slightly off-key, but nowhere near as irritating as "T.V. Age," where Jackson mimics David Byrne's hyper-manic vocal mannerisms. These all fit the concept of the LP and they're engaging on record, but they're slight, especially given Jackson's overarching ambition — and their flimsiness is brought into sharp relief by the remaining four songs, which are among Jackson's very best. There is, of course, the breakthrough hit "Steppin' Out," which pulsates anticipatory excitement, but the aching "Breaking Us in Two" is just as good, as is the haunting "Real Men" and the album opener, "Another World," a vibrant, multi-colored song that perfectly sets up the sonic and lyrical themes of the album. If all of Night and Day played at this level, it would be the self-styled masterpiece Joe Jackson intended it to be. Instead, it is a very good record that delivers some nice, stylish pleasures; but its shortcomings reveal precisely how difficult it is to follow in the tradition of Porter and Gershwin.