| | Joe Jackson Volume 4 CD Joe Jackson Discography of CDs
(3 Customer Reviews)
Includes a bonus live CD recorded during Joe Jackson's 2002 U.K. tour.
It only took two albums before Joe Jackson got restless, pushing away from the nervy, high-octane, well-crafted punk-pop of Look Sharp! and I'm the Man toward the ska leanings of Beat Crazy, before abandoning the Joe Jackson Band altogether. Without them, he roamed wild, laying the groundwork for neo-swing with Jumpin' Jive and etching out sophisti-pop on his Cole Porter/George Gershwin-flavored Night and Day, before expanding into symphonic compositions and other increasingly esoteric stylistic exercises, whittling his audience down to just the dedicated in the process. Even among those dedicated fans, the first two Jackson albums were cherished, and Jackson acknowledged that on occasion by appropriating the sound, as on 1991's Laughter & Lust. Still, it took him a full 23 years to reunite his original band, an event celebrated by the release of Volume 4 (the title indicating that this is the fourth go-round for this band, kind of like how Van Halen III kicked off the third incarnation of the band). It would be inaccurate to say that this captures the bristling energy or spitting vitriol of the first two records, though Volume 4 certainly follows a similar template and often feels similar in form, if not in substance, to that pair. It also recalls Night and Day in parts (ironically, moreso than the explicit 2000 sequel Night and Day II), which means it winds up being a revival of the classic Joe Jackson sound instead of the Joe Jackson Band. Frankly, that's not a problem; if this is going to be a nostalgia exercise, at least in part, it should be about the overarching idea of Jackson as much as the particulars. Plus, it's a good record -- his best pure pop in at least a decade. It's a little front-loaded and, at times, it may seem a little labored or self-conscious, but usually it sounds relaxed and tuneful, as if Jackson is relieved to just be cutting a record of pop tunes instead of worrying about a grand concept or symphonic movements. And while the band certainly has mellowed with age, they still bring his music to life better than any other outfit he's worked with, giving it definition and muscle. It may be true that Volume 4 isn't as lively or vital as his first five albums, but it's also more satisfying as a pop record than anything he's done since Body & Soul, which is more than enough to make it a worthy comeback. ~ Stephen Thomas Erlewine
Recorded at Ridge Farm, Surrey, England.
Personnel: Joe Jackson (vocals, keyboards); Gary Sanford (guitar); Graham Maby (bass); Dave Houghton (drums).
Personnel: Joe Jackson (vocals, melodica, piano, electric piano, organ); Gary Sanford (vocals, guitar); Dave Houghton (vocals, drums); Graham Maby (vocals).
Audio Mixers: Paul Q. Kolderie; Sean Slade.
Recording information: Ridge Farm, Surrey, England.
Photographers: Geoff Spear; Tom Sheehan.Rolling Stone (4/17/03, p.104) - 3 stars out of 5 - "...More crafty and less visceral than Jackson's early-Eighties music, but that doesn't mean it is less rewarding..." Spin (5/03, p.116) - "...Jackson returns to the acerbic power pop of 1979's classic LOOK SHARP!....He brings it off with empathy and wit..." - Grade: A Joe Jackson Volume 4 Songs Volume 4 Music Review Average Rating: (3.3 out of 5 stars)   Joe Jackson This is Joe Jackson at his very best.
If you like his early music this is a must buy.
Submitted by ldaubermann (South Africa)  Was This Review Helpful? Yes No
Master at his craft I can't imagine a Joe Jacksom Fan not loving this CD. Like Neil Finn, Joe has the anti-pop writing gift. I admit I had trouble with a few of these songs on first listen but who ever said JJ was easy listening? Those are the ones I can't stop listening to now. This comes across as his most honest recording. Is there a better song than Love at First Light? I think not. This is a timeless Joe Jackson CD. Submitted by Schroderr (New York, NY) Was This Review Helpful? Yes No
A fan is disappointed... Volume 4 features eleven new songs by the original Joe Jackson Band. I’m a big Joe Jackson fan. However, I’ve never quite been able to identify with the pre-1980 Joe Jackson work. Perhaps Joe can no longer identify with it either. The writing and performance lacks definition. Is it dark and brooding? Is it bright and energetic? Like the final song, this album may best be described as “Bright Gray”. There is no identity, no satire, no bite, no sneer. (Regarding the “Bonus Disk”: ordinarily, a live performance of JJ’s well-written music can generate it’s own perpetual energy. However, these retreads are real yawners.) I could pick any Joe Jackson album form the eclectic 1980 to 2002 period and listen with delight. Volume 4 is a miss. Submitted by a reviewer (Elizabeth, CO) Was This Review Helpful? Yes No
| Have you heard this album? |  |
Purchase Volume 4 CD To buy, Click on price to add to cart | Band Last Waltz CDs (2002) Box Set
Volume 4
$40.99
| | Neil Young American Stars 'N' Bars CD (1977) Remastered
Volume 4
$6.15
| | Neil Young On The Beach CD (1974) Remastered
Volume 4
$8.99
| | Warren Zevon Wind CD (2003)
Volume 4
$14.95
| | Fleetwood Mac CD (1975) Bonus Tracks; Remastered; Deluxe Edition
Volume 4
$12.05
| | Shara Nelson What Silence Knows CD (1994)
Volume 4
$10.49
| | Plastic Mutations: The Electronic Tribute To Radiohead CD (2001)
Volume 4
$12.59
| | David Paquette Outrageous CD (1990)
Volume 4
$13.85
| | Uzumaki Candy Smoke & Distball CD (2002) (Import) Japan
Volume 4
$47.29
| | Oldies But Goodies: '80S New Wave Vol. 1 CD (2003)
Volume 4
$9.09
| | David Bisbal Buleria CD (2004)
Volume 4
$11.49 Paul Simon has argued that an artist's debut album is often his or her best because when artists have a lot on their minds and finally get a chance to record, the results can be unusually inspired. Simon's theory would explain the dreaded sophomore curse; second albums, in some cases, are disappointing because the artist has already used up many of his or her best ideas. Of course, there have been numerous sophomore albums that were anything but disappointing -- Led Zeppelin II, Madonna's Like a Virgin, Ice-T's Power -- and David Bisbal shows no signs of a sophomore slump on his second album, Bulería. The Spanish pop singer showed considerable promise on his first album, Corazón Latino, and is equally triumphant ...
| | Dead Air Radio Signal To Noise Ratio CD (2007)
Volume 4
$16.45 Dead Air Radio serves up a masterful blend of progressive rock and metal on their latest CD, “Signal to Noise Ratio”, with soaring melodies, complex guitar performances and crushing riffs. Hailing from Nashville, TN, this power trio is turning heads with their high energy rock, which fuses elements from progressive mainstays Rush and Yes with the heavier, contemporary styling of such modern acts as Dream Theater and Tool. Bill Givens, Dennis Thompson, and David Charlesworth draw upon a more diverse palette of rock ranging from Seal, Sting, and Nickel Creek to more aggressive fare such as Slayer, Metallica and Mudvayne. The end result is a dynamic, freshperspective on the genre."Signal To Noise Ratio" begins with an explosion of staccato punches that herald the passion and intensity that permeates its eight tracks. The opening song “Unbalanced” is a progressive rock tour de force taking the listener through a plethora of sonic textures that truly showcases the band's influences, yet sets them in a class to their own. With styles ranging from metal to flamenco, this piece sets the stage for the rest of the album. Following the lush repose and crashing ocean waves ending "Unbalanced", "Unified" is ushered in offering it's delicate guitar and vocal combination before plunging headfirst into heavy rock groove. Radio favorite "Immaculate Rhapsody" punches listeners in the face with a heaviness matched only by it's lyrics, which challenge the music industry’s current stranglehold on artistic freedom with stabbing lines such as “disastrous the consequence hereafter, of formulaic mediocrity”. The song has a pulsing rhythm that breathes life into the declaration "we're not going to surrender creative freedom and were going make music on our own terms." "It’s always been of utmost importance to us to not only write great songs, but to have the freedom ...
|
|
|