[rating=9.00]
There’s a certain sense of deja vu that’s unmistakably evident in Joe Jackson’s new album Fool, his 20th studio outing to date. While the sophisticated sheen of Night and Day is especially prominent in the proceedings, the instant allure heard in such songs as the beat-heavy title track and the snappy, upbeat offerings “Friend Better” and “Fabulously Absolute” glean references that reach back to the earlier additions to his discography, the unbridled and energetic expression of his “angry young man” slanted albums Look Sharp! and I’m the Man in particular.
Mostly though, Jackson is still following the more eclectic precepts that made his later, more elegiac efforts key to his crossover to a more mainstream market. While Jackson used that newfound freedom of expression to delve deeply into a jazzier motif, soundtracks and abject experimentation, he mostly eschews those objectives here. The intensive drive of opening offering “Big Black Cloud” and the aforementioned frenzy of the title track aside, Jackson’s main intent seems to be to make music of a more melodic variety, purveying a late night, lounge-like atmosphere suitable to accompany cocktails and casual conversation.
Though it’s somewhat compact — only eight songs fill out the album — Jackson fares well with the proviso he does provide. While he’s repeatedly tried to replicate the formula he found on Night and Day in the decades since that record’s release, he seems to have succeeded admirably this time around by veering away from abject posing and pretension and aiming instead for a supple, sweetened essence. It’s fair to say that songs like the sunny “Dave,” the shimmering “Strange Land” and the album’s final send-off, the alluring “Alchemy,” recall the best of Jackson’s cosmopolitan style, and each succeeds exceptionally well as a result. No fooling, Fool ranks among the best works of Jackson’s judicious career, and that’s a solid recommendation in itself.
2 Responses
Wonderful compact Review Mr. Zimmerman. I just listened to Joe’s new album and I am deeply and so happily impressed, moved and back in his corner. I flew Joe’s music cop back in 85 or so because he just got so ordinary. His music had no heart. I felt as if he was just forcing the music out of his angry self but this is like some kind of introspective return to glory. Obviously Dave is about himself. Perhaps he has put his anger issues aside and let the music flow out once more. Or he has learned how to let the anger enrich his music once more. Whichever it is he must have been listening to Night and Day for old times sake. He practically rips himself off with those piano licks during the solo.
Wonderful compact Review Mr. Zimmerman. I just listened to Joe’s new album and I am deeply and so happily impressed, moved and back in his corner. I flew Joe’s music coop back in 85 or so because he just got so ordinary. His music had no heart left. I felt as if he was just forcing the music out of his angry self but this is like some kind of introspective return to glory. Obviously Dave is about himself. Perhaps he has put his anger issues aside and let the music flow out once more. Or he has learned how to let the anger enrich his music once more. Whichever it is he must have been listening to Night and Day for old times sake. He practically rips himself off with those piano licks during the solo. I haven’t been excited about a new record by anybody since 2013’s of Montreal record. Or maybe Noah Lennox’s last album. I only wish there were more material. This album is Grammy worthy but his timing is awful. He will sadly get overlooked and passed by.