CD Review

Some things go in and out of style, but Joe Jackson and his brand of “angry young man” rock and roll from over two decades ago, returned last year, unscathed, in the form of the Joe Jackson Band. The combative four-piece that recorded the classic LP’s at the dawn of the 80’s – Look Sharp, I’m The Man, Beat Crazy - regrouped in 2003 for a 25th Anniversary tour and Volume 4 album. Playing 104 shows all over the world, it figured to be a generous reintroduction of the Joe Jackson Band to a new, and old generation of ears. Although modern rockers like Ben Folds Five have taken Jackson’s piano based rock as a creative blueprint; Jackson’s own acclaimed, eclectic post-Joe Jackson Band work, made the reunion an even more comfortable return to younger form.

From a tour that became one of the longest in his renowned career, Live:Afterlife, was taken from just four shows. Surprisingly omitted are standards “Is She Really Going Out With Him” and “I’m the Man,” in favor of songs and arrangements that previously hadn’t been heard on earlier album releases. These alternative arrangements may not excite the pass by listener, but Jackson fans will find these reworked versions welcoming. “Stepping Out” is a stripped down take, relying solely on piano acoustics and stark vocals, in contrast to the sleek jazzy original version from 1982’s solo release Night and Day. Featuring a number of new material from Volume 4, “Take It Like A Man” sounds neo-classic with its potent, totally cool 80s piano riff. Yet others - “Awkward Age,” “Love at First Light,” and “Fairy Dust” - fail to convey the magic attained in familiar earlier classics.

As the album moves forward its possible to hear the extent to which bassist Graham Maby and guitarist Gary Sanford’s playing have defined a more pronounced part of the band’s sound, particularly in the reggae inflected “Beat Crazy,” ska tinged “Sunday Papers” and the irritated kick of “Got the Time.” With Joe Jackson back as the punkish leader, listening to these live compositions clearly evoke a different era while avoiding to sound overly blasé up on stage.