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Mega-chart success mostly eluded the amazingly versatile Joe Jackson, but considering the wildly numerous musical guises he inhabited, his even high to medium grade of success seems miraculous. Artistically, of course, he remains one of the most successful, and sadly neglected, rock/pop composers of the 1980s. Following the short, fiery career of the guitar-rock oriented Joe Jackson Band, he dove head first into swing and big band with "Jumpin' Jive." His largest commercial breakthrough, "Night and Day," remains an unparalleled 1980s classic and first showcased his true musical range. With hit singles, MTV airplay and extensive touring, fans probably expected and record companies probably hoped for a copycat follow-up to this top 10 1982 album. Next came a still difficult to find film soundtrack for "Mike's Murder" and in Orwell's year the new album "Body and Soul" popped into existence. Something different this way came.
Extensively horn-laden and infused with a mellower jazzy feeling, this new release contained all of its predecessor's power, though manifested differently. Thematically, it deals largely with lost or misguided love, ambiguous desires, wayward wants and redemptive, though highly tenuous, hope. A big bang of brass thrusts the album into the senses and the uncertainty of judgment, evoking everything from anxiety of critical reception to Saint Peter's gates to nihilism, fills "The Verdict." Jackson always veers far from bubble gum feel good sentiments and this song packs some lyrical wallops, such as "We don't know what happens when we die, we only know we die too soon, but we have to try or else our world becomes a waiting room." Many philosophers never reach this level of accessible eloquence. The song explores questions such as "is my life meaningful?" and "what would others think about how I spend the time given to me?" The world desperately needs more pop music for thinking adults such as this. "Cha Cha Loco," an addicitively catchy tragi-comic portrait of marital cold feet, continues the all too human bungled and botched theme. "What she ain't got, be sure to make sure you don't need." "You can't go back." Basically, wedding day has arrived, the band is booked, so, well, either go through with it or ditch. The song chooses the former, likely well-worn path, exposing a sad psychology that sees no other options despite itchy, nagging doubts.
"Not Here, Not Now" feels like a blunt blow to the soul. Expect personal memories of horrendous public breakups to emerge from deeply protected consciousness. Emotional constipation churns beneath such scenes when people part ways under the gaze of others. The song aptly expresses this hopeless longing to express anger, hurt, fear, loss and pain in its devastating chorus. Jackson's next chart hit, "You Can't Get What You Want (Till You Know What You Want)," claims that personal desires may not be as complicated as people think. "Sometimes you can't see that all you need is one thing." Human nature can trick us into thinking that if we just keep seeking we'll find "it," but many people find nothing except a need for more desultory seeking. And on it goes until our real needs come into focus. Patience may pay off. "Go For It," the closest this album comes to a throwaway, sounds somewhat like a tongue in cheek cheesy musical billowing with false optimism and potentially bad advice. The instrumental "Loisaida" just sounds gorgeous throughout. It proves that Jackson knew his horns. "Happy Ending" sardonically cites both "Brave New World" and "1984" while balancing emotion and intellect while faced with the frightening and glorious prospects of a new relationship. It provides no answers or consolation, just conflicting thoughts and emotions.
Anyone who has experienced new desires following a divorce or a painful loss of a valued relationship will claim "Be My Number Two" as their anthem. This song, one of Jackson's best and most underrated, delves into new emotional territory appropriate for an era where "till death do us part" sounds hollow. Again, uncertainty and cautious hope pervade the lyrics and music, perfectly expressing the horrifying anticipation of a new beginning, or another miserable failure, with a new partner. The chorus almost angrily exhorts, with the jaded impatience of experience, that "if you got something to say to me, don't try to play your funny games on me." "Heart of Ice" seeks to undo the damage described in so many of the album's previous songs. Too many such run ins and the heart becomes encrusted and cold and ready for more mistakes. If only the sun could melt it back to a simpler more innocent time. Though some hope exists here, the suggested remedy of first cutting out the heart of ice seems laced with hints of irreversible anguish. It seems to say that though we can heal, we'll never be the same. Was it all a mistake? We'll never know until we do.
"Body and Soul" manages to encompass the ineffable longing for companionship that always seems tinged with the possibility that we're walking into a viper pit. Highly challenging musically and lyrically, as well as intellectually and emotionally, it stands as yet another of Joe Jackson's masterpieces that began with "Night and Day" and culminated in the unjustifiably underrated "Blaze of Glory." Very few artists of the 1980s displayed such versatility, depth, intelligence and emotional power as witnessed on Jackson's late pop records. They stand as paramount examples of the "music as art" tradition that started in the 1960s and that has slowly eroded away to the present day. Hopefully others will someday find inspiration in these classics and infuse popular music once again with multi-dimensional poignancy.
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Tilman
Jo jackson, une perle, un c.d nickel.
Reviewed in France on February 15, 2022Bruce Knight
Don't think this guy is capable of producing a bad note.
Reviewed in Canada on January 2, 2017