Sometimes that old adage really rings true: “You’re not getting older, you’re getting better.” That’s certainly the case for Joe Jackson and his reunited original band entourage of Graham Maby on bass, Gary Sanford on guitar, and Dave Houghton on drums. The proof is in the tightness, charisma, and vitality that comprise the performances captured here.
As one of Britpop’s angry young men way back when, Jackson and his band were known for tight live performances that fed upon the energy of audiences very familiar with the popular songs from the albums of the time. The original lineup stayed together for three studio albums, then parted musical ways.
Now, some 23 years later, the musical experience gained since has only enhanced the talents of all concerned. Reunited for a new studio album (Volume 4) and a supporting world tour after so many years, this talented quartet has surprisingly rediscovered that magical chemistry of decades past. Luckily for fans, the best of these precious performances have been culled from four California dates on the tail end of the 104-date tour and released as a live CD (with, as the album notes, “no re-recording — spot the mistakes!”).
Afterlife and its baker’s dozen of songs mix old and new seamlessly, and there’s an overriding sense of great fun. Jackson’s voice is in fine form, and this band lives up to any and all expectations. From the opening piano strains of what turns into an abbreviated vocal/keyboard rendition of “Steppin’ Out” to the closing notes of “Got the Time”, there’s a sense of electricity to the performance here, and the audiences are both appreciative and overtly responsive.
Jackson always seems comfortable on stage (there’s no better proof than the previous live albums released over the course of his career) and is the consummate performer. When he reassembled his old buddies for the new album (on the 25th anniversary of their debut), they played several warm-up gigs and it took Jackson by surprise.
“These guys blew me away, they played so great,” he noted, and it’s very true — all seem far improved from those early days. Having recently reached a personal comfort level with his past material, Jackson was ready to join up with the original Joe Jackson Band and hit the road.
“One More Time” sounds as powerful as ever, with the rhythm section precision-tight (and Graham Maby is superb). This efficiently segues into two songs off the new album “Take It Like A Man” (performed as if it were in the studio, truly), Jackson’s updated angry lament about the battle of the sexes, and “Awkward Age”, one of the new songs that rightly deserves a place among Jackson’s best, advice to a young one that morphs into a confession that age hasn’t resolved matters much.
“Look Sharp!” retains its smart-alecky edge, even after all these years. It brings back memories (and the audience fills in the blanks as it sings along). The middle bridge shifts keys, allowing band members to show-off a wee bit, but overall it remains a forceful anthem of disenchanted youth.
Jackson includes one song from the now out-of-print Blaze of Glory, “Down to London”. Here, the former piano ballad is updated some, infused with the energy and backup harmonies of the band, and treated to some fine emotive Jackson vocals and piano finesse.
It’s a treat also to hear the oft-ignored “Beat Crazy” after lo, these many years. This fun ska/reggae gem fits right into the contemporary popular revival of such music, yet manages to outdo much of what has come after.
The reggae beat extends into the band’s jam-out version of “Fools in Love”. Jackson gives his all with the vocals, and works in a snippet of the Graham Gouldman-penned Yardbirds’ classic “For Your Love” for a little extra musical flavor. Jackson treats us to some melodica solo, while Gary Sanford gets to show some stylistic flair on the guitar.
Two more from the recent release follow. The sweet ballad “Love at First Light” features observations the day after a night of purely physical pleasure with someone whose name escapes him, a sad but pretty overture hoping toward love. A hard-driving rendition of “Fairy Dust” (again true to the studio version) sends up the modern media’s ridiculous gay stereotypes.
The CD finishes off with three nostalgic touches. The acerbic “Sunday Papers” retains a fairly good syncopated punch even now, and there’s even a musical guffaw in there courtesy of Sanford. Jackson plays the organ here, but the other three really lead the way as they speed toward an ending.
The lovely “Don’t Wanna Be Like That” (off I’m the Man) remains poignant and infectious, and when the audience gladly joins in you’ll be hard pressed not to smile. This is what makes live performance so much fun — there’s that unique community spirit, and it’s rampant on the songs of Afterlife.
The CD ends with the rave-up “Got the Time”, with its sped-up rhythm proving a challenge to Houghton and Maby, as well as to Jackson to get out all those lyrics. They all do superbly (especially Maby in an impressive bass solo that extends this short song out a bit), and one is left with a desire to flick a lighter and stand there until the music starts up again.
While some might express disappointment that several of the “singles” of years past are omitted in this release (some were included on the live bonus disc that accompanied the latest studio release), there should be no complaints with what is here. Every one of these songs is performed with admirable energy, executed flawlessly, and presented in a way that makes you wish you’d been there (and glad to hear it recorded for your vicarious pleasure).
Afterlife is a great tribute to a band that regrouped for 104 dates all across the globe and recaptured the energy and fun that made them such a popular success way back when. The band assures us this “live” performance is their absolute last appearance together — but upon hearing how much enjoyment this music offers, perhaps there’s hope that some future reunion or other anniversary might bring this talented foursome back together again.