A move to New York City invigorated Joe, and he recorded his next album of original material with a small group of players, not one of whom added a guitar to the recordings. On vinyl, Night And Day had two sides—“night” and “day”, naturally—but the designations didn’t necessarily apply to the music within, which could have easily taken place anywhere within a 24-hour cycle in the Big Apple.
From the beginning, he embraces the diverse ethnic culture of the city, with the Latin touches and percussion on “Another World”, followed by a search for “Chinatown”. There are no silences between the songs on this side; each fades into one another, just like the radio. But at least it’s not as abrupt as changing television channels, which would make “T.V. Age” even more irritating. “Target” wanders over the same Latin piano line for too long, but the side is redeemed by the hit single “Steppin’ Out”. Still catchy as ever, it was several years before we realized it, remarkably, has the same bass line throughout, except for the verses.
Ever a student of pop music history, “Breaking Us In Two” begins identically to Badfinger’s “Day After Day”, but he uses it to base a wonderful lovers’ lament. “Cancer” might be the best of the songs on the album with a Latin theme lambasting modern society; while that’s not saying much, at least the piano solo is more exploratory.
The success of the album was such that the label even bankrolled a video for “Real Men”, which got lots of MTV airplay despite its easily misunderstood lyrics about machismo, racism, homosexuality and other stereotypes. It’s still a gorgeously sad song, an idea he expands on for the epic “A Slow Song”. This masterwork may well be his theme song, a plea to cut through the disposable trends so that “real” music can transform our lives.
With its pop sound and attitude, exemplified by the cartoon on the front cover, Night And Day wasn’t about to please anyone who missed the edgy punk of his debut. But he was determined to be a working musician and composer, and enough people bought the album to keep his publisher happy. (It still cracks us up that drummer Larry Tolfree has the same look on his face as he did on Jumpin’ Jive. At least Graham Maby lost the beard.)
While he hasn’t matched its success since, the album has remained popular since its release. While the 2003 Deluxe Edition seemed promising—at the very least, to show that his old label still thought highly enough of him to bother—fans had to balance the allure of six demos with five vocal tracks from the little-heard soundtrack to Mike’s Murder and the entirety of side two of Live 1980/86. While context is all good and well, this took the idea of recycling a tad far.
Joe Jackson Night And Day (1982)—3
2003 Deluxe Edition: same as 1982, plus 16 extra tracks