Top Joe Jackson Songs of the '80s

In the case of pop music aesthete Joe Jackson, my normal policy to limit my focus to music actually released during the '80s will need to be set aside. After all, without carefully considering Jackson's first two 1979 albums recorded with the hard-driving Joe Jackson Band, an observer is left with a woefully incomplete image of this artist. Although Jackson quickly became a journeyman stylistically, the first decade or so of his career displays cohesion in terms of musical quality and consistent output. Here's a chronological look at the finest songs from Jackson's most commercially and critically successful period.

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"One More Time"

Musician Joe Jackson performs onstage, Chicago, Illinois, October 20, 1979.
Paul Natkin/Archive Photos/Getty Images

Despite a regrettable appearance in a Taco Bell TV commercial a few years back, this fierce guitar rocker stands as one of the finest tracks of the immediate post-punk era. Significant credit must be given to the tough, up-front guitar work of Gary Sanford, but without Jackson's caustic vocal delivery and his biting lyrics, the band would sound like just another punk rock-inspired outfit. As usual in music, it's the unique nature of combinations that often makes the difference, and this tune's aggressive riffing and inventive rhythms assist Jackson's sparkling chorus in exploding wondrously. "Is She Really Going Out With Him?" may be a fine introduction to Jackson's talent, but this track makes a strong case to stake a reputation as his most vivid sonic attack.

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"Fools in Love"

British rocker Joe Jackson presented one of the finest debut albums of all time in 1979's 'Look Sharp.'
Album Cover Image Courtesy of A&M

Though released in early 1979, Jackson's brilliant debut, Look Sharp!, built a sustained impact throughout the year and into 1980, especially in America. The record features so many sterling tracks that it's extremely difficult to distill my choices for this list, but I'm going with "Fools in Love" as the album's most sophisticated take on ska-influenced pop that seriously foreshadows Jackson's later forays into all corners of the musical map. Other tunes hew more closely to the established new wave sounds popular at the advent of the '80s, but this one reveals not only the singer-songwriter's adventurous stylistic streak but an early understanding of pop songcraft that essentially has no limits. Few debuts have ever been this impressive.

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"It's Different for Girls"

Joe Jackson's second album, 'I'm the Man,' was also released in 1979.
Album Cover Image Courtesy of A&M

Jackson accomplished an unbelievably swift and assured turnaround for his sophomore release, I'm the Man, a record that emerged in the U.S. barely six months after his well-received debut. Featuring a growing complexity but also a definite knack for striking tight, confident combinations of rock and pop, the album's crowning achievement may well be this moody, intoxicating track. Wisely spotlighting Jackson's distinct vocals but especially his wryly observational lyrics about relationships, gender expectation, and romantic disappointment, this is a song that pierces the heart as well as the brain. Lack of success as a single comes as no surprise here, as typical pop music fans may tend to shrink from material this serious and direct.

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"I'm the Man"

The Joe Jackson Band demonstrates its deft and raw power to great effect on this rocker, creating some of the most permanent post-punk pop/rock that the world would be lucky enough to hear. Comparisons to fellow Brits Elvis Costello and Graham Parker notwithstanding, Jackson stands out here as a distinctive and convincing singer of music that comes very close to crossing the boundary into hard rock. His thoughtful blasts of fury always seem well-earned and often utterly justified in a society so often full of itself and yet bereft of substance. Jackson the lyricist has much to say about this in his barbed commentary. "I got the trash and you got the cash" has always been painfully true of modern society, but we're still waiting for relief.

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"Beat Crazy"

Joe Jackson continued his career with a strong third album, 1980's 'Beat Crazy.'
Album Cover Image Courtesy of A&M

Jackson's last album for many years recorded with his original band offers another interesting collection of compositions, kicking off memorably with this fine title track. As usual, an uncanny melodic sense clashes vibrantly with Jackson's often corrosive commentaries about the fickle nature of human behavior and identity. In this case, the target continues to be an increasingly style-obsessed youth culture and the emptiness that tends to be championed in such a scenario. If Jackson felt this way in 1980, one can only imagine the involuntary groans with which his sensibilities must greet today's cultural displays. Of course, the best thing is that this is an artist with not only something to say but great musical skill in doing so.

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"Breaking Us in Two"

Joe Jackson expanded his sound considerably for 1982's 'Night and Day.'
Album Cover Image Courtesy of A&M

Though the piano-drenched Night and Day yielded Jackson's biggest U.S. hit of all in the No. 6 1982 hit "Steppin' Out," I much prefer that record's equally elegant "Breaking Us in Two" to the former tune, which has always struck me as graceful but a bit cold. Jackson's melodies continue to be as compelling as ever on these two tracks, but the style and tone of this album match its title in terms of presenting polar opposites. This record is in no shape or form rock music of even the softer variety, and it occupies the space of pop music in only the most Cole Porter, highbrow sort of way. And yet "Breaking Us in Two" stands out as one of the most underrated but powerful mood builders of the decade's expanse of pop offerings.

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"You Can't Get What You Want (Till You Know What You Want)"

Joe Jackson steered back toward pop/rock on his 1984 release, 'Body and Soul.'
Album Cover Image Courtesy of A&M

Jackson continued to experiment on his 1984 release, Body and Soul, this time bringing out the horns and tapping into for the first time a truly soulful R&B groove. It's nice to hear the singer reclaiming even a modicum of the edge of his earlier material, but beyond all the stylistic jumps the bottom line is that once again Jackson works from his usual strength of top-notch songcraft. A capable singer as well as a vaunted "artist," Jackson allows his music to shine most brightly when he minimizes the detachment that tends to result from a musician being so overwhelmingly talented. His first three records held that urgency, and this may be the first time Jackson revisits that passion on an '80s recording. A jolt of musical pleasure.

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"Right and Wrong"

Joe Jackson's 1986 LP 'Big World' featured a return to rock guitars.
Album Cover Image Courtesy of A&M

After years of a subdued presence in Jackson's music, the guitar makes a rather fierce return on this biting track from 1986's Big World, which again amps up the sonic immediacy. It may not have been inevitable that Jackson's more pop-oriented material of the early '80s would be less potent lyrically, but that did seem to be the case for several years. But as a truly important social commentator, Jackson successfully moves away from his more personal focus to get back on his sardonic observational soapbox, and the music world is all the better for it. I'm a biased fan of rock music, so this may not count, but I have to say I greatly prefer the crotchety, sharp-witted Jackson who thrives while fronting rock bands to his music-school alter ego.