Joe Jackson I'm the Man Album Download I'm the Man
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joe jackson i'm the man album download I'm the Man. "I'm the Man" picks up where Joe Jackson's very successful debut, Look Sharp!, left off. In fact, the sessions were completed with the same bandmembers and the very same producer (David Kershenbaum), and released a mere nine months after the debut album, perhaps under the philosophy that if it ain't broke, don't fix it. To be fair, the group does expand its musical territory in places on its sophomore effort, trying its hand at more serious ballads such as "Amateur Hour" and "It's Different for Girls," but the title track follows squarely in the footprints of "Got the Time" and "Throw It Away" from the first record. Driven by the propulsive bass playing of Graham Maby and supported by the spot-on drumming of Dave Houghton, "I'm the Man" is a taught ball of nervy new wave pop, tumbling straight ahead at breakneck speeds, while Jackson plays the role of media-savvy flimflam man, willing to promote any latest fad for a buck, like the shady street vendor of trinkets he portrays on the front cover. His caustic vitriol flows in waves against the percolating groove of the music as the guitar lays back for each verse, "Right now/I think I'm gonna plan a new trend/Because the line on the graph's getting low/And we can't have that/And you think that you're immune/But I can sell you anything/Anything from a thin safety pin to a porkpie hat/'Cause I got the trash and you've got the cash/So baby we should get along fine. " The chorus revs up into a jittery rush, the boys in the band repeating the title lyric with rapid-fire consistency, to which Jackson playfully responds, "I'm the man/I'm the man that gave you the hula-hoop/I'm the man/I'm the man that gave you the yo-yo." The song rocks out in a middle instrumental break, all guns firing -- with chiming bent guitar chords from Gary Sanford and upper-register bass runs from Maby twisting the tension higher as the track ratchets up the intensity for the second half with a key change, finally coming to rest after an all-out double-time pounding that brings the song to a breathless close. While a lot of the music that got tagged with the new wave moniker got a bad rap, and much of it deservedly so, this was some of the good stuff. Joe jackson i'm the man album download. The Post Punk Progressive Pop Party (The P5) was a radio show that aired every Saturday night on 88.7FM WVHC (now WRHU) Radio Hofstra University in Hempstead, NY. Back in 1978, it was among the first stations in the U.S. to play the "New Wave" of music that arose from the ashes of Punk Rock. Other college radio stations caught the wave, followed by some major commercial stations like: 101.9 WPIX N.Y, 92.7 WLIR N.Y, 106.7 KROQ L.A, 91.1 91X San Diego, 105.7 The Quake San Francisco and others. This blog is a tribute to all of the great music of that era. We listened on cassette and vinyl, we danced to it at nightclubs, we saw the bands before they were famous, we got weird haircuts, we dressed in strange clothes. We were part of a music scene. That scene is back. It's right here online. Don't be square, be there! Joe jackson i'm the man album download. Label Contact: earMusic. JOIN THE MAILING LIST. PRESS IMAGES FOR DOWNLOAD. Joe Jackson was born on August 11, 1954 in Burton-on-Trent, England, but grew up in the South Coast naval port city of Portsmouth. A skinny, asthmatic kid, he loved books and originally wanted to be a writer. At age 11, though, he joined a school violin class in order to escape the humiliation of Sports periods in which it was very often him, rather than the ball, which got kicked. Much to his own surprise, he found himself fascinated by music and eagerly studying music theory and history. A couple of years later, Joe had switched to the piano, mainly because of his new ambition: to be a composer. His first efforts were pieces for piano and small groups of instruments. Within a few more years, though, he was writing songs, and leaning more towards the pop world. At age 16 Joe played his first paying gig, as pianist in a pub next door to a glue factory just outside of Portsmouth. This was followed by other pub gigs (in which he was often trying to entertain crowds of drunken, bottle-throwing sailors) and accompanying a bouzouki player in a Greek restaurant. At age 18 Joe won a scholarship to study Composition, Piano, and Percussion at London's Royal Academy of Music. During the three years he spent there, he broadened his horizons further by working with a Fringe theatre group, studying Jazz with John Dankworth at the Academy and in the National Youth Jazz Orchestra, and playing in pop cover bands with names like Edward Bear and The Misty Set. By the time he left the Academy, he was the co-leader and songwriter of Arms and Legs, a proto-punk outfit which released two singles on the MAM label before burning out somewhere around 1976. Joe then took a detour through the Cabaret world, as pianist and musical director first for the Portsmouth Playboy Club and then for singing duo Koffee N' Kreme. The main purpose of this was to save money to make demos of his own songs. By 1978 Joe was living in London and hawking an album-length demo, with his own band (Graham Maby, Bass; Dave Houghton, Drums; Gary Sanford, Guitar) standing by. That demo - already called Look Sharp - eventually found its way to American producer David Kershenbaum, who was in London in the capacity of talent scout for A&M Records. Joe was immediately signed and Look Sharp more professionally re-recorded in August '78. The Joe Jackson Band finally started to play regular gigs and the album was released in January 1979. Joe Jackson's story up to this point is much more fully, fascinatingly, and hilariously recounted in his book A Cure For Gravity . From here on, though, it becomes more a matter of public record. Look Sharp (containing the hit Is She Really Going Out With Him ) was followed within a year by the very similar I'm The Man (containing the hit It’s Different For Girls ) and in 1980 by the darker, more reggae-influenced Beat Crazy . At the end of 1980, drummer Houghton decided to quit, and Joe decided to dissolve the band and try something new. In 1981 Jackson recorded Jumpin' Jive , a 'musical vacation' paying tribute to Swing and Jump Blues artists such as Louis Jordan and Cab Calloway. Returning to songwriting, Joe spent a large chunk of 1982 in New York. The result was Night and Day , a more sophisticated and melodic record built around keyboards and Latin percussion, rather than guitars. With a new guitar-less band, Jackson hit the road for a whole year, and the album became his biggest success, spawning the hit singles Steppin’ Out, Breaking Us In Two and Real Men and going platinum in the US. During the tour Joe also somehow found time to write his first film score, for James Bridges' Mike's Murder . (He would go on to write several more, including most notably for Francis Ford Coppola's Tucker in 1988). Now based in NYC, Jackson's next album Body and Soul (1984) was in a similar vein to Night and Day but featured a horn section (which, along with the Blue Note-inspired cover art, led many people to wrongly assume he'd made a jazz record). For Big World (1986) Jackson stripped everything down to a 4-piece again, and recorded live, direct to 2-track master. In 1989 he went in the opposite direction with the majestic, semi- autobiographical Blaze of Glory , and toured with an 11-piece band. Laughter and Lust (1991) was more like a mainstream (though still idiosyncratic) rock record, but yet another lengthy world tour left Jackson exhausted and at a creative dead end. As he sees it, his workaholic phase - which also included several film scores, a live album ( Live 1980-86 ), an instrumental album ( Will Power , 1987), guest appearances with Suzanne Vega, Ruben Blades and Joan Armatrading, and endless touring - was over. Joe's work during the rest of the 1990s was his most challenging and eclectic: the gentle, soul-searching Night Music (1994), the ambitious and original song-cycle based on the Seven Deadly Sins, Heaven and Hell (1997), and the album Joe considers his most underrated, Night and Day II (2000). The turn of the century saw a burst of creativity: Jackson won his first Grammy (Best Pop Instrumental Album for the non-traditional, non- orchestral Symphony No.1 ) and published his book A Cure For Gravity . Described by Joe as not an autobiography but ‘a book about music thinly disguised as a memoir’, it was well-reviewed and has been translated into German and Dutch. In 2003 Joe astonished everyone, including himself, by re-forming the original Joe Jackson Band for a stunning new album, Volume 4 , and a lengthy tour. The reunion was always intended as a one-off, but it also produced a live album, Afterlife , in 2004.