Like seeing a Melodica used in a band - and Joe does it so well! I tried learning Melodica and it scared my dogs who ran out of the house; so much for that GREAT SHOW!
0:16 - On Your Radio 4:19 - Kinda Kute 7:41 - Pretty Boys 11:25 - Friday 15:18 - Sunday Paper 21:01 - One More Time 24:10 - It’s Different For Girls 28:34 - I’m The Man 33:14 - The Harder They Come
@@barrybrevik9178 of course it's him ! He was on almost all Joe jackson's recording/tours (if not all), and of course on the first three ones. It's also Gary Sanford on guitar.
Thanks for all these Joe Jackson links! you had a great show: Hatfield Polytechnic 29th November 1979 up a little bit ago - any chance that one will come back up?
@@mrhbsaucepunkrocknewwavevi7946 Thanks so much! If for some reason its banned, I wonder if there's a way I could snag it from you directly? I'm playing a show / tribute to Joe Jackson in Brooklyn in August and that one was one of the live recordings of Friday and Got the Time! - I appreciate you putting all this great content out there!
How good was the writing/song structures to carry this crappy band? I mean, guilt by association, people who like Joe say they love Graham. But he's a sloppy bass player at his best. Appearance & energy aren't = to talent & he has _NEVER_ gotten that end coda on "It's Different For Girls right _once._ Gary Sanford is chicken-scratch on rhythm, unimaginative on lead guitar. He can't get the end of "On Your Radio" right, ever. He hits the strings at the same speed & volume each stroke. No shading, no nuance. Just plugging through the same way each time. Only the fast-handed drummer Dave has anything much to offer, with variations & fills that are all his own. Even then, this recording or stage here makes him sound tinny & thin. But it is the songs themselves & the band's enthusiasm playing them that make this all fun - plus of course, Joe himself just being himself. & that's just it: despite all these observations/complaints, it's still a great set! What kind of wizardry is _that?_ It's better than anything Harry Potter ever did, that's for sure.
@@DfactorPop Naw, just unusually analytical. also, I hear things other people miss. Studies show most people "feel" a song & that other things interfere with them just listening to it. Not me. I pick up on the nuances. So when a drummer is perennially ahead of the beat once they settle into the song (most drummers _are_ ahead) I hear it. If your CD player plays back music at a different speed than mine, I'll hear it, which is particularly annoying as one can't adjust it. But without the visuals, just listening, Graham _is_ sloppy & very low compared to most other bass players who make a living at it. Gary Sanford's sound, if you could isolate it _is_ mainly chicken scratching. Sometimes, like on "It's different For Girls" his style just works. But it's more by chance than design as I don't think he's like a Jimmy Page where he tries to play things different ways then picks the best. Dave Houghton _is_ slightly ahead of the beat much of the time. But I _love_ the rolls, fills & extras he & he only adds to songs with his fast-hands style. One wonders with a Dave Houghton what's written into a song & what's strictly their take on it. Elvis Costello often mentions in his notes when something is from a musician, not himself. I've never heard Joe ever say that a sound in one of his songs was something a musician added: but it _must_ be the case sometimes. Tom Teeley doesn't sound _at all_ like Vinnie Zummo. So It had to be by Joe's demand that Tom play like Vinnie when he finished out the "Big World" tour because Vinnie's style is distinct, & Tom only sounded like that on the tour, strictly on songs from that album. Also I don't sugar-coat. I don't insult to feel superior, though there is something to venting. But despite how negative the above all sounds to most people, it was mainly positive. I'm honestly seeing why the original band was popular. _Some_ of it is certainly because Gary & Graham were very handsome back then. But Joe has had great & again, mediocre bands (Laughter & Lust, Tom & Graham). The quality of the music has to be the #1 attraction, or one hopes so. I absorb more of the experience remarking all these details.
Say what you will. I respectfully disagree. Rock and Roll can sound like what it wants. Graham Maby is Graham Maby. He's distinct. He helped make Joe distinct. You can't really dispute it. It's history. Look above.
@@choosecarefully408 ha ha - I don't sugar coat either, and I have to say your 'analysis' and 'absolutes' are subjective at best. (This quote - "Studies show most people "feel" a song & that other things interfere with them just listening to it. Not me. I pick up on the nuances" - what are the 'other things'? Are people not free to experience it their 'own' way?) You missed a LOT of detail...I'm guessing lack of technical expertise? Bear in mind, this performance is straight from the tail end of the punk era - 'rough and ready' was how it was done (listen to the early Police for example)! Also, the sound you are hearing is NOT the room....Gary's sound was probably chunky as hell through the FOH, so he was getting all the tone he needed to keep chugging away, whereas the sound being fed thru to tape was likely EQ'd to allow room for other instruments on a very compressed TV mix; the same can be said for every instrument here. And - speaking as someone who has played internationally - I'm gonna say straight up that Graham Maby's playing is tight as hell!! So, here's your homework - listen to the whole performance and give me a list of his bum notes (not DFG though - the end of this tune was largely improvised and played differently all the time)....or you could just enjoy it as I do, and realise not everyone will be hearing/feeling/seeing/remembering this the way you are.
@@fenderfetish -My analysis is subjective at best? Followed by "Are people not free to experience it their 'own' way?" Followed by conjecture, styles of other musicians of a certain genre, followed by the need for a list of bum notes because I guess _your_ analysis is perfection itself? We obviously wouldn't get the same satisfaction from hearing the same things even if we did hear them. But I like how you mention you hear the nuances as if that's something special only you do, then dismiss when Graham fails to achieve them. I can't imagine there are too many pro players who would want that off-key version that made thew album _OR_ this live version here recorded. Beyond that, there are short & long-note bass players as well as those who make mixing those part of their style (John Giblin being a good example of this last). Del Palmer's sound is practically defined by where he _ends_ his notes. Graham let's his fade out regularly, whether that suits the song or not. Joe may like it, but Joe likes a wider range of sounds than I do. He likes Vinnie Zummo _AND_ Tom Teeley when it;s like watching Tom Cruise 'act' after Tilda Swinton. Painful. Now, "tight" usually refers to how well a musician plays with the rest of the band. So I misused that term in this case. He's best when playing off of others, so in that proper context he _is_ tight. But his individual sound is sloppy regarding technique. No, I won't know all the correct terms. But I _do know_ what subjective means and saying a person's opinion is so is quite redundant. Your opinion _of_ my opinion is guess what?
I LOVE LOVE LOVE Joe Jackson, living in San Diego in 1980, Iam the man my favorite
Fantastic Joe and Graham Maby ❤
the most talented musician in the last 50 years debate
I agree. He's also the biggest irony in the business, in at least a few ways. He endlessly fascinates.
And never recognised for being a great song writer. His words are brilliant
as much as I love Joe Jackson....Prince!
Yes !!
La super banda de Joe Jackson. Greattttt
Gary Sanford one of my favourite guitarists.
Like seeing a Melodica used in a band - and Joe does it so well! I tried learning Melodica and it scared my dogs who ran out of the house; so much for that GREAT SHOW!
I gotta say with all my heart , might and soul~~~~~~~~~~~
Joe Is The Man
Don't Know How He Got Such Equal Players....
Must've been efficient prayers
One More Time had me pogoing! Prime memories...
'One more time' - Joe is hurting here...I know how he feels...
Fantastic, I love Joe,
awesome band...superb bass player...
Like Bruce Foxton on steroids
Why is Joe not inducted in the Rock n Roll Hall of Fame???? He was eligible 20 years ago!!
So tight . A well oiled machine ❤
Absolutely brilliant 👏
Bassiste impressionnant !
0:16 - On Your Radio
4:19 - Kinda Kute
7:41 - Pretty Boys
11:25 - Friday
15:18 - Sunday Paper
21:01 - One More Time
24:10 - It’s Different For Girls
28:34 - I’m The Man
33:14 - The Harder They Come
Thanks
Saw him in Montpellier Grand Odeon at this time great show, Joe is the MAN
❤
Pure brilliance thxu 👍
One of the best- no doubt
Great find ....thanks for this ....
Great quality. Jackson is a professional. His mike went out during "On Your Radio" and he didn't miss a beat.
Super.. Merci pour ce beau partage. J'adore Joe Jackson.. Pas assez reconnu de par son talent à mon goût...
GREAT BAND he has also
Ma che band...favolosaaaa. E il bassista 😮😮😮 ma cos'è!!!
Wow, this is an exceptional early performance!! Thank you for posting.
On your radio was interesting - personal favorite, and a good example of how of a club gig should sound
This is what Elvis Costello wanted to be. Why was he more successful? Still #pissed! ;)
I saw his 2nd show in the states, great!
A very young Antoine de Caunes at the beginning of this video - who later went on to co present 'Euro Trash' with Jean- Paul Gaultier.
Il etait encore un petit peu punk a l’epoque joe jackson ☺️
Joe on ne se comporte pas comme ça avec les techniciens,l'erreur est humaine, sinon très bon show!
Antoine ! Where have you been, my little French chum ? : )
Graham Maby, excellent bassiste. Par contre c'est quoi ce public ????
Is that really Graham Maby?! None of the musicians look to me like the band that appeared on the first 3 albums; which seems rather odd to me.
@@barrybrevik9178 of course it's him ! He was on almost all Joe jackson's recording/tours (if not all), and of course on the first three ones. It's also Gary Sanford on guitar.
@@stephane406 Graham missed one or two Joe Jackson tours (but was on all the rest including this one)
Thanks for all these Joe Jackson links! you had a great show: Hatfield Polytechnic 29th November 1979 up a little bit ago - any chance that one will come back up?
I'll look into that, not sure if it was yet another YT ban though - but will post/share with what they allow me to do.
@@mrhbsaucepunkrocknewwavevi7946 Thanks so much! If for some reason its banned, I wonder if there's a way I could snag it from you directly? I'm playing a show / tribute to Joe Jackson in Brooklyn in August and that one was one of the live recordings of Friday and Got the Time! - I appreciate you putting all this great content out there!
This early version of Joe is the shit. Wish his music didn't become so sleep indusive
How good was the writing/song structures to carry this crappy band? I mean, guilt by association, people who like Joe say they love Graham. But he's a sloppy bass player at his best. Appearance & energy aren't = to talent & he has _NEVER_ gotten that end coda on "It's Different For Girls right _once._
Gary Sanford is chicken-scratch on rhythm, unimaginative on lead guitar. He can't get the end of "On Your Radio" right, ever. He hits the strings at the same speed & volume each stroke. No shading, no nuance. Just plugging through the same way each time.
Only the fast-handed drummer Dave has anything much to offer, with variations & fills that are all his own. Even then, this recording or stage here makes him sound tinny & thin.
But it is the songs themselves & the band's enthusiasm playing them that make this all fun - plus of course, Joe himself just being himself.
& that's just it: despite all these observations/complaints, it's still a great set! What kind of wizardry is _that?_ It's better than anything Harry Potter ever did, that's for sure.
Wow... a little harsh! You're not a former Arms & Legs member, by any chance?
@@DfactorPop Naw, just unusually analytical. also, I hear things other people miss. Studies show most people "feel" a song & that other things interfere with them just listening to it. Not me. I pick up on the nuances.
So when a drummer is perennially ahead of the beat once they settle into the song (most drummers _are_ ahead) I hear it. If your CD player plays back music at a different speed than mine, I'll hear it, which is particularly annoying as one can't adjust it.
But without the visuals, just listening, Graham _is_ sloppy & very low compared to most other bass players who make a living at it. Gary Sanford's sound, if you could isolate it _is_ mainly chicken scratching. Sometimes, like on "It's different For Girls" his style just works. But it's more by chance than design as I don't think he's like a Jimmy Page where he tries to play things different ways then picks the best.
Dave Houghton _is_ slightly ahead of the beat much of the time. But I _love_ the rolls, fills & extras he & he only adds to songs with his fast-hands style.
One wonders with a Dave Houghton what's written into a song & what's strictly their take on it. Elvis Costello often mentions in his notes when something is from a musician, not himself. I've never heard Joe ever say that a sound in one of his songs was something a musician added: but it _must_ be the case sometimes.
Tom Teeley doesn't sound _at all_ like Vinnie Zummo. So It had to be by Joe's demand that Tom play like Vinnie when he finished out the "Big World" tour because Vinnie's style is distinct, & Tom only sounded like that on the tour, strictly on songs from that album.
Also I don't sugar-coat. I don't insult to feel superior, though there is something to venting. But despite how negative the above all sounds to most people, it was mainly positive. I'm honestly seeing why the original band was popular. _Some_ of it is certainly because Gary & Graham were very handsome back then.
But Joe has had great & again, mediocre bands (Laughter & Lust, Tom & Graham). The quality of the music has to be the #1 attraction, or one hopes so.
I absorb more of the experience remarking all these details.
Say what you will. I respectfully disagree. Rock and Roll can sound like what it wants. Graham Maby is Graham Maby. He's distinct. He helped make Joe distinct. You can't really dispute it. It's history. Look above.
@@choosecarefully408 ha ha - I don't sugar coat either, and I have to say your 'analysis' and 'absolutes' are subjective at best. (This quote - "Studies show most people "feel" a song & that other things interfere with them just listening to it. Not me. I pick up on the nuances" - what are the 'other things'? Are people not free to experience it their 'own' way?) You missed a LOT of detail...I'm guessing lack of technical expertise? Bear in mind, this performance is straight from the tail end of the punk era - 'rough and ready' was how it was done (listen to the early Police for example)! Also, the sound you are hearing is NOT the room....Gary's sound was probably chunky as hell through the FOH, so he was getting all the tone he needed to keep chugging away, whereas the sound being fed thru to tape was likely EQ'd to allow room for other instruments on a very compressed TV mix; the same can be said for every instrument here. And - speaking as someone who has played internationally - I'm gonna say straight up that Graham Maby's playing is tight as hell!! So, here's your homework - listen to the whole performance and give me a list of his bum notes (not DFG though - the end of this tune was largely improvised and played differently all the time)....or you could just enjoy it as I do, and realise not everyone will be hearing/feeling/seeing/remembering this the way you are.
@@fenderfetish -My analysis is subjective at best? Followed by "Are people not free to experience it their 'own' way?" Followed by conjecture, styles of other musicians of a certain genre, followed by the need for a list of bum notes because I guess _your_ analysis is perfection itself?
We obviously wouldn't get the same satisfaction from hearing the same things even if we did hear them. But I like how you mention you hear the nuances as if that's something special only you do, then dismiss when Graham fails to achieve them.
I can't imagine there are too many pro players who would want that off-key version that made thew album _OR_ this live version here recorded. Beyond that, there are short & long-note bass players as well as those who make mixing those part of their style (John Giblin being a good example of this last). Del Palmer's sound is practically defined by where he _ends_ his notes.
Graham let's his fade out regularly, whether that suits the song or not. Joe may like it, but Joe likes a wider range of sounds than I do. He likes Vinnie Zummo _AND_ Tom Teeley when it;s like watching Tom Cruise 'act' after Tilda Swinton. Painful.
Now, "tight" usually refers to how well a musician plays with the rest of the band. So I misused that term in this case. He's best when playing off of others, so in that proper context he _is_ tight. But his individual sound is sloppy regarding technique. No, I won't know all the correct terms. But I _do know_ what subjective means and saying a person's opinion is so is quite redundant. Your opinion _of_ my opinion is guess what?