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Big World
Live album by
Joe Jackson
Released24 March 1986[1][2]
Recorded22–25 January 1986 (except "Man in the Street" recorded in rehearsals on 22 January)
VenueRoundabout Theatre, East 17th Street, New York City
GenrePop rock
Length60:47
LabelA&M
ProducerDavid Kershenbaum, Joe Jackson
Joe Jackson chronology
Body and Soul
(1984) 		Big World
(1986) 		Will Power
(1987)
Professional ratings
Review scores
SourceRating
AllmusicStarStarStarStar[3]
Sounds2+7⁄8 out of 5[4]

Big World is a 1986 live album of original songs by Joe Jackson.[5] The album was recorded in front of an invited audience at the Roundabout Theatre, East 17th Street in New York City on 23, 24 and 25 January 1986 (except "Man in the Street", recorded during rehearsals on 22 January). The songs are loosely linked by lyrics covering a general theme of post-World War II international relations and global travel.

Production

[edit]

Jackson's intent for the recording was to capture the intensity and spontaneity of a live performance, but without the distraction of noise from the crowd. He requested that the audience remain silent while the performances of his band were recorded.

Unlike most other pop music recordings, which use multitrack recording techniques, no post-recording mixing or overdubbing was performed on the album. The music was mixed live from microphones on each musical instrument, then sent directly to a two track stereo digital tape recorder.

Regarding the album, Joe says: ‘I want to clear up two myths about this record which still crop up all the time. Myth 1: During the live recording of the album, the audience was forbidden to applaud. Fact: There was plenty of applause. We were just playing a lot of unfamiliar material, and recording it for an album, so the audience were asked to hold it until they were sure a song was finished. They understood this and there was no problem. Myth 2: It’s a double album with a side missing. Fact: This was my first album to be released on CD, where the running time was not an issue. I was having a hard time deciding what to leave out for the LP, though, and I suggested making a 3-sided one, and selling it for the price of a regular album. Much to my surprise, the record company said yes. So rather than a side missing, you got an extra side. Critics, of course, hadn’t had to pay for it.’[6]

Release

[edit]

The LP release was a double album, but only three sides had music. The fourth side label stated "there is no music on this side", and the record had a groove containing approximately 30 seconds of silence that quickly led to the inner to prevent stylus damage.[5][7] The CD release contained the same 15 tracks on one disc.

The front cover of the album (work by Serge Clerc) features the phrase "Big World" in French, Persian, Mandarin Chinese, Greek, Dutch, Korean, Thai, Russian, Irish Gaelic, Armenian, Hindi, English, Hebrew, Indonesian, Arabic, and Polish. The back cover features the same phrase in Vietnamese, Swedish, Swiss German, Turkish, Spanish, Swahili, Italian, Danish, Finnish, Welsh, and Hungarian.

The album included an eight-page booklet which included the lyrics to all fifteen songs and recording information in English, German, Japanese, French, Italian and Spanish.

The original South African LP release featured all 15 songs on one disc, however did not include the booklet.

Track listing

[edit]

All songs written and arranged by Joe Jackson.[5] Produced by Joe Jackson and David Kershenbaum.

No.TitleLength
1."Wild West"4:37
2."Right and Wrong"4:35
3."(It's A) Big World"4:44
4."Precious Time"3:23
5."Tonight and Forever"2:31
6."Shanghai Sky"5:10
7."Fifty Dollar Love Affair"3:38
8."We Can't Live Together"5:25
9."Forty Years"4:26
10."Survival"2:19
11."Soul Kiss"4:44
12."The Jet Set"3:50
13."Tango Atlantico"2:58
14."Home Town"3:12
15."Man in the Street"5:05

This is the track sequence for the compact disc and LP. The cassette release has the same tracks, but in a slightly different order.

Personnel

[edit]
Musicians
  • Joe Jackson - piano, recorder, accordion, melodica, vocals
  • Vinnie Zummo - guitars, vocals
  • Rick Ford - bass, acoustic guitar, vocals
  • Gary Burke - drums
  • Joy Askew, Nikki Gregoroff, Peter Hewlett, Curtis King Jr. - extra backing vocals
Production
  • Joe Jackson and David Kershenbaum - producer
  • Michael Frondelli - recording engineer
  • Guy Charbonneau - remote recording technician
  • Dave Roberts - onstage technician
  • Dave Hewitt - remote recording production coordinator
  • Eddie Ciletti - digital tape technician

Covers

[edit]

Charts

[edit]

Sales and certifications

[edit]
Certifications for Big World
Region Certification Certified units/sales
Netherlands (NVPI)[20] Gold 50,000^

^ Shipments figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Big World

View on Grokipedia
from Grokipedia
Big World is a 2024 Chinese directed by Yang Lina that follows Liu Chunhe, a young man living with , as he confronts physical and emotional obstacles to realize his grandmother's long-cherished dream of performing on stage, ultimately discovering his own sense of purpose and embarking on a path of personal growth. The , with a runtime of 131 minutes, explores themes of family bonds, resilience, and disability awareness through Chunhe's journey, which involves mending strained relationships and pushing beyond societal limitations. It stars in the lead role of Liu Chunhe, alongside Diana Lin as the grandmother, , and , with Yee's portrayal noted for its authenticity after he spent several months researching and observing individuals with to prepare. Produced by companies including Film Co., Ltd. and HG Entertainment, the Mandarin-language feature premiered at the 37th in November 2024, where it won the Audience Award. Big World achieved significant commercial success in , grossing over $28 million in its opening weekend in December 2024 and a total of approximately $109 million, becoming one of the year's top-grossing domestic films amid a resurgence. It won for and received nominations for Best Picture, Best Screenplay, Best Supporting Actress, and Best Sound at the 38th in 2025, along with at the 16th China Film Director's Guild Awards, highlighting its critical recognition within the Chinese . The movie has been praised for its emotional depth and uplifting narrative, earning a 7.3/10 rating on from over 1,700 user votes and positive reviews for its heartfelt depiction of perseverance.

Background

Career context

Joe Jackson formed The Joe Jackson Band in 1978, drawing from the burgeoning punk and new wave scenes in , and released his debut album Look Sharp! in January 1979. The record blended punk energy, new wave angularity, and reggae rhythms, achieving gold status and peaking at No. 20 on the , establishing Jackson as a sharp-witted voice in the post-punk landscape. Following quick follow-ups I'm the Man (1979) and (1980), Jackson pivoted dramatically with (1981), a covers album of 1940s swing and jump blues standards originally by artists like , signaling his growing fascination with retro genres and big-band swing. He then returned to original material with Night and Day (1982), which incorporated , Latin, and elements inspired by New York City's vibrant scenes, yielding hits like "Steppin' Out" and marking a sophisticated evolution from his guitar-driven early work. Body and Soul (1984) continued this trajectory, blending pop-rock with Broadway-inflected orchestration and flourishes; the album earned a Grammy nomination for Best Pop Instrumental Performance for the track "Breakdown." The extensive international touring supporting Body and Soul through 1984 left Jackson exhausted but inspired his interest in global perspectives, prompting a desire to bridge studio precision with live vitality. Motivated to counter emerging studio trends like programmed drums and overdubs—which he viewed as overly artificial—he pursued a live album of original songs to capture authentic performance energy, an concept he had considered as early as the Body and Soul sessions. This approach for Big World reflected his ongoing evolution toward more experimental, audience-engaged formats after a decade of stylistic shifts.

Album conception

In late 1985, Joe Jackson conceived Big World as his first live album composed entirely of original songs, aiming to capture a double album's worth of new material performed in front of an audience without relying on covers or previous hits. This approach was inspired by his growing dissatisfaction with the isolating nature of following the 1984 sessions for Body and Soul, during which he had considered a live format but encountered technical issues, such as drum bleed into piano microphones, that prevented it. Jackson viewed live recording as a more authentic method, particularly amid the era's trend toward programmed drums and overdub-heavy production techniques, which he actively disliked. The album's thematic framework revolved around post-World War II and global travel, drawing directly from Jackson's experiences touring extensively across continents, which informed a blending personal anecdotes with broader geopolitical observations. This "big world" concept sought to evoke the interconnected yet fragmented nature of modern life, with songs addressing cultural clashes, migration, and worldly disillusionment through wry, observational lyrics. To prepare, Jackson assembled a core band featuring guitarist Vinnie Zummo, bassist Rick Ford, and drummer Gary Burke—longtime collaborators from his touring history—for intensive rehearsals of 15 new tracks, including initial performances at small venues to refine the set before the main sessions. Innovative decisions shaped the album's format from the outset, with plans for a double LP utilizing only three sides for music while leaving the fourth side entirely silent, a deliberate choice to underscore the theme's sense of vast, empty spaces in an expansive . The further emphasized the global motif through multilingual elements, including an 8-page insert with lyrics and credits translated into several languages, reflecting Jackson's intent to transcend national boundaries. These elements marked a bold in his career toward immersive, live-centric presentations.

Recording and production

Venue and sessions

The recording of Big World took place over three nights from January 23 to 25, 1986, at the Roundabout Theatre (now known as the American Airlines Theatre) on East 17th Street in , with one track recorded during rehearsals on January 22. This intimate venue, with a capacity of around 1,000 seats, was selected for its superior theatrical acoustics and ability to foster a contained, energetic atmosphere conducive to live performance capture. An invited audience of 200–300 people attended each night to provide subtle ambiance without overwhelming the sound, helping to simulate a setting while minimizing background noise. Each session involved the band delivering full sets of the album's 15 new original songs, performed as complete shows to maintain natural flow and intensity. Multiple takes were recorded across the nights, with the strongest versions chosen during post-selection for the final mix, ensuring the album retained the unpolished vitality of live . The was specifically instructed to withhold and reactions during individual songs, reserving cheers only for the end of each set, which allowed for cleaner audio isolation of the performances. This logistical setup emphasized precision, as the direct-to-two-track process left little room for later corrections. Challenges arose in sustaining the raw energy of a within these constraints, as the limited interaction risked dampening the band's momentum compared to a full . Joe Jackson directed a "theatrical" approach to counter this, incorporating dramatic and minimal onstage banter to heighten the visual and emotional drama, treating the sessions like a staged production rather than a standard rock gig. The controlled environment successfully balanced intimacy with professional execution, capturing the album's global-spanning themes through authentic, on-site performances without reliance on studio overdubs.

Technical approach

The technical approach for Big World emphasized capturing the raw energy of live performance while achieving studio-quality clarity through innovative direct recording methods. The album was recorded using a live-to-tape technique, where the band's performances were mixed in real time directly to a two-track digital stereo , eschewing traditional multi-track recording to preserve immediacy and prevent any overdubs or re-recordings. This process utilized a 1630 PCM digital processor for high-fidelity capture at 16-bit/48kHz resolution, allowing the final mixes to be committed without subsequent alterations. To minimize audience interference and ensure a clean sound, microphones were strategically positioned to isolate the band's instruments—such as , guitars, bass, and drums—while the invited audience of 200–300 was seated at a distance and instructed to remain completely silent during takes, eliminating or noise until the tape stopped. The digital format further enabled hiss-free reproduction, contrasting with analog tape limitations and contributing to the album's polished yet authentic live aesthetic. Post-session work involved selecting the strongest performances from the three nights of recording at the Roundabout Theatre, with producers Joe Jackson and David Kershenbaum overseeing minimal digital editing by engineer Scott Hull to balance levels and ensure overall cohesion, without any remixing or enhancements. Recording engineer Michael Frondelli handled the on-site audio capture, focusing on precise instrument separation during the live mixes. A distinctive element was the album's three-sided double LP format, with the fourth side left entirely blank—its label explicitly stating "there is no music on this side"—serving as a conceptual pause rather than filler, aligning with Jackson's vision of a compact yet expansive live totaling approximately 61 minutes. This structure avoided unnecessary extensions, fitting neatly within the emerging CD standard without requiring edits for length.

Musical style and themes

Genre and instrumentation

Big World is a film that emphasizes emotional realism and character-driven , without a prominent musical score dominating the narrative. The features subtle, atmospheric to underscore moments of and growth, incorporating , strings, and minimalistic electronic elements for a contemporary Chinese cinema feel. The original score, composed in a style reminiscent of emotional ballads with melancholic turns, supports the film's focus on personal struggles and triumphs. Key songs include the theme song "小小的我" (Little Me) performed by Mao Buyi, which captures the protagonist's inner world through gentle acoustic guitar and vocal harmonies, and the ending credits song "干杯，朋友" (Cheers, Friends) by Tian Zhen, blending classic melody with orchestral swells for an uplifting close. Additional tracks in the soundtrack, such as instrumental pieces like "Dawn Of Determination," use percussion and ambient sounds to evoke resilience.

Lyrical subjects

The film explores themes of resilience and self-discovery in the face of , centering on Liu Chunhe, a young man with , as he navigates physical limitations, societal prejudice, and familial expectations to fulfill his grandmother's dream of performing on stage. It highlights family bonds, particularly the intergenerational support between Chunhe and his grandmother, and the mending of strained relationships with his , while addressing broader issues of disability awareness and personal purpose. Through Chunhe's journey, the narrative delves into the hardships of and isolation, contrasted with moments of , , and growth, such as his budding romance and artistic aspirations. Songs like "这条小鱼在乎" (This Little Fish Cares), performed by , reflect themes of and small acts of in a vast world, using simple, heartfelt lyrics to mirror the protagonist's emotional evolution. The story promotes and perseverance, portraying not as a barrier but as part of a fulfilling life path.

Release and promotion

Formats and packaging

Big World was released on March 17, 1986 by A&M Records. The vinyl edition was issued as a double LP featuring a three-sided structure, with music on sides 1 through 3 and side 4 containing only a silent groove. This packaging included a gatefold sleeve in some editions, along with an 8-page glossy color insert. The version compiled all 15 tracks uninterrupted on a single disc, yielding a total runtime of approximately 61 minutes and allowing the live performance to flow without the interruptions required for vinyl sides. The cassette release followed a standard double-cassette format to accommodate the full content. The cover artwork consisted of an illustration by Serge Clerc depicting Joe Jackson amid a vast, expansive landscape, reflecting the album's global thematic scope. The title "Big World" appeared in multiple languages across the cover design. The accompanying 8-page booklet provided full lyrics in several languages, including English, German, French, Italian, and Japanese, alongside credits and illustrations inspired by themes of and worldly .

Marketing efforts

A&M Records positioned Big World as Joe Jackson's innovative live album, releasing it as a three-sided double LP in March 1986 with the fourth side left blank. The label supported the launch through promotional materials, including advance copies sent to select media outlets to showcase the hybrid live-studio sound achieved at the Roundabout Theatre. To build radio airplay, A&M issued "Right or Wrong" as the lead promotional single in April 1986, targeting adult contemporary formats with its jazzy swing arrangement, backed by an edited live version of "Breaking Us in Two." In some markets, "Hometown" appeared as the B-side to the single "The Jet Set," further extending exposure for the album's reflective tracks. The marketing campaign integrated closely with the 1986 Big World Tour, which commenced in Europe on May 1 in and included dates across the , , and before shifting to the in June, starting in . Jackson performed full sets of the new material, allowing audiences to experience the album's songs in a live context that mirrored its recording approach, with the tour extending to and later that year to sustain momentum. Television promotions amplified the tour's reach, with Jackson appearing on on June 25, 1986, to perform "Home Town" and "Tango Atlantico," drawing on recent tour footage to highlight the album's global themes. Earlier, he lip-synced "Home Town" on the UK show on May 26, 1986, targeting international audiences. Press kits distributed by A&M underscored the album's technical innovation of no overdubs, positioning it as a conceptual exploration of worldly experiences through its . Advertisements in trade publications like promoted the release in early 1986, framing Big World as a ambitious live project distinct from typical studio efforts.

Reception

Initial critical response

Upon its release in March 1986, Joe Jackson's Big World garnered generally favorable critical reception, with reviewers commending the album's innovative live format—recorded direct-to-two-track without audience applause at New York City's Roundabout Theatre—and the strength of its original songs exploring global themes of travel and human connection. Italian magazine Fare Musica awarded it five stars, describing it as "a , an album that talks to you, not just music," highlighting its communicative depth and emotional resonance. Similarly, Rockstar praised the record's "great ‘street music’, teeming with images" and its status as "thinking music, educated but not intellectual," emphasizing the thematic cohesion and imaginative song quality that set it apart in the 1986 music landscape. American critics echoed this enthusiasm for the polished energy of the performances. Musician magazine gave four stars, positioning Jackson as, "Excepting Elvis, he's turned out to be the best thing England's new wave has washed upon these shores," while appreciating the return to a lean, rock-oriented sound with sophisticated arrangements. Hi-Fi News & Record Review and Which ? in the UK also rated it four stars each, focusing on the technical excellence of the live recording that captured spontaneity without typical concert chaos. Mixed reactions emerged in some outlets, particularly regarding the album's ambition versus its execution. 's initial June 1986 review assigned three stars, critiquing the work for pursuing "a lot of different ideas and loses them down the stretch," suggesting the global themes occasionally lacked raw live immediacy and felt overly refined. similarly offered a lukewarm three-star assessment, viewing it as solid but not fully revolutionary in blending pop sophistication with live vigor. A subsequent piece in December elevated it to four stars, reflecting growing appreciation for its cohesive vision. The consensus positioned Big World as a strong, ambitious effort—averaging around 3.5 to 4 out of 5 stars across major publications—that succeeded in delivering high-quality songs and a unique live experience, particularly appealing to admirers of thoughtful, worldly pop.

Retrospective evaluations

In subsequent decades, Big World has been reevaluated as a significant entry in Joe Jackson's catalog, appreciated for its ambitious live recording technique and the way it bridges spontaneous performance energy with polished execution. Jason Damas's review portrays the album as a vibrant return to Jackson's pub rock origins following the more somber Body and Soul (1984), commending its tight musicianship, strong songwriting, and overall vitality, while noting the extended runtime as a slight flaw that occasionally causes drag. A 2019 retrospective examination by Ted Asregadoo in Music Tap underscores the album's status as a high point in Jackson's 1980s work, highlighting the pioneering direct-to-two-track process—captured over three nights at New York's Roundabout Theatre without overdubs—as a bold experiment that preserved the raw immediacy of the shows while critiquing American culture and global interconnectedness through its lyrics. The album receives sporadic attention in surveys of 1980s music for its forward-thinking adaptation to the emerging CD format, with its hour-long structure and multilingual exemplifying early experimentation in and thematic breadth. Tracks like "Wild West" continue to receive occasional on stations, contributing to its lasting, if niche, presence in radio rotations. Despite this, Big World has attracted limited scholarly analysis relative to Jackson's earlier breakthroughs such as I'm the Man (), often overshadowed in broader discussions of new wave and evolution.

Commercial performance

Big World was a major commercial success in upon its release. The film earned RMB 200 million (approximately $28 million) in its opening weekend from December 27 to 29, 2024, topping the Chinese box office chart and contributing to a weekend total of $68.3 million across all . As of March 2025, the film had grossed over RMB 765 million (approximately $106 million) at the , ranking among the top-grossing domestic of 2024 despite the year's overall decline of 23% to $5.8 billion. It had no significant international release outside China, with total worldwide earnings matching the domestic figure. No certifications were awarded.

Content details

Track listing

Big World is a live album consisting of 15 original songs written by Joe Jackson, recorded direct-to-two-track without overdubs. The original double LP release features music across three sides totaling approximately 60 minutes, with the fourth side left blank to emphasize the live, unedited nature of the recording. The CD edition plays the tracks continuously without side breaks, for a total runtime of 60:49, and includes no bonus tracks.

Side one

No.TitleDuration
1."Wild West"4:37
2."Right and Wrong"4:35
3."(It's a) Big World"4:44
4."Precious Time"3:23
5."Tonight and Forever"2:31

Side two

No.TitleDuration
6."Shanghai Sky"5:10
7."Fifty Dollar Love Affair"3:38
8."We Can't Live Together"5:25
9."Forty Years"4:26

Side three

No.TitleDuration
10."Survival"2:19
11."Soul Kiss"4:44
12."The Jet Set"3:50
13."Tango Atlantico"2:58
14."Home Town"3:12
15."Man in the Street"5:05

Personnel

Big World was performed by Joe Jackson's core touring band, consisting of Joe Jackson on vocals, piano, recorder, , and ; Vinnie Zummo on guitars and vocals; Rick Ford on bass, , and vocals; and Gary Burke on drums. Extra backing vocals on select tracks were contributed by Curtis King Jr., Joy Askew, Nikki Gregoroff, and Peter Hewlett, with Joy Askew additionally credited as backup vocals coordinator. The album was co-produced by Joe Jackson and David Kershenbaum. Recording engineering duties were primarily handled by Michael Frondelli, supported by Dave Hewitt as remote recording production coordinator, Guy Charbonneau as remote recording technician, Dave Roberts as onstage technician, Eddie Ciletti as digital tape technician, and Scott Hull as digital editor. Mastering was performed by Bob Ludwig. Art direction was overseen by Laurie Rosenwald, with photography by Gary Green, cover illustration by Serge Clerc, and additional design input from Joe Jackson.

Legacy

Cultural impact

Big World has been recognized for its portrayal of cerebral palsy and themes of resilience, family, and personal growth, contributing to greater awareness of disability issues in Chinese cinema. The film's authentic depiction, informed by Jackson Yee's extensive preparation including living with individuals with cerebral palsy, has been praised for challenging societal stigmas and promoting inclusivity. Its box office success, grossing over $28 million in its opening weekend in December 2024, marked it as a significant domestic hit and part of China's 2024-2025 film resurgence, highlighting audience interest in uplifting narratives about underrepresented experiences. The story's focus on a young man's journey has resonated with younger audiences, sparking discussions on mental health and familial bonds in modern China.

Reissues and covers

As a recent release, Big World has not seen traditional reissues but became available on major streaming platforms in and internationally by early 2025. A digital for high-definition viewing was offered on services like and as of February 2025. The film has no notable covers or adaptations as of November 2025, though its themes have inspired short-form content and discussions on representation. Unauthorized clips from the and awards ceremonies have circulated online among fans.

References

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  50. https://www.bilibili.tv/en/video/4794283218047488
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