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Jesus Of Cool

by

Nick Lowe

 
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Jesus Of Cool
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Avg: 4.0 (46 ratings)

A pop-about-pop landmark finally gets its long-overdue reissue.

  • We Say...

    Review by Barry Walters

    Few 30-year-old albums sound as fresh and as ripe for rediscovery as Jesus of Cool. Unavailable or out of print throughout much of the CD era, the debut LP by Nick Lowe (renamed Pure Pop for Now People for the American market with a reconfigured track listing) was unique in its day for both embracing pop readymades and satirizing the exploitative and fickle culture that creates and consumes them. Nowadays, every indie rocker and blogger skewers the record biz while celebrating its guilty pleasures, but in 1978 such ambivalence was both radical (it was the first New Wave album to encapsulate the budding movement’s love/hate relationship with everything that preceded it) and misunderstood (Rolling Stone dismissed it as “a catalog of socko production effects held together with one-shot jokes.”)

    Having struggled for years as the bassist of failed pub-rock band Brinsley Schwarz, Lowe created Jesus during his ascent as Stiff Records’ in-house producer of the Damned and Elvis Costello, and his sense of glee upon finally commanding his own destiny is palpable: No matter how cynical his lyrics get (check his still-shocking ode to fallen film star Marie Prevost, here dubbed “Marie Provost”), the music remains joyous. Nicknamed Basher for his technique of bashing out quick takes, Lowe gets remarkably kinetic performances from various members of Rockpile, the Rumour, and Elvis Costello’s Attractions that play tug of war with his spoofing side, rendering Lowe simultaneously offhand and heartfelt in proto-mashup mode: “Nutted By Reality” starts off by nicking the Jackson 5’s “I Want You Back” before abruptly shifting into a remarkably accurate Wings tribute, while “Tonight” recreates the teenage balladry of the Everly Brothers and climaxes on a melody cribbed from the Beatles’ “It’s Only Love.” Now including 10 extra non-LP singles, EP sides and compilation cuts that lead up to Jesus, this pop-about-pop landmark may ostensibly protest “Music for Money,” but Lowe’s clearly doing it for love.

  • They Say...

    Review by Stephen Thomas Erlewine, All Music Guide

    On the cover of his solo debut album Jesus of Cool, Nick Lowe is pictured in six rock & roll get-ups -- hippie, folkie, greasy rock & roller, new wave hipster -- giving the not-so-subtle implication that this guy can do anything. Nick proves that assumption correct on Jesus of Cool, a record so good it was named twice, as Lowe's American record label got the jitters with Jesus and renamed it Pure Pop for Now People, shuffling the track listing (but not swapping songs) in the process. As it happens, both titles are accurate, but while the U.K. title sounds cooler, capturing Lowe's cheerfully blasphemous rock & roll swagger, Pure Pop describes the sound of the album, functioning as a sincere description of the music while conveying the wicked, knowing humor that drives it. This is pop about pop, a record filled with songs that tweak or spin conventions, or are about the industry. Only a writer with a long, hard battle with the biz in his past could write "Music for Money" and much of Jesus of Cool does feel like a long-delayed reaction to the disastrous American debut of Brinsley Schwarz, where the band's grand plans at kick-starting their career came crumbling down and pushed them into the pubs. Once there, the Brinsleys spearheaded the back-to-basics pub rock movement in England and as the years rolled on the band got loose, as did Lowe's writing, which got catchier and funnier on the group's last two albums, Nervous on the Road and New Favourites of Brinsley Schwarz. In retrospect, it's possible to hear him inch toward the powerful pop of Jesus of Cool on the Dave Edmunds-produced New Favourites, plus the handful of singles the group cut toward the end of their career -- it's not far cry from the Brinsleys' stomping cover of Tommy Roe's "Everybody" to the shake and pop of Jesus -- but even with this knowledge in hand, Jesus of Cool still sounds like an unexpected explosion as it bursts forth with blindingly bright colors and a cavalcade of giddy pure sound. Lowe is letting his id run wild: he's dispensed with any remnants of good taste -- well, apart from the gorgeous "Tonight," the only time the album dips into ballads -- and indulged in a second adolescence, bashing out three-chord rockers and cracking jokes with both his words and music. This reckless rock and pop works not just because the tracks crackle with excitement -- not for nothing did Nick earn the name "Basher" in this period; he cut quickly and moved on, the performances sounding infectious and addictive -- but because it's written with the skill that Lowe developed in the Brinsleys. He knows how to twist words around, knows how to mine black humor in "Marie Provost," knows how to splice "Nutted by Reality" into a brilliant McCartney parody, knows how to pull off the old Chuck Berry trick of spinning a tune into two songs, as he turns "Shake and Pop" into the faster, wilder "They Called It Rock." That latter bit picks up a key bit about Jesus of Cool -- it's self-referential pop that loves the past but doesn't treat it as sacred. It is the first post-modern pop record in how it plays as it builds upon tradition and how it's all tied together by Lowe's irrepressible irreverence. It's hard to imagine any of the power pop of the next three decades without it, and while plenty have tried, nobody has made a better pure pop record than this...not even Nick (of course, he didn't really try to make another record like this, either).

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