Nick Lowe Albums (14)
What The Critics Say
There's a certain winking resignation to the title of Nick Lowe's At My Age, as if it were designed to be spoken with a soft, knowing sigh. Now in his late fifties, Lowe is hardly running away from his advancing years -- quite the contrary, the singer/songwriter is comfortable in his skin and his years. Certainly, he's comfortable in his music, since At My Age marks the fourth time that he's mined the intimate, well-worn country-rock vibe of The Impossible Bird, and if at this point it no longer is a revelation, it's hardly lost its appeal, either. Part of that lies in Lowe's ever-potent charm -- not for nothing did he call the last album The Convincer, since his smooth delivery is slyly seductive -- but his latter-day insistence on a mellow mood can make it easy to take his skills for granted, since all the records share the same vibe. But to overlook an album as exquisitely crafted as At My Age is to be a fool, because nobody does this kind of relaxed Americana as well as Lowe, who is still writing songs that stand proudly alongside his previous classics. For instance, there's "I Trained Her to Love Me," a song as wickedly witty and bitterly self-loathing as "Cruel to Be Kind" or "The Beast in Me," a tune that's balanced by the wry new-love anthem "Hope for Us All," which has its share of gently funny lines but is nevertheless a ringing, sincere endorsement of love, worthy of the man who wrote "(What's So Funny 'Bout) Peace, Love and Understanding?" And that's always been one of Lowe's greatest gifts, that he is possessed with rare humor but also a big heart, which is what gives his music great resonance. That's certainly true of At My Age, where he eases between songs that mask their broken hearts beneath quips and casual sophistication (witness "People Change," a deceptively bright tune about how lovers fall out of love) and sweet love songs ("Rome Wasn't Built in a Day," a song that turns a cliché inside out without drawing attention to itself), but there's so much warmth within how Lowe plays this material that it's hard to think of any of these songs as sad, no matter how much melancholy may run beneath the surface. This, of course, is one of Lowe's hallmarks, but the remarkable thing about At My Age is how Nick still finds new wrinkles within his deep love of American music, whether it's how he interprets classic rockabilly on Charlie Feathers' "A Man in Love" or country on "The Other Side of the Coin," or incorporates loose New Orleans horns on the delightful "Long Limbed Girl." This is music that doesn't merely flow smoothly; it has a grace uncommon to roots rock, partially because Lowe is deeply rooted within soul, country, pre-rock & roll pop, blues, and jazz, giving his latter-day music a real classicist feel, but it never gets sleepy due to that charming delivery and impeccable craft. As evidenced by the six-year gap between this and The Convincer, it takes time to make music as effortless and elegant as this, to construct songs this finely detailed. It takes work to sound this comfortable, so it's only appropriate that At My Age may seem unassuming upon first listen -- but only seems better and deeper with each spin. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The Convincer is the last installment in a trilogy begun with The Impossible Bird and musically it falls between that record's country-rock and the torch songs of 1997's Dig My Mood. No surprises then, but that's fine, because Lowe hasn't delivered three records this consistent in a very long time, if ever. All three records are warm, intimate affairs, yet they all have a different mood. Bird was a quintessential breakup record, Mood was the soundtrack to a late-night seduction, while The Convincer is a laid-back record that simply feels good. It's a smooth affair, whether Lowe is crooning a cover of Johnny Rivers' "Poor Side of Town" or "Homewrecker," where it's clear that he still loves the title seductress, even if she turned his life upside down. And that's the key to the record -- there's a real sense of joy from Lowe, a sense that he knows he's been in a creative renaissance and that he's enjoying every second of it, and that spills over to the record itself. It's a record comprised of little triumphs -- the relaxed rockabilly of "Has She Got a Friend?," the telling details of "Lately I've Let Things Slide," and the wry ballad "I'm a Mess." At the end of the record, when he's convincing his sweetheart "Let's Stay in and Make Love," the listener is as smitten as the object of his affection. That may not be earth-shaking, but it's thoroughly charming all the same. ~ Stephen Thomas Erlewine, All Music Guide
'Nick Lowe and His Cowboy Outfit'
Release Date 7/31/2000
Tracks 10
Label Demon
See Album Tracklist and Review
What The Critics Say
The title isn't entirely in jest -- Nick Lowe and His Cowboy Outfit does represent Lowe's reinvention as a roots-rocker, as he delves into Tex-Mex, country-rock, garage rock and, of course, pop. After the muddled The Abominable Showman, Cowboy Outfit sounds positively vibrant, thanks in no small part to Lowe's backing band, comprised largely of veteran pub-rockers. The songs are also more consistently memorable, from the Farfisa-driven "Half a Boy and Half a Man" to the sublime covers of Mickey Jupp's "You'll Never Get Me Up in One of Those" and Sandie Shaw's "Breakaway." The rest of the album's pleasures, however, are subtle. "Maureen" and "God's Gift to Women" are charming yet slight, and the songs become increasingly lightweight as the album approaches its close. Even with the uneven songs, the Cowboy Outfit make the material appealing, and Lowe certainly sounds more appealing -- and comfortable -- as a roots-rocker than as an aging new wave popster. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The Impossible Bird revitalized Nick Lowe's career, finding him in a rare moment of reflection and focus, resulting in one of the very best records of his career. Its follow-up, Dig My Mood, doesn't reach the same peaks, but it matches the same high standard, offering 12 songs with no filler or novelties. The dark, torchy opener, "Faithless Lover," may come as a bit of a surprise, especially since it's followed a song later by "You Inspire Me," another torch number, this time in the vein of k.d. lang. These two songs actually are a good indicator of the tone of Dig My Mood, since the country-rock that dominated The Impossible Bird actually fades into the background over the course of the album, popping up most directly on the funny Johnny Cash homage "Man That I've Become" and "I Must Be Getting Over You." The rest of the record is a skillful, laid-back hybrid of torchy pop, R&B, and country that is subtle in its execution. Lowe's voice is in the forefront, but it's gentle and unassuming, blending perfectly with the guitars, pianos, and accordions. His songs are quietly ambitious, exploring new territory lyrically and musically, without leaving his signature style. As always, his taste in covers is impeccable, finding Henry McCullough's little-known "Failed Christian" and the wonderful, overlooked Ivory Joe Hunter gem "The Cold Grey Light of Dawn." They are the final, irresistible grace notes to an album that finds Lowe at his best. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Nick Lowe's best records have always been full of clever lyrics and undeniable pop craftsmanship; the exception is The Impossible Bird. For most of the 1980s, Lowe had been appropriating country and R&B influences, but The Impossible Bird is where he fully incorporates those styles into his songwriting. Lowe doesn't abandon his gift for melody; "Soulful Wind" and "12-Step Program (To Quit You Babe)" are as catchy as anything he's ever written. The difference is haunting songs like "The Beast in Me" and "Withered on the Vine," two rich, sad, introspective numbers that Lowe would never have put on previous albums. And that's what makes The Impossible Bird his best album since Labour of Lust -- it's the most focused, mature, personal music of his career, without a single throwaway. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
While Dave Edmunds' production makes Party of One Nick Lowe's sharpest-sounding record in years, his songwriting isn't as strong as it has been in the past. Only "(I Want to Build a) Jumbo Ark," "What's Shakin' on the Hill," and "I Don't Know Why You Keep Me On" rank with his best material. ~ Stephen Thomas Erlewine, All Music Guide
'The Abominable Showman'
Release Date 1/1/1983
Tracks 12
Label F Beat
See Album Tracklist and Review
What The Critics Say
On The Abominable Showman, Lowe's fascination with country music begins to assert itself on a collection of songs that only seems lighthearted. While songs like "We Want Action" and "Tanque Ray" are nothing more than solid pop/rockers, "Time Wounds All Heels," "Raging Eyes," "Wish You Were Here," and "(For Every Woman Who Ever Made a Fool of a Man There's a Woman Who Made a) Man of a Fool" are exceptionally well-written songs, full of subtle emotional power and catchy melodies. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Following the dissolution of Rockpile, Nick Lowe recorded Nick the Knife with the group's guitarist, Billy Bremner, and drummer, Terry Williams, accentuating the real reason behind the band's split -- the difference between Dave Edmunds' rigid roots-rock and Lowe's carefree, funny revisionism. Nick the Knife may work in the conventions of classic rock & roll and pop, but it never sounds enslaved to his roots -- any record with a song as infectiously ridiculous as "Ba Doom" can't take itself too seriously, and that's the charm of the album. While the songs aren't as consistently strong as those on Labour of Lust, Lowe contributes a handful of classics, including "Heart," "Stick It Where the Sun Don't Shine," "Too Many Teardrops," "Burning," "Queen of Sheba," "Couldn't Love You (Any More Than I Do)," and the silly "Zulu Kiss." And even in its weakest moments, Nick the Knife has a sunny, relaxed charm that makes the album a thoroughly enjoyable listen. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Jesus of Cool was a jukebox, spinning out a series of perfectly crafted -- and decidedly quirky and subversive -- pop singles. In contrast, Nick Lowe's second album, Labour of Lust, is the work of a bar band, in this case Rockpile, playing the hell out of the same type of songs. Naturally, the result is a more coherent sound that may be a little less freewheelingly eclectic, but it is no less brilliant. Recorded simultaneously with Dave Edmunds' Repeat When Necessary, Labour of Lust benefits from the muscular support of Rockpile, who make Lowe's songs crackle with vitality. Working primarily in the roots rock vein of Brinsley Schwarz but energizing his traditionalist tendencies with strong pop melodies, a sense of humor, and an edgy new wave sensibility, Lowe comes up with one of his best sets of songs. Not only is his only hit, the propulsively hook-laden "Cruel to Be Kind," here, but so are the rampaging outsider anthem "Born Fighter," the tongue-in-cheek, Chuck Berry-style "Love So Fine," the wonderful pure pop of "Dose of You," the haunting "Endless Grey Ribbon," the druggy "Big Kick, Plain Scrap!," and the terrific "Cracking Up," as well as his definitive version of Mickey Jupp's "Switchboard Susan." It's an exceptional collection of inventive pop songs, delivered with vigor and energy, making it one of the great records of the new wave. ~ Stephen Thomas Erlewine, All Music Guide
