Product ReviewsJesus of Cool [Digipak] [Reissue] by Lowe, Nick (CD, 2008)

Brilliant, twisted, sophisticated power pop w/bonuses

Back in print for the 30th anniversary of its original release, this 1978 solo debut still shows itself to be the greatest album in Lowe's catalog. Marking a glorious new phase in his career, Lowe had already made the transition from the pub rock of Brinsley Schwarz to the punkier and new wavier sounds of the artists he produced for Stiff Records. Lowe's songwriting had also started to show the twists and sparks that he'd bring to Stiff, as he recorded a pair of singles aimed at breaking his contract with United Artists: The Tartan Horde's ""Rollers Show" and The Disco Brothers' "Let's Go to the Disco" b/w "Everybody Dance."

Once free of UA, Lowe signed with Stiff where he served as a house producer (most notably for The Damned and Elvis Costello) and released the label's very first single, "So it Goes" b/w "Heart of the City," both of which turned up on this debut LP. A follow-up EP (titled "Bowi," in retaliation for Bowie's album "Low") included a cover of Sandy Posey's "Born a Woman" (with the gender-specific lyrics ironically intact), the surf-inspired bass-heavy instrumental "Shake That Rat," the chirpy and morose "Marie Provost," and the hypnotically lethargic death-watch "Endless Sleep." Of the four, only "Marie Provost" returned for the album (the other three tracks are here as bonuses). His next single was a letter-perfect cover of Tony Orlando's Brill Building era "Halfway to Paradise" b/w "I Don't Want the Night to End," again, both included here.

Lowe contributed to the Stiffs Live album and then jumped ship to Radar where he released the single "I Love the Sound of Breaking Glass" b/w "They Called it Rock" (the former carried over to the album, the latter included here as a bonus) and finally, his debut album. Though five of the twelve tracks had already been released on singles and EPs, their general rarity kept them fresh to album buyers. The six new songs included terrific Lowe compositions, and letter-perfect backing from a multitude of players that included members of the eventual Rockpile. Leading off is the beat-heavy "Music Money" in which Lowe lays out the antithesis of his new found musical freedom. The strummed acoustic guitars and walled backing vocals of "Little Hitler" show how fluidly Lowe could craft a studio sound that at both celebrated and ironically commented on pop music. "Tonight" features similar acoustics and harmonies, but in service of a gorgeous love song.

The straight-ahead rocker "Shake and Pop" shared a melody with "They Called it Rock," providing two sides of the Lowe/Edmunds equation; the former was included on the UK album, the latter on the US, and both included here. The organ and reggae beat of "No Reason" suggests Costello and the Attractions, and the upbeat soul of "Nutted By Reality" might point to The Jackson 5 if it didn't open with the lyric "Well I heard they castrated Castro, I heard they cut off everything he had." That's Lowe in a nutshell: an oddball lyric about Castro's demise set to a sunny light funk beat that changes key and segues seamlessly into a bouncy, dream-like travelogue with a terrific baritone guitar solo. And it makes complete sense when you hear it. Lowe's cover of Jim Ford's "36 Inches High" (again featuring Attractions-like organ figures) is slow enough to seem like he's deconstructing and examining the lyrics as he sings.

The pre-album tracks are just as good, and match as tightly as jigsaw piRead full review...