Jesus Of Cool: 30th Anniversary Edition

Rolling Stone (p.73) - 4 stars out of 5 -- "Lowe still makes great records of pop gleam and wise irony, but this is his Book of Genesis." Spin (p.97) - 4 stars out of 5 -- "Lowe's 1978 debut remains his finest moment, a mix of acid music-biz snark with songcraft..." Entertainment Weekly (p.60) - "JESUS if full of mini masterpieces....This underappreciated achievement deserves to be treated like the classic it is." -- Grade: A Uncut (p.106) - 5 stars out of 5 -- "Musically, he traversed territories -- clanging rock, lush ballads, spooky reggae, neurotic pop and black comedy." No Depression (p.63) - "Lowe served up originals that showed facility in various classic genres..." Q (Magazine) (p.117) - 3 stars out of 5 -- "JESUS OF COOL was Lowe at his unashamedly poppiest....[T]he perfect example of how to exhume the undeservedly forgotten." Mojo (Publisher) (p.120) - 4 stars out of 5 -- "[H]eld together by Lowe's mischievous wit....A tour de force from a golden era of clever and imaginative pop." Harp (magazine) (p.122) - "[S]tuffed to the gills with catchy garage rock, jangly pop and snarky disco..." Paste (magazine) (p.82) - 4 stars out of 5 -- "Exhilarating, cutting-edge, retro, playful, cynical and picaresque, JESUS OF COOL filters the hopped-up energy of 1977 London through Lowe's quirky genius..." Paste (magazine) - "JESUS OF COOL filters the hopped-up energy of 1977 London through Lowe's quirky genius, and its neon immediacy is undimmed after more than 30 years." The Word (magazine) (p.112) - "Lowe is a great storyteller, with a knack for joyuous pop hooks and a country & western sense of inescapable fate." Record Collector (magazine) (p.104) - 4 stars out of 5 -- "Ever constant...was Lowe's innate sense of pop's rich heritage, from 50s teen balladry to Motownesque bubblegum and garage band shamble."

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). ~ Stephen Thomas Erlewine