On the surface, an instrumental tribute to the music of Nick Lowe seems like an unusual project. Lowe — for my money, one of the greatest, most underappreciated singer/songwriters of the last 40 years — is known primarily as a wordsmith of the highest order. So why are Los Straitjackets, an impeccable surf/rockabilly instrumental combo, paying vocal-free tribute to the man?
For one thing, they’ve worked with Lowe in the past, backing him on a recent tour. They’re also label-mates (on the rootsy, artist-friendly North Carolina-based Yep Roc). A mutual admiration was obviously formed. Also, while Lowe has been justifiably praised for his witty, caustic wordplay (calling him the British, pub-rock equivalent of Randy Newman wouldn’t be off the mark), his gift for exquisite melodies should also be noted. And that’s where Los Straitjackets come in.
What’ So Funny About Peace, Love and Los Straitjackets (which features cover art that lovingly apes that of Lowe’s 1978 debut album, The Jesus of Cool) makes the right choice of picking songs from all different periods of Lowe’s multifaceted career. Early tracks like the chugging surf boogie of “Shake and Pop” and the upbeat twang of “Heart of the City” are right in Los Straitjackets’ wheelhouse and are handled with predictable skill. Lowe’s modus operandi has always been to embrace simplicity in execution — sort of an anti-modernist — and Los Straitjackets understand that: performing their unique brand of guitar-based retro stylings with a deft hand while waving off any nods to current technology. The songwriter and band here are kindred spirits.
In addition to “classic” Lowe, selections from his more recent turn as a laid-back crooner get plenty of attention. “Lately I’ve Let Things Slide” shifts from a moody, post-breakup confessional in lyric form to a tight, mid-tempo groove oriented piece. The dreamy “You Inspire Me” is transformed into a 1950’s-era slow-dance gem, with reverb-heavy lead guitar shooting the song back to a magical, more innocent time. The lazy country shuffle of “All Men Are Liars” is given an up-tempo facelift while keeping the memorable melody intact.
The song selection is fairly eclectic and obviously compiled by fans of Lowe’s work, and people expecting to hear covers of more popular Lowe compositions won’t be disappointed. “(What’s So Funny ‘Bout) Peace, Love and Understanding” — an early Lowe composition made infinitely more famous by frequent Lowe collaborator Elvis Costello — gets an acoustic-based, percussive, Latin-tinged treatment. The classic “Cruel to Be Kind” — Lowe’s only U.S. pop hit single — is reconstructed as a tender ballad.
In-concert favorites like “Half a Boy and Half a Man” and “Raging Eyes” are also covered, and while the rousing, funhouse organ of the former is missed, the latter cover is spiced up with propulsive floor-tom rolls that give it a classic Buddy Holly feel.
Nick Lowe fans will surely find personal favorites missing from the track list (for the record: I would have loved to hear “So It Goes”, “When I Write the Book”, “Heart”, and “Indian Queens”, among others), but that’s a testament to the power of his songwriting prowess. We can only hope that a sequel is in the works. In the meantime, this collection is bound to please fans of both the band playing the songs and the man who wrote them.
I should add that if this album is your introduction to the music of Nick Lowe, you should continue the journey by seeking out the original recordings. Not only to they sound great, but they also include the wit that Lowe is known for. He is, after all, the guy who released an EP called Bowi in response to David Bowie’s Low, which is one of the Top Five funniest things a rock star has ever done.