Labour Of Love: The Music Of Nick Lowe

Performer: Various Artists
Engineer: Chris Andersen; Dave Cook; John Peterson; Vince; Jeff Watson; Lincoln Clapp; Randy Miller; Steve Drown; Thomas "Doc" Cavalier; Tim Stambaugh; Elvis Costello
Producer: Randy Labbe; Mike Campbell; Tom Petty; Randy Labbe (Compilation)
Distributor: Fontana Distribution

Notes: Includes liner notes by Bill Bentley. Personnel: Guy Davis (vocals, guitar, harmonica); Elvis Costello (vocals, guitar, percussion); Graham Parker, Greg Brown, Joe Louis Walker, Marshall Crenshaw, Sleepy LaBeef, Tom Petty (vocals, guitar); Charlie Musselwhite (vocals, harmonica); Christine Ohlman, Dar Williams, Joe Clay, Andrea Re (vocals); Bo Ramsey (guitar, background vocals); Doug Wainoris, G.E. Smith, Cranston Clements (guitar); Tom T-Bone Walk (mandolin, accordion, Wurlitzer organ); Levon Helm (mandolin); Steve Goulding, Steve Holley (drums). Audio Mixer: Lincoln Clapp. Liner Note Author: Bill Bentley. Arranger: G.E. Smith. The title of Labour of Love: The Music of Nick Lowe, Telarc's 2001 tribute to Nick Lowe, sums up everything that's right and wrong about the record. It plays upon Lowe's classic 1979 album Labour of Lust, but by turning it around and reverting it to clich�, it strips the humor and essential Nickness of the phrase. And that's the problem with this record -- much of it takes Lowe's clever classicist songs, turns 'em around, and only delivers the classicism. That's not necessarily a bad thing, and it certainly does offer a spin different than Lowe's own recordings, but it doesn't wind up feeling much like Lowe's music apart from a handful of tracks: Tom Petty's wry "Cracking Up," Marshall Crenshaw's rocking "Television," Graham Parker's straight take on "The Rose of England," and Elvis Costello's revival of Brinsley Schwarz's "Egypt." Not coincidentally, these are all from Lowe's peers, who understand his sly humor, while the rest of the tracks are from modern-day blues singers and contemporary singer/songwriters, who play these all with a straight face. (Compare Andrea Re's overwrought reading of "When I Write the Book" to Huey Lewis' version from his 2001 album, Plan B -- Lewis' is better because he offhandedly delivers the jokes in Lowe's writing.) While that may be a valid interpretation, and many of the songs sound pretty good delivered this way (thanks in no small part to a house band led by G.E. Smith and T-Bone Wolk), it still will feel odd to many Lowe diehards. There's too much love and not enough lust, in other words. ~ Stephen Thomas Erlewine Though his songs have been covered by others over the years (everyone from pal Elvis Costello to US soul-popster Curtis Stigers), pop poet Nick Lowe is generally thought of more as a recording artist than as a source of material for others. As this tribute album proves, however, Lowe's blend of soul, pop, rock, and country is infinitely adaptable to the approaches of other artists. After a shaky, whose-idea-was-this beginning courtesy of folkie Dar Williams, things quickly heat up as Lowe's pub-rock peer Graham Parker offers a folkie take on "The Rose of England," spiced up by T-Bone Wolk's accordion and the presence of original Rumour drummer Steve Goulding. Tom Petty makes the bluesy "Cracking Up" his own, and first-generation rockabilly man Sleepy LaBeef lends his earth-shaking baritone voice to the Tex-Mex jumper "Half a Boy and Half a Man." Midwestern singer-songwriter Greg Brown's version of "Where's My Everything" manages to deftly capture both the desperation and self-deprecating humor inherent in the song. Marshall Crenshaw offers a heartfelt "Cruel to be Kind," from Lowe's brief, legendary tenure with Rockpile. Bluesman manque Guy Davis evinces the same lack of soul on "Soulful Wind" that mars his usual attempts at the blues, but things close nicely with the aforementioned cohort Costello's effectively understated version of the melodic ballad "Egypt."

Q (12/01, p.148) - 3 stars out of 5 - "...A loving tribute...with old muckers Graham Parker and Elvis Costello leading the charge..." No Depression (9-10/01, p.148) - "...Lowe never shied away from blurring boundaries or bouncing around the musical landscape. Thus, it seems fitting that the album's contributors were recruited from a variety of musical worlds..."

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