"Momofuku" review

[wordnat]

Five stars! It's outstanding, folks. "Turpentine" and "Song with Rose" stun me. Seriously -- I'm stunned.

[verbal gymnastics]

Welcome wordnat.

I guess you abide by the "less is more" principle!

[wordnat]

Fair enough -- here's a song-by-song play-by-play:

NO HIDING PLACE is a poppy, Brutal Youthish opener with scathing lyrics aimed squarely at the Google generation's vacant addictions.
AMERICAN GANGSTER TIME is wicked, nasty, and catchy. EC in a nutshell, daring to be smashed open.
TURPENTINE is a midblowing hookfest (a la "Sulky Girl") that wouldn't sound out of place on "When I was Cruel". Masterpiece? Yes.
HARRY WORTH stars EC as Ray Davies -- with predictably winning, whimsical results.
DRUM & BONE is funky, fragmented, fuked up and far out. And funny.
FLUTTER & WOW features David Hildalgo on the Telecaster and EC in jazzy crooner mode. All together now: "Wow".
STELLA HURT sounds like a hit to me -- but so did "Blue Chair" and "45". Sigh...
MR. FEATHERS sounds like mid-period Kinks as produced by Brian Eno. Really.
MY THREE SONS is about as compelling as its title. The lone Momofuku misfire.
SONG WITH ROSE is perfect. That's all.
PARDON ME, MADAM, MY NAME IS EVE is Loretta Lynn's title, but EC's tune. I'm glad it wasn't the other way around....
GO AWAY is a throwaway. And a keeper. Neat trick.

[Miclewis]

I agree with wordnat's song-by-song review for the most part.

But for me, My Three Sons is quite good, and Drum & Bone is the sure misfire. Also, as much fun as Mr. Feathers is, I do not see it holding up to many listens.

I definitely agree about "Song With Rose" - gorgeous and perfect.

[invisible Pole]

Extensive (and very favourable) review here : http://blogs.abcnews.com/allan_raible/2 ... is-co.html

Review: Elvis Costello and the Imposters’ “Momofuku”
April 23, 2008

Until yesterday, I hadn’t bought any new vinyl in probably 20 years.

In 1988 I had switched to cassettes because they were more portable. Like many other music fans, I now see the error in my ways considering the sound quality of vinyl is superior to that of those flimsy, chewable walkman-cloggers. In 1992 I switched to CDs and never looked back.

Why do I mention all of this? Elvis Costello decided unusually to release his new album “Momofuku” (his 24th proper one at my count) on vinyl only. Before you longtime fans panic and worry about whether your dusty turntable has a needle that’s up to snuff, fear not. For a mere two weeks it is available on vinyl only. A CD version will be released on May 6th. Plus when you buy it on vinyl, you get a code to download a digital version. That code won’t work though until the first of May. Thus, for a nice change of speed, I had to review this album the old fashioned way.

If you will pardon me for a moment, I’d like to say something about the medium itself. I’d forgotten how glorious records truly are. Sure, they are big and clunky, but as I first gazed at the immense “Momofuku” in all its purple-y goodness, I was awe-struck. Suddenly my childhood memories of being virtually glued to my old record player came flooding back. Sure, they are kind of a pain to turn over, but records have a strange sense of nostalgia to them. I remember being excited as a small boy wondering what every label would look like. (Maybe I was a strange kid in that way.)

Anyway, enough reminiscing. You really are here because you want to know how good “Momofuku” is. It’s excellent! One of his best! I don’t say that lightly, either. It’s obvious on first listen that the reason why he decided to set the record off with an initial vinyl-only strategy was because this is a classic-level Elvis Costello record. He surely wanted to remind his listeners of the first time they listened to “My Aim Is True” or “This Year’s Model.” This is not Elvis Costello experimenting with his classical side. It is an old-school Elvis Costello record with occasionally loud guitars, plenty of bile and a bit of punctuating organ here and there. Don’t get me wrong, this isn’t a full-tilt rock album, because it does have its softer, more reflective moments, but so do the two classics listed above. Costello is a songwriter and he tends to like to write lyrically dense material. Sometimes you need a softer backdrop to tell a story. Like his 2002 masterpiece, “When I Was Cruel” and his 1994 rocker “Brutal Youth,” this album finds Costello in a very familiar comfortable place. All the albums I have just listed each have their own distinct sound, and “Momofuku” continues that line, but the truth is, each one has showcased Costello the rock star. (Albeit, a rock star who can write more literate rock songs than your average seething curmudgeon-y social critic.)

“Momofuku” moves in waves. It shows his stunning range well in that way. Interestingly enough, the progression almost shifts with each record side. The album has 12 tracks spread across 2 records. Thus, there are 4 sides with 3 tracks per side.

Side one shows him at his rocking best. “No Hiding Place” sets the pace well as one of his most melodic rockers, delivered sweetly one moment while telling someone off the next. Such moodiness is summed up well within the first few lines. “In the not very distant future / When everything will be free / There won’t be any cute secrets / Or any novelty.” His tone is accusatory, telling his subject at one point “Whatever I said about you, I couldn’t say it behind your back.” The angry man is back and he’s just as sharp as ever. Thankfully, he hasn’t aged that much either. It helps that the band is as tight as they’ve always been. After all, his current band, the Imposters are really just the Attractions minus bassist Bruce Thomas. In his place is one-time Cracker bassist Davey Faragher. With drummer Pete Thomas pounding away and keyboardist Steve Nieve playing his Wurlitzer, it’s almost like old-times.

“American Gangster Time” begins a punked-up romp through Clubland 2008. It starts with his subject casing a woman offering him pills. His descriptions are somewhat acerbic and coated in unforgiving detail. He’s an observer but he obviously isn’t too keen on where he is. All at once, the lyrical tone recalls both “(I Don’t Want To Go To) Chelsea” and “This Year’s Girl.” Again as the guitars get louder, his ace melody remains indelible. The chorus is full of good old-“Radio Radio” organ pep. The subject changes throughout the track, but the refrain of “I’d rather go blind for speaking my mind,” proves to be his credo. Thankfully, he has never had a problem on that front.

“Turpentine” continues the rock-show. It goes back and forth from skim-worthy sonic murk to a grade-A, rousing chorus. In fact, the chorus gives the track one of the most memorable melodies on the record. Then it devolves wonderfully into a loud basher. It’s as if Costello built up something beautiful just so he could gleefully destroy it. Such a progression is strongly executed.

Like many others on this record, “Turpentine” features Rilo Kiley front-woman Jenny Lewis on harmony vocals and singer-songwriter Johnathan Rice playing with the band. According to “Billboard,” this album stemmed from Costello’s work with Lewis and Rice on Lewis’ upcoming solo album. Costello is a giant who has never been afraid to work with other people. He has great taste in collaborators, thus it is no doubt an honor. I’m reminded of his great work a decade or so back with Aimee Mann. He only tends to work with the best, and on Rilo Kiley’s last album “Under the Blacklight,” Lewis proved herself worthy. It’ll be interesting to see what their collaboration brings.

Now it is time to take a breather and turn the record over. People used to have to do this all the time before 15,000 song ipods! As I get up from my chair, I momentarily find that little factual nugget staggering!

Side two offers the first monumental change. “Harry Worth” does not rock. Rather, it is a sort of slow-ish samba, tropicalia-infused number with wonderfully cheesy organ work. It’s the kind of track you can imagine an old couple dancing to in a bright-yellow motel room. Maybe the reason I picture a couple is because that’s exactly who the song is about. It begins “I met them first on their wedding night.” It describes this couple’s married life, with a knowing sense of impending darkness. (“Do you hear that noise? Well that once was our song!”) It makes pretty clear that this couple is doomed. In lesser hands, the song could have come off schmaltzy, but Costello gives it an appropriate amount of venom, thus counter-acting the pitch-perfect old-school back-up chorus of vocalists. It’s a stunner with all its kitschiness intact.

“Drum & Bone” plays like a softer sequel to Costello’s hit “Monkey to Man” from his 2004 album “The Delivery Man,” even down to its rockabilly tone and references to human evolution. It worked well the first time and it works well here again.

When I first read the title “Flutter & Wow,” I thought of Stereolab’s song “Wow & Flutter,” but the two are of course very different. Costello’s “Flutter & Wow” is a majestic attempt at a classic soul love ballad. It’s the kind of thing Otis Redding excelled in. Costello scores quite well. He constantly challenges himself and comes out on top. Showing his often scarce sweet and romantic side, he delivers yet another winner.

Time to switch records and begin what is effectively the third side.

“Stella Hurt” is a full-blown rock song, which initially sounds like a revved-up answer to Hendrix’s “Foxey Lady,” and then becomes a rhythmic dance number. No wonder it is so funky, the song features drum-work from both Pete Thomas and his daughter Tennessee Thomas who drums in the buzz-worthy band the Like. Within the first few lines Costello is at his word-find best mentioning everything from “red galoshes” to “gutters full of suicides.” By the end of the track, it becomes an interesting, angry sounding noise experiment, until very abruptly, it ends with little advance notice. As always, such volatility is welcome.

Next is “Mr. Feathers.” The change is tone is remarkable from one track to the next. “Stella Hurt” is like a bunch of kids loose in the garage whereas “Mr. Feathers” is the kind of old, tin-pan alley-style number the Beatles would have maybe put on “The White Album.”

“My Three Sons” is not a saxophone number. Odds are if it were to have a music video, it wouldn’t merely consist of animated toe-tapping. Instead, it is a first rate, reflective country-tinged ballad. Within one side, Costello has taken the playbook and thrown out any sort of formula. This is the exact reason he still, rather consistently continues to make quality work.

Time to turn the record over again for the forth and last side.

“Song With Rose” borders on alt-country but stays mostly in the mid-tempo singer-songwriter mold. If this were the mid-eighties, this might have been some sort of over-produced pop number on “Punch the Clock.” Thankfully, Costello’s current taste in instrumentation is much more natural, earthy and timeless, thus the song is left alone and delivered in an unfussy way. Stylistically this is the closest the album gets towards the softer side of Rilo Kiley.

Next is “Pardon Me, Madam, My Name is Eve,” a standout track depicting Eve about to throw-down on a woman trying to steal Adam away from her. It’s somehow both mildly comical and sad at the same time. It’s heartbreaking when Eve realizes she’s probably being pushed away. “In another time of life, when I was his only wife./ When I was his only bride. / Before I was torn out from his side.”

On his first three albums, Costello always went out with a hit single. “My Aim Is True” closed with “Watching the Detectives.” “This Year’s Model” closed with “Radio Radio.” “Armed Forces” closed with “(What’s So Funny ‘Bout) Peace, Love and Understanding?” (That last one may have been last because it was tacked on, considering that the track was originally credited to “Nick Lowe and his Sound” and wasn’t originally supposed to be on the album.) On “Momofuku,” Costello continues this line of single-worthy closers, with “Go Away.” The track fades in and is built around an organ line delivered by “Farmer” Dave Scher. It sounds like the kind of soulful organ exercise one would come up with after listening to a lot of Booker T. & the M.G.s. Here, Costello and Jenny Lewis sing together a perfect upbeat kiss-off. (“Go away! Go Away! Why don’t you go Away? Why don’t you come back, baby? Why don’t you go away?”) It would’ve been a fun Blues Brothers number. Leaving on such an upbeat high note leaves you wanting more, almost guaranteeing immediate repeat listens.

In closing, there isn’t a weak track on “Momofuku.” It’s Elvis Costello completely in his element. It’s a clear five star example of a legend adding to his stack of classics. Here’s someone who has worked for the past 31 years with no large, significant breaks, honing his craft, creating a diverse catalogue for the ages. “Momofuku” is a worthy addition to any Elvis Costello fan’s collection.

Oh, and my guess is that you are probably wondering about the name. In a Billboard interview posted just yesterday on their site, he claims that the album is named after Momofuku Ando, who invented the first cup noodle. He states the album happened very easily, saying, “All we had to do to make this record was add water.” That quote is strikingly cornball for someone who usually is so cerebral. One could also take it with a sort of bitingly snotty, almost patronizing edge, but the truth is, Costello and his band make this album seem so wonderfully effortless, that somehow you don’t doubt him in the least, no matter what absurd thing he tells the press.

The return to vinyl makes for a surprisingly improved experience. Perhaps Costello’s trying to make a statement in a download-obsessed world. The physical product is getting to be almost a forgotten joy. We must not lose it! Perhaps there’s an off-chance he’s also trying to make it easier for some forward-thinking hip-hop producer like Danger Mouse to merge his song “American Gangster Time” with some unused Jay-Z verses. (If that were to actually happen, that would be pretty funny!.)

I’m glad that in a week I can download the album in digital form. I’m also glad that in two weeks it hits CD racks. By then, I’ll probably have begun to wear out my vinyl copy. It’s that good!

[strangerinthehouse]

It’s an amazing album. I listened to it twice when I got it and could not keep my toe from tapping.

On first listen, there were a couple of songs that I was not crazy about- Flutter and Wow and My Three Sons. I loved everything else, the slight punk of American Gangster Time, and the words in No Hiding place are sung as if they were chasing you.

Turpentine confused me, I like the double drums and his voice sounds a lot like it did in When I was Cruel, but I was a little lost with the fuzzy effects playing throughout. Now I like it, it has the same feeling as Tokyo Storm Warning, something impeding, but it is much looser and experimental.

The first three songs are perfectly placed together. They are like an attack on your ears, a very good one in fact.

"Harry Worth" has an almost Bossa Nova feel, another WIWC reminder, and EC’s voice sounds so good, it has that “method singing” from Imperial Bedroom.

Drum and Bone is excellent, “limited, primitive kind of man” The drums sound great, guitars include some acoustic and Lap Steel. I can see why EC didn’t go with John McFee; “Farmer” Dave does crazy things with Lap and Pedal Steel Guitars.

Flutter and Wow, the ballad. At first I thought it was a bit lazy, “You make the motor in me flutter and wow. But it is definitely growing in me, the song not the motor.

“Who made Stella Hurt!” another great rocker, I can’t add any more to that.

“Mr. Feathers” is the Imposters at their best, they are amazing throughout the whole momofuku but this just sounds like a classic Imposters song. It has this ongoing piano melody, reminds me of something from Spike, maybe a bit like God’s Comic.

“My Three Sons” bored me at first. I like the sentiment and I’m glad that he is finally singing explicitly about being a father. I always felt that that was missing from his songs. In any sense, he sounds proud and, as somebody else in the forum pointed out, a bit regretful.

“Song with Rose” is great and Jenny Lewis adds more to this song in particular.

“Pardon Me Madam, My Name Is Eve” is all about EC’s voice which sounds wonderful and appropriately spiteful, another Imposter's classic.

“Go Away” is the perfect ending to the record, it fades in and then out. EC’s voice seems washed out by the music only to break through along with Jenny Lewis in the chorus. It’s an odd song but I like it.

Overall, I keep feeling that the songs are too short and you definitely want to hear it again after the last side.

I can’t really compare it to any other one of his albums, who would want to but it seems something fans are predisposed to do. I thought I had a couple of apt comparisons-Brutal Youth, WIWC, TYM- but after writing the above review I realized there’s so many others you can compare it to. This just feels like a perfect progression of everything EC has ever done. I like it.

[Who Shot Sam?]

OK, I've managed to have a listen once through now and I think I'm gonna like this one. Fav tracks so far: "American Gangster Time" (love the TYM-stylee organ), "Harry Worth" (cool, bossa-nova type feel to it), "Drum & Bone," "Stella Hurt" (best out and out rocker), and "Pardon Me, Madam..." Backing vocals are excellent throughout and it sounds like they had a blast making this record.

Gonna be listening to this one a lot and I love the whole vinyl thing, though a lyric sheet and some more goodies would have been welcome.

A fine job, EC! My boy is going around the house saying "Momofuku." Hope that doesn't get him into any trouble at school.

[Neil.]

Thanks for all the reviews - am really, really excited now. Waiting for the CD now.

Anyone got any links to radio airplay that has a track on it? The one posted somewhere else didn't work. Desperate to hear anything off this.

[Unexpected No.4]

Please keep the reviews coming, I havent been this keen on hearing a new EC release scince ATUB. Anyone know where any clips or the odd full track might be lurking??
I've even considerd getting the lps, but It seems thats not easy In the UK, & It must be 20 years scince I bought Vinyl.

[johnfoyle]

Another long 'blog' review -

http://www.rocktownhall.com/blogs/index ... &tb=1&pb=1

[invisible Pole]

I have been madly searching the net trying to find a music blog that would contain an mp3 of a song from the album, and found nothing so far.
Same with tracklistings of BBC 6 Music radio shows - amazingly it seems like not a single track from MF has been aired on the shows so far.
I'm getting really frustrated ..........

[MOJO]

hey - i just found a torrent of it.. I'm not downloading it, though. RESPECT the man! Just buy it!

[invisible Pole]

I will sure buy the CD but the prospect of having to wait two weeks more before hearing the album is driving me nuts.

[MOJO]

I know.. I could go over to a local shop and spin the vinyl just to check it out, but I don't want to go to "that" particular store. The owner is well, not, so nice to the ladies. A bit of a horn dog, actually... PATIENCE is what I'm practicing right now... I was saliavating when I found the torrent...like, "whoa, there it is. One button click away!".. but no way - I'm not going there. I'll hold out for May 6. Hang in there!

[migdd]

Got my copy in the mail today and have listened to it once. It's too early for me to add to comments made by other posters but my first impression is very positive. A great album from Elvis that rocks but has other moments as well. More impressions later.

I will comment that although the quality of the vinyl is great -at least 180 grams - the sleeve itself is a little flimsy. Once I tore off the shrink wrap and removed the discs, the shape of the sleeve changed to something like a double helix. I was thinking about hanging it from the ceiling as some sort of art-deco sculpture but demured and instead flattened it under a stack of coffee table hardbacks. All is better now and I look forward to safely removing the discs from the sleeve for further listenings.

In addition, at an average of 12 minutes per side, it's a bit annoying to be changing discs so often. I'm just getting into the next track when it's time to get off the couch and turn the damn thing over. Have I really gotten that lazy in my old age or should this have been a single disc?

Okay, please don't answer that last question.

Great album!!! I like saying album again.

[Who Shot Sam?]

re: Turpentine, I actually did drink turpentine when I was a kid, so "back when I was drinking turpentine" would be 1970-71. That's also back when doctors had to pump my stomach. What a stupid little boy.

[johnfoyle]

Having heard the 'Ryman' version of this album I am so loving it. 'Flutter An Wow' is my fave at the moment , the best use of motoring euphemisms for relationships since Chuck Berry's No Particular Place To Go. My Three Sons is astonishingly direct . Overall the pacing is great . I can't wait to hear the studio version.

[Miclewis]

Some more observations.

I'm not too fond of Drum & Bone, but it is a curious mix of "My Mood Swings" and "Monkey to Man", with a little "Dust" thrown in.

I am very fond of Flutter & Wow. It sounds to me like Elvis decided to perform a song of his own as if it were a cover of an old song by someone else (in the 70's). It has an Elvis cover feel to it, even though he wrote it. It could almost fit on River in Reverse, disguised as an Allen Toussaint song.

[Neil.]

Mind you, John, Elvis has had a pretty good stab at motoring gags before - in "Five Gears In Reverse"

If you patience is exhausted
and you still cannot decide
You're sitting in the garage contemplating suicide

(exhaust pipe method of killing yourself)

And you have no motorvation, you can't even catch your breath (presumably because you're sitting in the garage surrounded by exhaust fumes!)
All of this acceleration is driving you to death.

[johnfoyle]

'fuku has reached Dublin - can't wait for this evening!

[verbal gymnastics]

A good friend on this board has sent me details of where I can download this but I am being patient and waiting for the day to get this officially.

I'm liking the reviews but I'm pleased to say the temptation to download is being resisted.

That and the fact that I wouldn't know what to do once I have downloaded it!

[johnfoyle]

Although the 'Ryman' version had me prepared, I was still totally overwhelmed by this album. There really isn't a wasted moment on it. That it was recorded and mixed in little more than a week is a tribute to both the ability of the musicianship involved and their willingness to trust their instincts.

I'll hold of on anymore comment until more here have had a chance to hear it and form their own opinions. However , (spoiler alert!) a few features just have be noted . That backwards loop thing at the start of Mr Feathers; an attention catching sound to be sure - but also just like the sound of flapping wings ie. wings/feathers - brilliant! The choral effect on the word 'kerosene' in No Hiding Place - I can't get it out of my head. I was at a funeral this morning ( no one close , family friend etc.) and it just kept echoing through my head.

Listening to the album I had the lyrics from the Wiki site. I had looked at them listening to the Ryman recording and had noted some of what I thought would be corrections. However , looking at them with the studio recording I find them to be mostly correct. What , of course , has happened is that Elvis is already tweaking the lyric here and there. It's the 'folk process' and refers to , literally , fine tuning the compositions. In 'Hiding Place' the studio recording has Elvis singing 'I'll be handing somebody matches ' ; at the Ryman he sang 'Rather than handing someone matches'. . In Harry Worth , the line 'Faces were flush by their pledges plight' has become the more direct ' Faces still flush...'. In 'Stella Hurt' , the line 'But I knew it wouldn't last ' becomes ' I knew she wouldn't last' . Similarly 'Until the needle drags you through the static' become the far more evocative ''Until the needle drags her from the static' . Doubtlessly there are more.

Dealing with four sides of vinyl was a curiously concentrating experience. Unlike with a disc there was not the option of getting really comfy in a chair and letting your mind wander. The cat wasn't thrilled either at getting thrown of my lap every 15 minutes or so. Similarly I couldn't stomp around the place during 'Turpentine' as the vibrations would make the needle jump.

It's transferred to cd now........so the neighbours better get used to it!

[sexysadie7]

Having heard the 'Ryman' version of this album I am so loving it. 'Flutter An Wow' is my fave at the moment , the best use of motoring euphemisms for relationships since Chuck Berry's No Particular Place To Go. My Three Sons is astonishingly direct . Overall the pacing is great . I can't wait to hear the studio version.

i was listening to a podcast today. they mentioned a stereolab song called "wow and flutter" so i looked it up on wiki and found this interesting tidbit:

Wow and flutter may refer to:

* Wow (recording) and flutter, irregularities in the playback speed of analog recordings
* A 1994 song by Stereolab from the album Mars Audiac Quintet
* Wow & Flutter, an indie rock band from Portland, Oregon

interesting indeed, since i had never heard that expression before!

[Who Shot Sam?]

Listening more and more to this album, I'm hearing all sorts of little echoes of previous EC albums - The sort of Tin Pan alley "God's Comic" sound making a comeback on "Mr. Feathers"; the "Long Honeymoon" echoes that others have noted on "Harry Worth"; TYM-era swirling organ and cynical bite of "American Gangster Time"; Allen Toussaint-inspired New Orleans swing of "Flutter and Wow"; the swirling Blood & Chocolate-era psychedelia of "Turpentine". I can even hear a little echo of some the gentler numbers on Almost Blue in "My Three Sons" (maybe a bit of a stretch?). In any case, it's a very pleasing album full of EC goodness that brings together a lot of stylistic strands that have run through his work over the years.

[johnfoyle]

The digital download brings in to focus lots of kind of hidden instrumental moments on this album. A prime example is David Hidalgo's viola part on My Three Sons , just the right side of mournful , in keeping with the tone of the song.

The other instrument, a 'Hidalguera', David plays on that track sounds just as good . However , it's unusual name had me assuming it was some kind of in-joke , like, way back, Elvis' Little Hands Of Concrete. However it features in Los Lobos credits right back to 1987 . Thankfully David talked about it in a interview -



http://www.vintageguitar.com/features/a ... p?AID=2214

What exactly is a "Hidalguera"?

David: I gave Candelas an old Alvarez concert-size guitar I had, with the idea of putting mandolin tuners on it. I tried different tunings, but most of the time it's like the top four strings of a guitar, like Nashville tuning: the G strings are octaves; the D is an octave up; and the top two strings are unisons. It's like a double tenor guitar. I put one together with nylon strings, too.