Elvis Costello can be described in many ways, but ‘spontaneous’ is not among them. His albums tend to be high-concept and fastidiously produced. From the chamber music and literary theme of The Juliet Letters to Painted From Memory, an album co-written with Burt Bacharach. Even his rock output has followed suit: The Delivery Man was a song cycle based on an unwritten play about a southern love triangle.
The man doesn’t do simple.
And that’s why Momofuku is such a breath of fresh air, not to mention the best album he’s released in more than a decade. Conceived, written and recorded in a span of just a few weeks, then released quietly a couple months later, this 12-song collection is simply that — a collection of 12 songs. Twelve absolutely wonderful songs… not a weak one in the bunch.
The songs are all over the map, though they fit together splendidly. There’s a Beatles-esque waltz (‘Mr. Feathers’), two straight-forward ballads (‘Flutter and Wow,’ one of the few earnest love songs in his catalog, and ‘My Three Sons’), some swing, some country and some hard-driving rock-and-roll. It’s those rock songs that impress the most… ‘American Gangster Time,’ ‘Stella Hurt’ and ‘Go Away’ are among the strongest, balls-to-the-wall tunes he’s put on record since This Year’s Model.
When dealing with artists like Costello, who have been around for decades and put out so many classic songs and albums, it’s tough to be be wowed by new material. Usually the songs are fine, but they can’t quite measure up to what came before. It’s refreshing, then, to get a gift like this… totally unexpected, and worthy of mention alongside his finest work.
Meet Me In Montauk 
I have heard each of the songs once, some twice. On first listen, I was impressed and becaome more appreciative upon second listen. I’m not sure I am ready to agree that it is his best album in 10 years, as that would, I believe, unfairly diss the very strong When I Was Cruel, the perhaps slightly weaker Delivery Man and the very wonderful River in Reverse. I was really impressed with Flutter and Wow, but a bit less so from the My Three Sons, which felt a bit lyrically forced. I had similar feelings about Pardon Me Madam, though I liked that one better. Feathers was nice, I suppose, but so conspicuously Lennon-esque that I’m not sure it will endure as a longtime favorite. I was more impressed, however, with the arguably also cutesy Harry Worth-which I first heard on Sirius. I’m a sucker for Elvis when he does this jazzy style. Really like the first track, No Hiding Place–seems like it could find a place on the Useless Beauty Album. American Gangster is fun, starting out with a bit of Mellancamp type guitar –a bit like some of the stuff from When I Was Cruel, though I’ve never been a big fan of Nieve (or anyone) playing the cheezy organ. Go Away also has a bit of the Cruel vibe, with a bit of a 60’s twist. Turpentime is a standout to me–love the chaotic drums with Elvis’ counter melodic vocals–and love the background vocals. Drum and Bone is good–kind of an extension of Delivery Man’s single (monkey to a man). Stella Hurt is one of those “rockers” but somehow the piano and Elvis’ voice keeps it from going over the top like some of the harsh “rockers’ of the new Crows album. Really like Song with Rose A LOT. Reminds me of something you might hear on King of America or perhaps Imperial Bedroom, though less produced.
I usually need 3-4 listens, minimum, before I really know an album, so if you’re at all similar you might find that this one grows on you even more.
For my part, The River in Reverse never really grabbed me (I like the sound, but the songs don’t stand out), The Delivery Man is very strong but some of the harder songs are a bit annoying and When I Was Cruel, while it contains some wonderful stuff, is overlong and busy. That’s not to diminish those albums (I consider the latter two great successes) but to explain why Momofuku jumps out at me as his strongest work since, I don’t know, maybe All This Useless Beauty.
I agree with your assessment of just about all the songs, especially ‘Turpentine.’ Jenny Lewis, who put out a really good solo album a couple years ago, does backup vox on most of this album and I find it to be a very nice touch and a bit different for Elvis.
I haven’t heard Cruel for awhile, but recall it being fairly strong. Though perhaps my failure to return to it says something in the scheme of things. And I think the criticism of Delivery Man is valid as well. As for River, however, I really do like that album alot. I love the sound and feel, maybe because I just love piano based songs. I have returned to that one more than the other two, and find some of the tunes quite memorable, especially the title track, Tears, Tears and More Tears and Who’s Gonna Help a Brother Get Further? The other tracks don’t stick out as much, but are still really well done.
Still, I agree that most Elvis improves on repeat listening and I can’t wait to steal Amy’s Ipod (or finally get my own) so I can hear these songs on the new album again.
I’ll have to give River in Reverse another listen… I doubt I gave it the three or four I mentioned above in order to really get to know it. In fact, I thought it was mostly a covers album. Is that not the case?
Oh, and I must defend the “cheezy organ” you reference above — I love that sound! It’s a great throwback to the Stax and Motown flavors of Get Happy!! (and I suppose it has become clearer why you’re not such a huge fan of that album).
my understanding was that Elvis wrote or cowrote much of the River album, though I could be wrong.
And yes, I do hate the cheezy organ–which is part of the reason I can’t stomach much of the Doors music either–Motown didn’t use the organ as much–they mostly did horns.