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Momofuku
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Momofuku
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MP3 Music, April 22, 2008
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Audio CD, June 4, 2008
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Audio CD, Import, May 6, 2008 | $3.00 | — | $3.00 |
Vinyl, April 22, 2008
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Track Listings
1 | No Hiding Place |
2 | American Gangster Time |
3 | Turpentine |
4 | Harry Worth |
5 | Drum And Bone |
6 | Flutter And Wow |
7 | Stella Hurt |
8 | Mr. Feathers |
9 | My Three Sons |
10 | Song With Rose |
11 | Pardon Me Madam, My Name Is Eve |
12 | Go Away |
Editorial Reviews
Product Description
By now, some of you may have heard rumour of an album called "Momofuku" and wonder what this record is...
The absence of much advance notice or information might seem a little strange and perverse but the record was made so quickly that I didn't even tell myself about it for a couple weeks.
So, what can I tell you about "Momofuku"?
Well, obviously the title is a tribute to Momofuku Ando, the inventor of the Cup Noodle. Like so many things in this world of wonders, all we had to do to make this record was add water.
Now, I understand that there is also a fancy eatery in New York City that has made the same connection with Ando-San. So, just in case anybody is inclined to mistake our record for something edible, we've added a disclaimer to the record jacket. I like saying, "record jacket" again.
This record actually came about because of an invitation I received from Jenny Lewis to sing on her upcoming record. Davey Faragher had been playing bass on some of the sessions, so it didn't seem like too much of a stretch to call Pete Thomas to complete the Imposters' rhythm section.
Jason Lader not only recorded and mixed the record; he also managed to document the sessions with his camera.
Every record has its own method. This was the one for these songs.
About the Artist
ABSO-MOMOFUKU-LY by Elvis Costello
It was Jenny's idea for Pete to play alongside his daughter, Tennessee, who plays drums in The Like and the line-up was completed by Ms. Lewis' beau, Johnathan Rice on guitar and vocals and their pal, "Farmer" Dave Scher on pedal steel and vocals with Jason Lader manning the controls.
So, I went down to Los Angeles for the day and we cut a couple of versions of a song Rice had written for Jenny's record plus two songs of mine, one of which I wrote on the eve of the session. Some rock and roll music is better if you don't think too hard on it.
In the absence of a full-time keyboard player, "Farmer" Dave and I split the organ duties, on an old Acetone. I especially liked the vocal harmonies that Jenny, Rice, Davey and "Farmer" Dave cooked up for "Drum & Bone".
Ms. Lewis sang the entire harmony part of "Go Away" in the vocal booth with me, while the band played in the studio, lead by Rice's guitar part and the drumming of Thomas, Peré et Fille. That was Take Two. Then we went home...
I'd been telling people that I was done with recording and believed it myself. This record date reminded me that it wasn't making music in the studio that made me miserable but the nonsense that predictably follows in what we laughingly call the "music business". So I decided to change it and my mind. That's what I do.
We booked Sound City Studio in Van Nuys for six days of February and cut the eight new songs that I had written in the weeks following Jenny's January session.
We also recorded "Song With Rose", the lyrics of which I wrote with Rosanne Cash and "Pardon Me, Madam, My Name Is Eve" a title that was given to me by Loretta Lynn, while we were writing some songs together, late last year. I had first played these two songs an autumnal tour, opening up for Bob Dylan, although I think they sound a little different now.
I called Steve Nieve in from Paris and asked our friend, David Hildalgo to add little guitar to "Flutter & Wow". He also played viola and then added Hildalguera to "My Three Sons".
The Imposters and I recorded a number of songs as a quartet, including "American Gangster Time", "Mr. Feathers" and "Pardon Me, Madam, My Name Is Eve" and "Harry Worth" which is not actually about the beloved English television funnyman but a true story nonetheless.
Jenny, Rice, "Farmer" Dave and their pal, the guitarist, Jonathan Wilson came back in for a couple more days and to add their voices to the new songs. We had a ball making up the parts for the vocal "supergroup" to which everyone contributed.
The live band for "Turpentine" and "Song For Rose" got up to nonet. That was a fine old noise.
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.96 x 5.51 x 0.39 inches; 2.05 ounces
- Manufacturer : Lost Highway
- Date First Available : March 26, 2008
- Label : Lost Highway
- ASIN : B0016KHAY2
- Number of discs : 1
- Best Sellers Rank: #148,092 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #2,799 in Adult Alternative (CDs & Vinyl)
- #4,222 in Pop Singer-Songwriters
- #7,770 in Folk (CDs & Vinyl)
- Customer Reviews:
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Momofuku, Costello's 2008 release, proves that over and over again. From the opening crash-tastic "No Hiding Place," in which Elvis and Pete hit the same relentless beat over and over again to Steve's organ stylings on "American Gangster Time" the album at once has a tightness that only players who know each other very very well can achieve. And those are only the first two songs.
Throughout the album, Costello's writing is also topnotch--his wordplay is excellent as always, and his melodies are strong. It's also refreshing to see that he's not embracing a certain form of music (as he's done in the past), or striving to reconstruct sounds from his past (which he's also done on occasion). Elvis Costello and the Attractions were at their best from 78-86, when they played together so much that they grew as a band. Elvis Costello and the Imposters (the Attractions minus Bruce Thomas plus Davy Farragher on bass) is clearly hitting it's stride as a band on Momofuku. Each song has that tightness that doesn't come off as contrived, or worked for...which in a way also makes it sound loose in the best way.
(For example, on "Flutter and Wow," in the middle of the song, Elvis shouts 'To the bridge!' and the band follows him seamlessly. It's a great moment on an album full of great moments.)
However, this isn't This Year's Model II, or Blood & Chocolate Redux. It's Elvis Costello as he is now, with twenty-plus years of playing and influences between him and those sessions. It's very much an album of 2008, and it's fully integrated throughout. The rockers sit comfortable next to the ballads which sit comfortably next to the occasional folky song; none of which seem incongruous next to the noisy experimentation of "Stella Hurt."
Momofuku is, in many ways, a synthesis of all that's kept Elvis Costello among the greats for years, and that's due not just to the writer, but to the Imposters, who have an identity all their own. I couldn't recommend this more highly.
Granted we love the softer side of Elvis at my house, too, be it Kodak, work with Burt B., or North -- this album brings Elvis back to his punk/new wave roots. More recent rocking efforts have been interesting -- say, Delivery Man, All This Useless Beauty, and so on, but MOMOFUKU was a delightful suprising return to brighter days.
Thank you, Mr. MacManus, for continually reinventing yourself but also for celebrating a particular gift you have, too.
An English music magazine I read heralded this as a throwback to the days when Elvis Costello was a new and exciting force on the music scene. And on many cuts, that judgement is spot on. But on other cuts, Costello shows a mature and reflective side that harks not back to My Aim Is True and This Year's Model, but to the days of Imperial Bedroom and King of America.
For the benefit of those who haven't heard Momofuku yet, the following songs will take you back to the mood of Costello's earliest days: The superb American Gangster Time, Drum and Bone, Stella Hurt, Mr Feathers, and Go Away. His more sensitive side asserts itself on Flutter and Wow and on My Three Sons. One reviewer found that last one corny, but you have to admit Costello has a way with words. As good as most of the album is, my personal favorites are Harry Worth and the aforementioned Stella Hurt.
I have been an Elvis Costello fan since he appeared on the scene, but I can't claim to have heard all his albums. In recent years, he has embarked on a variety of projects that were personal flights of fancy and many of those have yielded mixed results. Momofuku marks an exciting throwback to the style of music for which most of us became Elvis Costello fans in the first place. Don't miss this one!
If you only have access to a CD player, get the CD for certain, but if you have a turntable, be sure to get the vinyl version while you can. The harmonies are really sweet, and I love that he's given himself to the song "My Three Sons." It's wonderfully heartfelt. I love my Elvis Costello (as a fan of course), and it's hard for me to put a non-biased opinion on this album, but I must say that I'm completely touched and amazed by this new production. It sounds so great, and it's worth many more a listen, and then some!
I have been so awed by Elvis with this release. I know he's the best (to me) but so much emotion is contained within this album I don't know where to begin. There is a lot going on here...especially in track 10...man oh man. Please listen and appreciate! He's got so much to share! I've never been so proud as a fan.
Top reviews from other countries
Momofuku has great songs, great lyrics, a great band and a great sound. On first listening it reminded me of Blood and Chocolate, but on repeated listenings as the songs come into there own I have realised that it is a very different record to that one and is quite a unique album for him. American Gangster Time as other reviewers have pointed out does remind you of early Costello and for me Mr. Feathers and Harry Worth remind me of songs that could perhaps sit comfortably on Spike. Mr. Feathers equally reminds me of 60's era Kinks in the sound and in the phrasing - could just be me though. Mr Feather's is one of my personal favourites at the moment along with Stella Hurt and Go Away, which are both pounding guitar driven songs, which make you go back to them again and again.
My Three sons is possibly the most direct and personal song I have heard Costello sing. The obvious love he feels for his three sons in this song comes through but doesn't sound cringy in the slightest. The weakest song for me is Song with Rose, but it's no where near a bad song, it just doesn't have the punch that the other tracks do - yet anyway.
A great album that many people, more than just fans of Costello, should own. Ideally this should be viewed as one of the great albums of 2008, but sadly it will probably be overlooked for some commercial drivel.