Nick Lowe

Can it really be that almost a quarter century has passed since Nick Lowe’s solo debut, Pure Pop for Now People? And who would’ve guessed this many years on that Nick the Knife would finally get around to making the best album of his career? The Convincer maintains Lowe’s longtime strengths — the clever wordplay, the knack for musical allusion, the unerring sense of humor — while eliminating his occasional weaknesses — too much clever wordplay, too many obvious musical allusions, an over-reliance on jokes when what’s needed is a tug of the heart or a punch in the gut.

Lowe’s evolution as a singer/songwriter has been going on for a while, but where his recent releases have looked to roots rock (1994’s The Impossible Bird) and cocktail pop (1998’s Dig My Mood), The Convincer weds gentle country-soul grooves, tunes and arrangements to lyrics that are wise and fervent rather than smart-ass — or rock-and-roll manic, as was much of his ’80s output. Lowe remains a very funny songwriter, but now his punch lines develop character and move plot every bit as much as they amuse. For example, the album opens with “Homewrecker,” where Lowe instantly places listeners in the middle of an ongoing drama, laughing and wincing at once. You look like butter wouldn’t melt in your mouth, he begins. Then, after a long pause: But I know it will.

Just as important, rather than being a mouthful (remember his For every woman who ever made a fool of a man, there’s a woman made a man of a fool?), his lyrics today flow with the ease and simplicity of everyday speech. Lines such as I know I’ve had it coming ’cause I’ve blown his every plan/He must’ve said, “I’ve had it with this foolish man,” from the fanciful conceit “Cupid Must Be Angry,” or Smoking I once quit/Now I’ve got one lit/I just fell back into it, from “Lately I’ve Let Things Slide,” are so wry and elegant they could’ve been composed by Smokey Robinson or Leiber and Stoller. The Convincer isn’t only Lowe’s purest pop yet — it’s his most timeless.