Nick Lowe Biography Quotes 19 Report mistakes

Early Life
Nicholas David Lowe was born on 24 March 1949 in Walton-on-Thames, Surrey, England. Drawn to the energy of American rock and soul as well as skiffle and rhythm and blues, he began playing in local groups as a teenager, sharpening a talent for economical songwriting, sturdy melodies, and a sardonic lyrical turn that would remain his calling card. By the mid-1960s he had committed to a life in music, learning studio craft as he learned stagecraft, and gravitating toward collaborators who shared his taste for unpretentious, song-first rock and roll.

Kippington Lodge, Brinsley Schwarz, and Pub Rock
Lowe first came to notice with Kippington Lodge, a harmony-pop outfit that by 1969 evolved into Brinsley Schwarz, named for the band's guitarist. Alongside Brinsley Schwarz himself, Bob Andrews, Billy Rankin, and later Ian Gomm, Lowe helped define the easygoing, roots-conscious approach that became known as pub rock. The band's ill-fated 1970 publicity stunt in New York cast a shadow over their early career, but they recovered by becoming a revered live act in London and beyond, championing concise songs over rock excess. During these years Lowe honed a writer's voice that balanced wit and tenderness; among the tunes he wrote was What's So Funny 'Bout Peace, Love, and Understanding?, a plea for empathy that would later become one of the era's most-covered anthems.

Stiff Records and the Producer as Artist
When the mid-1970s shook British music, Lowe stood at the front line. He was closely involved with Stiff Records, the raucous independent label steered by Dave Robinson and Jake Riviera. Lowe's single So It Goes, backed with Heart of the City, appeared at the very dawn of Stiff's catalog and set a tone of crisp, punchy pop with a mischievous grin. At Stiff he developed a reputation as a producer with a fast, musical ear and a philosophy summed up in his oft-quoted maxim: bash it out and tart it up later. Engineers and collaborators like Roger Bechirian helped him turn small studios into hit factories, and his hand on the faders became as notable as his voice on the microphone.

Elvis Costello, The Damned, and a New Wave Sound
Lowe's producing made a decisive mark on punk and new wave. He produced The Damned's landmark single New Rose and their album Damned Damned Damned, records widely credited with launching UK punk on vinyl. Even more consequential was his early and sustained collaboration with Elvis Costello, whose albums My Aim Is True, This Year's Model, and Armed Forces bore Lowe's taut, uncluttered production. Costello's ferocious cover of What's So Funny 'Bout Peace, Love, and Understanding? (included on US editions of Armed Forces) introduced Lowe's song to a worldwide audience. At the same time Lowe oversaw key recordings for Dr. Feelgood and cut the Pretenders' debut single, Stop Your Sobbing, capturing the lean immediacy that defined the era.

Rockpile and Solo Breakthrough
While his studio renown grew, Lowe's own records crystallized his sensibility. Jesus of Cool (issued in the United States as Pure Pop for Now People) framed him as a pop ironist who loved rock and roll too much not to tease it. The album yielded the UK hit I Love the Sound of Breaking Glass, co-written with Andrew Bodnar and Steve Goulding, and showcased his gift for tuneful hooks. He also found a powerful ally in guitarist and producer Dave Edmunds. Their band Rockpile, with Billy Bremner and Terry Williams, became a byword for unfussy, high-spirited rock. Because of label entanglements, Rockpile largely served as the backing and recording engine behind Lowe's Labour of Lust and Edmunds's Repeat When Necessary before finally issuing their own album, Seconds of Pleasure. Lowe's single Cruel to Be Kind, co-written with Ian Gomm, became a major international hit and remains his most recognized recording as a solo artist.

1980s Work and Shifts
The 1980s brought steady output and stylistic range. Albums like Nick the Knife, The Abominable Showman, Nick Lowe and His Cowboy Outfit, The Rose of England, and Pinker and Prouder Than Previous saw him exploring country-inflected pop, rockabilly snap, and classic songcraft, often with members of his touring band the Cowboy Outfit. He penned I Knew the Bride (When She Used to Rock 'n' Roll), a signature song propelled into the charts by Dave Edmunds. Even as fashion moved on, Lowe remained in demand as a writer, performer, and producer who knew how to anchor a song with economy and heart.

Reinvention and Songcraft
By the early 1990s Lowe chose to pare back the big-beat approach that had made his name. The Impossible Bird (1994) marked a reinvention: intimate tempos, burnished arrangements, and reflective lyrics, with his voice now front and center. Dig My Mood (1998) and The Convincer (2001) deepened this understated aesthetic, aligning him with classic songwriters rather than with genre labels. During this period Johnny Cash recorded The Beast in Me, a somber Lowe composition written years earlier; its presence on Cash's American Recordings helped spotlight Lowe's maturity as a writer. Another windfall arrived when Curtis Stigers included What's So Funny 'Bout Peace, Love, and Understanding? on The Bodyguard soundtrack, bringing Lowe unexpected mainstream royalties and reminding the industry how durable his songwriting was.

Personal Connections and Collaborations
For a time Lowe was married to Carlene Carter, the country singer whose lineage links to June Carter and Johnny Cash. The marriage ended, but the relationships remained cordial, and the artistic connections among Carter, Cash, and Lowe influenced some of his strongest material. Longstanding musical friendships continued as well: with Dave Edmunds he shared a decades-long conversation about rock and roll; with Elvis Costello he sustained mutual admiration that survived industry upheavals; and with producers and label figures like Jake Riviera and Dave Robinson he helped shape the business infrastructure that supported British new wave and its aftermath.

Later Years, Touring, and Ongoing Influence
In the 2000s and 2010s Lowe released At My Age and The Old Magic, records that carried his late-style confidence: urbane, humane, and sly. He also embraced seasonal material on Quality Street, proving that his instincts for melody and wry humor could refresh even holiday music. On tour he often partnered with Los Straitjackets, whose sleek instrumental attack framed his catalog in sparkling, modern tones. Collaborative EPs such as Tokyo Bay / Crying Inside and Love Starvation / Trombone introduced his songs to new audiences while reaffirming his standing with longtime fans. Through reissues and steady live work, he maintained a visible, active presence, especially through independent outlets like Yep Roc Records.

Style, Method, and Impact
Lowe's songwriting distills pop classicism into three-minute vignettes: clear chord changes, singable choruses, and lyrics that balance affection and bite. As a producer he prized feel over fuss, capturing performances that breathe rather than laboring over perfection. The roster of artists who benefited from that approach is formidable, from The Damned and Dr. Feelgood to Elvis Costello and the Pretenders. Bandmates and collaborators such as Dave Edmunds, Brinsley Schwarz, Ian Gomm, Billy Bremner, Terry Williams, Andrew Bodnar, and Steve Goulding testify to the community that formed around his songs and sessions. His catalog, whether delivered with Rockpile punch or with late-career restraint, has become a touchstone for musicians seeking craft without pretension.

Legacy
Nick Lowe stands as a rare figure who was both architect and participant in one of rock's great transitions: from pub rock's back-to-basics credo to the spiky intelligence of new wave, and onward to a late period of elegant, understated songwriting. He wrote at least two modern standards, guided some of the most influential records of the 1970s, and found a second act that traded volume for depth without losing charm. Around him clustered singers, players, producers, and label heads who trusted his ear and shared his love of sturdy songs. That enduring circle, and the durable work it fostered, continues to ripple through popular music.

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