Call me crazy, but my favorite latter-day Elvis Costello album is Momofuku. Recorded on a whim with whatever collaborators he had access to at the time (including a perfectly utilized Jenny Lewis), it’s easy to disregard. Then again, to do so would mean missing out on The Imposter at his most urgent and energized. Costello put a strict limit on how much time he spent on the record, which naturally gave the whole thing a sense of stakes. Momofuku was the sound of a man trying — and succeeding — to beat the clock.