Review: Veteran Rocker Nils Lofgren Displays Multiple Talents on ‘Mountains’

Nils Lofgren
Mountains
(Cattle Track Road Records)
3 out of 5 stars

Singer/songwriter and ace guitarist Nils Lofgren has never hit the big time, but he has never been far from those who have. Working next to Neil Young on After the Gold Rush when he was 18, co-penning tunes with Lou Reed, and (since 1984) joining Springsteen’s E Street Band, Lofgren has carved out a career for being best known as a shotgun-rider for others.

But that shouldn’t dismiss his clutch of spotty, occasionally terrific, solo albums from the mid-’70s, in addition to years as frontman for the bubbling-under but never boiling band Grin in the early part of that decade. Nevertheless, Lofgren stayed busy in music even if he never broke through commercially on his own.

Lack of talent is not the issue. On this album, his first of original material in over a decade, he is credited with keyboards, bass, drums, vibes, and even harp. And of course guitar, an instrument on which he has established a specific, identifiable sound through the decades. Add a distinctive youthful voice and you have the potential for a credible one-man band. It helps to have your own studio for overdubbing at will, and inputting others’ contributions when needed.

Assisting on these ten songs are legends like jazz bassist Ron Carter (on the lovely ballad “Only Your Smile”), the late David Crosby for one of his final album appearances, Neil Young (providing subtle harmonies on the love song to Nils’ wife “Nothing’s Easy”) and Ringo Starr who brings drums for one tune and momentary vocals to the thumping pop-rocker “We Better Find It.” That track also includes, for better or worse, a children’s choir.   

Lofgren’s strength lies in upbeat compositions like “Won’t Cry No More” (dedicated to Charlie Watts), the mid-tempo rocking opener “Ain’t the Truth Enough” and its follow-up, the slower yet insistent pumper “Only Ticket Out.” The latter is enhanced by an organic, bluesy guitar solo and soulful, often intense approach to a song about an alcoholic who has reached the bottom and is looking for a way out. Lofgren goes to church for the touching love song “Back in Your Arms” bringing in a full gospel choir for arguably one of the finest, most moving, and fully formed items in his catalog. It deserves to be a hit. Maybe Bruce will let him sing it at a show.

But the set suffers from an excess of ballads. Some, like “I Remember Her Name,” a song about searching for love that he finally found with his wife, are well-meaning but hew towards the cheesier side. Other piano-based narratives like the closing “Angel Blues” are delicate, pretty, and charming, but edge dangerously close to schlocky and don’t play to Lofgren’s tougher talents.

Thankfully there’s enough solid material here displaying Lofgren’s impressive vocal, instrumental, and songwriting qualities to punch another notch on his belt of good but not great albums. 

Photo by Carl Schultz / Missing Piece Group