Flipside Of The Awful Eighties
Right smack centre in the musically awful 80s and I discovered Nils Lofgren with my cassette copy of his superb album Flip. I’d known of him like many as guitarist in the E Street Band but wasn’t really aware of his independent career, though I’ve collected most of his Grin and solo work on vinyl since then. I was also unaware at the time of his 17 year old cameo on Neil Young’s After the Gold Rush and involvement a little latter on Tonight’s The Night. And this only scratches the surface of his involvement with other bands, musicians and live performances, individual and communal.
Lofgren’s vocal is light and an acquired taste, but I
acquired a love for it long ago and think this aspect of his work is underrated.
The same could be said for his guitar playing: those who know his work will
surely not have this problem, but he doesn’t appear to be more widely and
generally acknowledged as one of the greats. I’m not sure I have the most
accurate description of his style, but the signature sound is the way he plays
and uses the guitar’s harmonics, and the feedback he rides off this. Not
surprisingly, Lofgren sites Hendrix as an influence, but the feedback aspect is
different to Jimi’s. Another stated and perhaps bigger influence is Roy Buchanan.
Truly awesome examples of this can be seen and heard in Lofgren’s mid 70s
performances with Grin on the Old Grey
Whistle Test [on YouTube]. Check out Back
It Up, Cry Tough, but especially his brilliant Keith Don’t Go where near the end of his lengthy solo you get an
excellent example of his finger-picking those harmonics - then Lofgren
self-duets with electric piano and guitar, ever keen to showcase his
virtuosity. There’s also a 1981 OGWT
of him playing Night Fades Away and
this take us towards the time when Flip
was released in 1985.
Ignoring the irony of my raving about anything from the 80s,
Flip is a bright and energetic album,
even the decade-delighting in synth-sounds, which feature throughout, unable to
spoil my enjoyment in this – cue opening to Secrets
in the Streets with its anthematic chorus, strident drum beats, harmony
vocals and harmonics-tinged guitar combining to bring a kudos to that
synthesiser wash. Delivery Night is,
for me, more typically Lofgren as songwriter and performer with its gentle
vocal delivery and narrative core – hints of 50s/60s rock’n’roll balladry [sha-la-la baby] echoing throughout along
with that distinctive guitar.
King of the Rock
is in many ways archetypal eighties fare, but the guitar drives this too with
an authority salvaging it from my aural rejection: Lofgren’s rock-roots
triumphing in controlled feedback and echo in an elongated solo ending. Peach
track on the whole album and in my all-time list of greats is Sweet Midnight, guitar wail railing
against the 80s drum beat at its beginning. Vocal echoing runs through this
track too, but the guitar is always on the top driving towards the false funky end
of screeching, hisses and yelps – until it slices back in victory. New Holes in Old Shoes is an acoustic, harp
and blues tune that steps outside the time frame to remind us of Lofgren’s musical
roots, electric solo again at the end dancing with the harmonica.
The album ends on two classic Lofgren songs, Dreams Die Hard and Big Tears Fall, the former a love lament and the latter a beautiful
if slightly lachrymose ballad. BTF
foregrounds the gentle vocal that is distinctly Lofgren, and the sweet saccharine
of the lyrics is a genuine reflection of his earnest honesty and innocence as
man and performer.
I had the pleasure of seeing Nils Lofgren play an acoustic
set at a small venue in Plymouth. Bliss.
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