Mountains is a fairly accurate summary of Nils Lofgren’s varied talents, especially considering the album was conceived and executed within the confines of pandemic lockdowns. Add to that the long list of famous names that dot the credits, including Ringo Starr, Neil Young, David Crosby, and Ron Carter, and if they are in any way indicative of how much Nils Lofgren had on his mind as he was prepping the project, the results are all the more impressive.
That’s not to say Lofgren’s fourteenth solo studio album since the demise of his group Grin is exactly perfect. Presaging his jaunty homage to the late drummer and co-founder of the Rolling Stones, “Won’t Cry No More (For Charlie Watts), “Ain’t The Truth Enough,” begins the record with a swagger and remains so for its duration. But little change in dynamics occurs besides the entry of Cindy Mizelle on background vocals and, as a result, this track sounds more like a recap instead of an intro.
As such, it would benefit from placement at the end, not the beginning of the thirty-eight or so minutes of this LP. With such pacing in place, the otherwise lachrymose conclusion of “Angel Blues,” celestial sounds of harp and all, would ideally set up this rock and roll track. Fortunately, other upbeat cuts like that aforementioned opener absolutely swing.
The steady, insistent motion of “Only Ticket Out,” for instance, is no doubt due to the well-oiled presence of long-time Lofgren collaborators drummer Andy Newmark and bassist Kevin McCormick. And Nils’ guitar also sounds suitably nasty whether he’s riffing or playing lead there. Thus, it’s fair to say that throughout Mountains, he maintains his own style of writing and playing more often than not.
Unfortunately, his singing voice becomes overwhelmed by the Howard Gospel Choir on a Bruce Springsteen composition titled “Back In Your Arms.” Perhaps Lofgren, a member of the latter’s E Street Band since 1984, doesn’t trust in the strength of his own vocals. But the fact is, his boyish tones still radiate a rare emotional honesty, a quality complemented by the delivery of vulnerable harmonies from the aforementioned Canadian rock icon on “Nothin’s Easy (For Amy).”
There the somewhat murky audio mix for this record, reminiscent of many Seventies efforts by CSN’s friend, works to positive effect. With the added attraction of alternately tuneful and wailing guitar, “Dream Killer” proceeds at a more pointed pace, so it’s no surprise the redoubtable rhythm section reappears. And on “Only Your Smile,” Mizelle is delightfully restrained singing along with Lofgren’s piano and the jazz icon’s precisely-placed bass notes.
The latter number may be the highlight of this record. It’s certainly the most fully realized, well-executed arrangement. In contrast, however, “I Remember Her Name” is so busy it’s almost impossible to hear Croz’s voice, while “We Better Find It” is overly dense too, suggesting that, next time Nils Lofgren’s inspired to record an album, it’d behoove him to engage with an objective third party to help produce the album (a task he assumed here along with his spouse).
Based on the slightly erratic nature of Mountains, such an alliance would ensure the versatile skills Nils Lofgren still commands would receive all the attention they deserve and in the proper proportion too.
