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For many writers, myself included, the hardest part of writing a feature story is the opening sentence. It can be even harder when trying to describe the career of a distinctively talented guitarist, singer, keyboardist, and songwriter like Nils Lofgren. Just what can you say about a guy who played with Neil Young at age seventeen, had success with his own band, followed that with a fruitful solo career, plus a
twenty-five-year stint as a member of Bruce
Springsteen’s E Street Band, a composer for
television and movies, and now, an online
guitar teacher? What would be an appropriate
phrase? How about “Truly remarkable.”
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photo: Mark Hendrickson
Nils Lofgren, as they say, is the real deal:
a forty year rock ‘n’ roll survivor, who has
experienced one of the most noteworthy
musical careers anyone could possibly hope
for. The consummate rocker, Lofgren easily
juggles multiple roles as a bandleader,
solo artist, sideman, session player and
music teacher. Born of Swedish and Sicilian
parentage, Lofgren will turn 58 in June, and
despite a recent double hip replacement,
shows absolutely no signs of slowing down.
In fact, he’s raring to go, ready to resume
his solo acoustic club gigs, and possibly an
upcoming worldwide tour with Springsteen
and company in 2009.
You seem to be most closely identified
with Fender guitars. Why so?
When I first started playing guitar, I loved
Jeff Beck, so I started with a Telecaster, and
played that for two years. Then, I gravitated
to Jimi Hendrix and the Strat. My favorite
old Strats are the ones I’ve been playing for
years, both ‘61s. I also have some reissue
Strats. I’m a very physical, exuberant player,
and Fenders really hold up to a beating.
I’ve found that with a Fender, you can lose
your finesse and not totally lose it on the
instrument, if you can understand that. I
like to lean into the guitar and use those
five settings you can get out of a Strat. I
like playing lots of different guitars, but I’ll
always reach for a Strat. It’s the most beautiful
electric guitar ever made.
Fender recently has supplied me with some
Gretsches, including a couple of Black
Falcons and Black Penguins that I use with
Bruce. They’re working out well.
I also like playing Jazzmasters onstage with
Bruce. When I mix the Jazzmaster with
Bruce’s Telecasters or Broadcasters, and
Steve Van Zandt’s Strats, it sounds very
sympathetic with their guitars. With the
Jazzmasters, I use D’Addario 13–56 gauge
strings, which are very heavy. That gauge
doesn’t “splat,” if you know what I mean.
With all the adrenaline pumping onstage,
the Jazzmaster, with those strings and the
thumb pick, work great.
I noticed you used a thumb pick exclusively.
I’m left-handed, and when I started to play
guitar, I found a thumb pick in the case of
my dad’s guitar. After about eight or nine
months, some of my guitar-playing friends
told me I was doing it all wrong… I should
use a flat pick, but it didn’t work for me.
Any Gibsons or other electrics?
I have a real nice ’52 Goldtop Les Paul that
I played when I did the Trans Tour with Neil
Young years ago. It was a nice combination
with his “Old Black” Les Paul. I also have an
Epiphone Les Paul I used when I did the tours
with Ringo Starr & The All-Starr Band. Now, I
just use those guitars in the studio.
How about amps?
Back in the old days, I used blackface
Fender Super Reverbs with four 10"
speakers. I eventually moved on to Hot
Rod DeVilles for my electric gigs, then to
Fender Vibro Kings with three 10" speakers.
Lately with Bruce, I’ve been using two Twin
Reverbs onstage to hold my low-end effects,
and they’re working out real well.
Why do you like Fenders amps?
When you turn a Fender up to about 7 or 8,
you get a very comforting, warm saturation
that I really like, without the fuzziness. It’s
very natural and doesn’t take away the metal
from the strings. With the thumb picks I use,
they give me a very percussive sound that
enhances the warmth. There’s no harshness. I
don’t like amps that sound brittle or harsh.
Do you endorse any products?
My endorsements are limited. I have deals
with Fender, D’Addario for strings, and
Takamine acoustic guitars. All of those
companies are very helpful, and none of
them insist on exclusivity, which I appreciate.
How about effects?
On tour, I use a large rack of effects that’s
run by my tech, Roy Witte, who’s been with
me for about eight years. We have a POG,
a Poly Octave Generator built by Electro-
Harmonix; two Barber Burn Unit Overdrives;
a Line 6 Delay, the green one with the
backwards sounds; a couple of Boss Octave
pedals and a Boss Delay. I really like having
my effects at my feet, but it’s been getting
more and more complicated since the last
tour with this big rack unit. Roy has programmed
three or four rack pedals to kick
in with one stage pedal setting.