by Stephen Thomas Erlewine
Beautiful Loser winds up sounding more like Back in '72 than its immediate predecessor, Seven, largely because Bob Seger threaded reflective ballads and mid-tempo laments back into his hard-driving rock. He doesn't shy away from it, either, opening with the lovely title track. And why shouldn't he? These ballads were as much a part of his success as his storming rockers, since his sentimental streak seemed all the more genuine when contrasted with the rockers. If anything, Beautiful Loser might err a little bit in favor of reflection, with much of the album devoted to introspective, confessional mid-tempo cuts. There are a couple of exceptions to the rule, of course -- &Katmandu& roars with humor, and his cover of &Nutbush City Limits& shames Tina Turner's original -- but they are the only full-throttle rockers here, with &Black Night& coming in as a funky, swaggering cousin. It's the exact opposite of Seven, in other words, and in its own way, it's just as satisfying. Occasionally, it might be a little too sentimental for some tastes, but it's all heartfelt and he's written some terrific songs here, most notably the album's heart of &Jody Girl& and &Travelin' Man.& Seger had started turning inward, searching his soul in a way he hadn't since the since-disowned Brand New Morning, and in doing so, he was setting the stage for his first genuine blockbuster.