Jackson Browne - C or D?

ok wait i think the lines were "you've heard that hollow sound/of your own steps in flight." what a precious-precious line.

my mom has a lot of jackson browne records.. guessing by this thread, i should steal "running on empty." which others are worthwhile?

i am not drunk, unless one can get drunk on turkey and peach cobbler.

Ah, the gang: I knew it well. I'd had an encounter with one of its thugs, see, and in the process got tossed by said mag for telling what was it?, oh yes, the truth. This was '72. After several false starts, Jackson Browne finally had an album out, which seemed a good occasion to bring to light some interesting hokum from his past--I'd known the mutha since '67. So I did the first feature on him for Rolling Stone or anywhere else--a rave, for crying out loud, and he freaking hated it, thought it made him look "too punk." And what might be so wrong with that? Before twelve people knew who the fuck he was, he was like some weird-isn't-the-word cross between the Young Marble Giants, say--or from a later universe: Cat Power--and Byron or Shelley. On his first visit to New York, he backed up (and horizontal-danced with) the fabulous NICO, had a connection to Lou Reed and the Warhol crowd, blah blah blooey. So I talked all this stuff up--what the hey--it was what I thought would make him MOST APPEALING. And he's so upset he gets Asylum Records prez David Geffen to call the Stone and have me booted, good riddance, don't come back.

Four years later, I was eating at South Town Soul Food in L.A. when Jackson walked in with gang-sister number one Linda Ronstadt. Not wanting her exposed to my cooties, he motions for her to stay put, struts over, sits down, and in less than a minute explains to me how it is. "We singer-songwriters"--he always relished being part of something (but imagine calling yourself such hogwipe)--"feel we get a better shake from this Cameron kid...he never challenges us...accepts our side of the story...we don't have to worry what he'll say...no offense, but..." I.e., writers exist to write-about-musicians, bub...so go wash dishes or something.

poor thing.

Lots of comments here on the Jackson songs recorded by Nico on Chelsea Girls, plus Meltzer's comments on Jackson's early songs. There was a double LP acetate album produced in '67 as a songwriting demo album. Jackson has never released the stuff, but it has been bootlegged as the Nina Demos. I think Meltzer's comments are a little over the top--there's a saccharine element to some of these songs--but I swear there are like fifteen or more songs on the thing that are as good as those three songs on Chelsea Girls.

Steve Noonan's Elektra album is worth hearing. Meltzer has some things about it in Aesthetics of Rock.

i must say: alex, you've outdone yourself

i dunno, his sense of humor seems really academic and leaden to me. i say this as a pretty big fan of his first 2 1/2 records.

I also love his "Mae Jean Goes to Hollywood," done brilliantly by the Byrds...and I just heard a good version of it by Johnny Darrell, on this Raven Byrds-associated song comp called "Byrd Parts 2."

I mean, I think that's his best song ever.

Overall, though, not someone I go back to. I kinda think "Running on Empty" album is all right. He was on the road and all. I share Alex's wish to consign the Eagles to some eternal hell, though--even though I admit to liking "Take It to the Limit" and sort of halfway respecting some of what they did otherwise, like "Life in the Fast Lane," which is, uh, really well performed and recorded...

The other day I had a sudden, intense need to hear "Tender Is the Night" and "The Pretender" and maybe also "Rock Me on the Water" and even "Lawyers in Love." Just for grins I thought maybe I also needed "Running on Empty" as well.

Holy moley. The dude is catching some very specific range of Boomer middle-aged melancholy that I'm going to find irresistible for a week and then put back on the shelf for another couple decades, but don't harsh my mellow just yet.

I never want to hear "Doctor My Eyes" again but there are a few lyrics of his that I absolutely need to have exist. God sends his spaceships to America. I want to know what became of the changes we waited for love to bring. Looking into their eyes I see them running too. Tender are the hunters. Just make sure you've got it all set to go before you come for my piano.

The production values show some of the worst late-70s excess and bigness/slickness, but then he mostly stick to recognizable, basically timeless rock instrumentation--few synth drums, few sax solos--and it has some agreeable white-t-shirt purity to it. His voice can be too earnest and a bit laconic, but at the same time, the way he sings "the benediction of the neon light" and "now we've got all this room, we've even got the moon" charm me.

I think Springsteen definitely was influenced by Browne, in some way, though I don't hear any musical similarities. They're peers, almost the same age, both released debut albums at 23 (and Jon Landau later produced "The Pretender"), and I think they met one another before Springsteen released his first album, but the two have pretty different backgrounds. Saw this:

https://estreetshuffle.com/index.php/2021/03/24/matr-jackson-browne-and-bruce-springsteen-running-on-empty/

And of course Bruce later inducted Browne in the rock and roll hall of fame.

https://www.youtube.com/watch?v=8YFyC6pnz-k

Bruce had a relationship with Zevon, too, of course. That's surely why he kept crossing paths with them both, showing up on stage/albums, etc, to pay his respects. But I don't hear any of that strain of LA singer/songwriter in Bruce at all, whereas for sure Brown and Zevon (and others) at times tried to recast themselves in Bruce's more (musically) muscular image. Iirc Springsteen is what made Zevon shift from piano to more guitar, and his live shows reportedly (in the oral history, I believe) tried to emulate the more energetic side of Springsteen as well.

Always loved this video:

https://www.youtube.com/watch?v=ACSeVC6umzg

(Gotta admit that Bruce's speech makes me want to give Browne yet another shot.)

I thought Springsteen's influence on Browne really manifested itself with The Pretender. (Probably helps that Jon Landau produced it.) I don't know Browne's history that well, but I got the impression he started off more as an aspiring songwriter whereas being a musician (specifically a guitarist) and a performer was always there from the very start with Springsteen. Years before Browne got the chance to record an album proper, he already had songs recorded by Nico and the Byrds, and of course the Eagles famously laid claim to one before it was even finished (and before they even made an official record of their own).

So with that in mind, it's no surprise that Browne's first three albums seemed to grow out of the Laurel Canyon sound. I wouldn't call them anonymous sounding records - Lindley alone made them distinctive - but they sounded pretty organic to that scene and Browne was very much a part of that. Then comes The Pretender and there's a tougher and lusher sound, more muscular and more polished, and more importantly his singing follows suit as well. Then he makes a bigger leap with Running on Empty where he's singing with more authority than he's ever had, and the band is tighter and more rocking too. With those two albums and the next one, I got the feeling he knew how Springsteen's records sounded and how great the E Street Band were, and he basically used them as a model to update his sound. When he became inspired by the way Springsteen made his sociopolitical conscience work in his music, that set him in another direction with his next three albums (starting with Lawyers in Love) - at least that's how it seems to me, I'm not sure if that's actual fact.

Truth be told, I think his songwriting was at its best on the first three albums. The Pretender was the best sounding record he made at that point, but it came with a weaker batch of songs. Running on Empty is his best work in terms of performance, but it's a much less interesting and original work than any of his first three albums, and I think it says a lot that it's heavy on co-writes with a few covers thrown in - it's as if he was shifting more focus to other things besides the songwriting. The politically-oriented albums are admirable, but what he makes of the subject matter is much less compelling than what he's done before. Except for "Lawyers in Love" (which may be helped by its humor), and two love songs picked as singles, the only other cut I enjoy from those albums is actually a cover, and it gets over more for performance than the lyrics.

FWIW his residency at the Beacon Theater in NYC (which starts tonight) has plenty of seats at every show and they’re much more affordable than they were when they first went on sale. Upper balcony is $35 plus fees and you can get a good seat somewhere in the middle of the orchestra for like $80 or $90.

This is so worth it. The show was nearly three hours with a brief intermission (felt like 5 minutes). He actually played 25 songs instead of the tour's usual 23. Four were from his new album, and they surprisingly held their own with one song sounding like a sequel to "These Days" (which he also played). Four were from Late for the Sky which made me really happy because the last time I saw him at the Beacon, he didn't do any songs from it, and they were amazing - the album was already a favorite, but I couldn't believe how gorgeous those songs can sound live, especially with the subtle additions he made to the arrangements. (IIRC two of them began as solo numbers that carefully built their arrangements up verse after verse.) The lead guitarist was great - David Lindley is a tough guy to replace because he's such a distinctive part of Browne's earlier works, but the guy managed to strike the right balance between being faithful to the original leads and adding his own spin on the solos. The one for "These Days" were just beautiful, I was floored. There was also a comic moment on "Stay" (the show's last number during the second and final encore) where he had to play traditional country licks for the "country & western" reference, and HE COULDN'T DO IT! Browne joked about that, which was fine, it was really the only time during the whole show where he had to go all-out country and that wasn't what he was playing before.

Really, really great, glad I went. It didn't occur to me to buy tickets at the box office - I wish I had tried that to see if that would avoid Ticketmaster fees as they had plenty of seats and weren't going to sell out, but it was still a cheap ticket. I paid probably 3x as much when I saw him in 2019 at the same venue and this show was better.

https://www.setlist.fm/setlist/jackson-browne/2022/beacon-theatre-new-york-ny-23b2c02b.html

*was just beautiful

Hah, shows what I know - the one that sounds like a "These Days" is actually from Standing in the Breach.

there were some good tunes on Standing in the Breach

saw him live 7 years ago and his band was one of the best I had ever heard, would buy tickets again any day

I think Standing In The Breech also includes a or the short version of "You Know The Night," originally on Note of Hope, where various artists put music to the words of Woody Guthrie. It's from a letter or journal entry about the night Woody met his future wife Marjorie, mother of Arlo and Joady and Nora, who instigates these words-to-music projects: JB's original, which he said came from taping Woody's pages up all over the room, was over 14 minutes long, and great; NoH also had a 4-minute radio edit, and I think that's the version he usually or always does live.

Here's the epic:
https://www.youtube.com/watch?v=hgm1cCfFuOE

Concert version of the edit:
https://www.youtube.com/watch?v=hgm1cCfFuOE

Oops here's second one I meant to post

https://www.youtube.com/watch?v=QmWYcgjiE0c

Whoah nice! I totally missed Note of Hope. I forgot when they first did Mermaid Avenue, they mentioned they were going to continue creating music for Woody's unpublished words beyond having Bragg and Wilco do it.

Now that you mention it, I just checked, and here's a fairly mind-blogging list of Woody projects to date, in various media, with descriptions---I knew some of them, like the Klezmatics albums, with all songs completed by Woody, I think (got interested in Jewish life via Marjory and her fam)---also, the tribute concert issued in '72 is mentioned here, and I have that LP, with scorching set by Dylan & The Band etc---also have all three volumes of Mermaid Avenue, and some others--but maaan: https://www.woodyguthrie.org/norapress.htm

lol my cousin and her husband are suing Jackson Browne for access to their property.

https://www.newsbreak.com/news/2816497086916/famed-songwriter-jackson-browne-wrestling-property-dispute-in-santa-cruz-superior-court

I hope they have lawyers...

in love

Something about this Jackson Browne song sounds like something from "Graceland" at half-speed:

https://www.youtube.com/watch?v=er1SCSOaTb4

Some weird comments on that video. Like the first one:

Time can't touch this tune,. Good memories cruising with friends, jamming, drag racing,. Anything was possible in the night, we were lucky to had them. I'm 52 now. But it's fresh as yesterday.

Which means the guy was, what, 15? In 1983 or so? The comment is written like some grandpa extolling the '60s, not the early '80s. This is an OK song, but not the sort of thing that would (or should) make a teen want to tear things up.

I like this track, but I can honestly say it's never made me thinking about driving, much less drag racing. It sounds like something out of comedy, where a guy revs up his car, cranks up this tape and the other passengers are like WTF.

Like, "Breaking the Law"? Sure. "Tender is the Night"? Nope.

I love that song so much. It made me want to grow up so that I could meaningfully stroke my chin and think baout things, such as being in a sadly doomed romance. Drag racing was not on the agenda. It felt more personal and intimate than its close companion, "Lawyers in Love," which was mixed up with all sorts of Reagan-era apocalypolitical stuff. Whoever made that comment is either deluded or just plan weird.

Josh --

That YouTube comment is fairly typical.

It's just the cultural version of false memory syndrome, where everything in the past blurs into a fuzz of vague meta-nostalgia.

"Yes, I was born in 1975. Whenever I listen to Billy Joel's 'Keeping the Faith' or Paul Simon's 'Late in the Evening,' I am reminded of how much we enjoyed Sen-Sen mints and the many street-corner doo-wop groups in my neighborhood, and how the cars all had big fins on them. Then we'd go down to the diner, to see if the Fonz was there. Man, that Cuban Missile Crisis sure was something, wasn't it?"

still not sure who started the fire tho

After all, it was you and me.

lol

I am reliably informed that you can't start a fire without a spark

he's very likeable in the eagles doc

taught glenn frey how to write songs (indirectly, frey was living in the apartment above browne, would wake up to the sound of browne's piano through the floor, listening to browne playing the same verse over and over, 20 times, until he had it down)

will i ever be able to hear "fountain of sorrow" without bursting into tears

you've had to hide sometimes, but now you're all right

thats a great song. lady of the well is the jb track that currently gets me.

you've had to hide sometimes, but now you're all right

gets me absolutely every time

It's a good song.

I can still be undone by "Rock Me on the Water," or even "Tender is the Night."