Posts Tagged ‘Jackson Browne’

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Jackson Browne performs “Something Fine” for Fretboard Journal Filmed at Browne’s Santa Monica, California studio on February 16th, 2011 by Jason Verlinde of the Fretboard Journal. From Browne’s self-titled debut album. “Jackson Browne’s success as a singer, songwriter and guitarist has had a prolific impression on the music industry throughout his successful career. Jackson has never shied away from expressing his emotions or thoughts through his music.

Hey everyone – We’re working on a playlist of Jackson Browne “Next Steps” songs. These are deeper album cuts that your average listener might not know about. Would love your suggestions on songs you’d like to see included.

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Tom Petty & the Heartbreakers played their first show of 2015 on December 19th – a surprise set during Mike Campbell and Jonathan Wilson’s fourth annual Merry Minstrel Musical Circus: A Holiday Gathering & Jamathon at the Troubadour in Los Angeles. Joining Petty onstage was none other than longtime Petty collaborator Jeff Lynne.

Since regular Heartbreakers drummer Steve Ferrone was unavailable, Dirty Knobs drummer Matt Laug filled his role for tunes like “Mary Jane’s Last Dance” and classic rock covers like “Little Red Rooster” and “I’m A Man.” 

The night also featured the rest of Campbell’s side band Dirty Knobs, Dawes, Jackson Browne, Duane Betts, and members of My Morning Jacket.

Jeff Lynne had recently powered up ELO after a much too long hiatus (since re-named Jeff Lynne’s ELO) and had released Alone in the Universe in November 2015.

This was the 4th annual Merry Minstrel Musical Circus at the Troubadour in Hollywood, CA. This show is put on by the Tazzy Fund ( Rock the Dogs (Mike & Marcie Campbell) and Jonathon Wilson, on behalf of musical education within the LA Unified School District.SHOW LESS

Laurel Canyon is a neighbourhood in Los Angeles, but for a lot of music fans it’s a time and place, and a shorthand for a mystical folk-rock sound that included Joni Mitchell, Crosby, Stills, Nash & Young, The Doors, Linda Ronstadt, Jackson Browne, the Eagles and many more. This two-part docu-series, made by Alison Ellwood (who also directed The Go-Go’s), gives an overview of the scene, the sound and the people who made the music. “Through a wealth of rare and newly unearthed footage and audio recordings, the series features an intimate portrait of the artists who created a musical revolution that changed popular culture. Uniquely immersive and experiential, this event takes us back in time to a place where a rustic canyon in the heart of Los Angeles became a musical petri dish.”

Pulling back the curtain on a mythical world and provide an up-close look at the lives of the musicians who inhabited it.

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Jackson Browne has written and performed some of the most literate and moving songs in popular music and has defined a genre of songwriting charged with honesty, emotion and personal politics. He was inducted into the Rock and Roll Hall of Fame in 2004 and the Songwriter’s Hall of Fame in 2007.

Except for a brief period in NYC in the late 1960s, Jackson has always lived in Southern California. His debut album came out on David Geffen’s Asylum Records in 1972. People may talk about Late For the Sky or Running On Empty, but Jackson Browne’s career starts right here with “Saturate Before Using”. In this, his first album, Browne proves to be a mellow musician, but an imaginitive and thoughtful writer.

It’s not often that a single album is sufficient to place a new performer among the first rank of recording artists. Jackson Browne’s long-awaited debut album chimes in its author with the resounding authority of an Astral Weeks, a Gasoline Alley, or an After the Gold Rush. Its awesome excellence causes one to wonder why, with Browne’s reputation as an important songwriter established as far back as 1968, this album was so long in coming. Perhaps Browne acquired performing abilities worthy of his writing skill only after much hard work. Whatever the reason, Jackson Browne is more than worth the years it took to be hatched.

I mention the possibility that Browne has honed his performing skill mainly because of a vocal style that bears a certain resemblance to Van Morrison’s. Browne may well have used Morrison as a model, because that singer’s dynamic phrasing and syntax — with those mid-phrase halts, work-packing and spreading, and drawn-out syllables — are integral parts of Browne’s style, too. The Morrison influence is most audible in “Rock Me on the Water” and “Under the Falling Sky,” with their lilting, gospel-like movement (these two would make excellent singles) but it comes across in subtler ways in several other songs.

But what might have seemed uncomfortably derivative in other hands becomes merely a sound starting point for Jackson; his artistry takes the Morrison elements to a place completely his own. For one thing, Browne’s voice is uncolored except for a bluegrass-nasality; it’s not a particularly powerful voice, either, but it’s quite flexible. That straight-faced, country-boy sound — somewhat akin to Clarence White’s in tone — lends his vocal style an endearing, innocent earnestness that enables Browne to deal with overtly romantic themes without ever coming across as self-conscious or precious.

The songs themselves reveal Browne as a classic romanticist; they’re possessed of that same earnest intensity found in his voice, and their prevailing moods are so strong that singers as diverse as Tom Rush, Johnny Darrell, Nico, and Clarence White can sing them without significantly altering their tone or substance. Browne’s songs, no matter who sings them, seem to have a life of their own. After hearing this LP, it’s clear to me that no one has done them nearly as well as Jackson himself, and it’s not likely that anyone will.

“Jamaica, Say You Will,” the opening track, is an exquisite love song, and it perfectly embodies Browne’s writing and performing approach. This narrative of the relationship between the singer and Jamaica, the daughter of a long-absent sailor. A full-chorded grand piano gives the song a rolling, even motion and a certain austerity of mood. Browne plays his voice off the piano’s restrained tone, soaring up from his own basically understated vocal in mid-verse and chorus. While the music sets the tone, Browne deftly tells the tale, his imagery charged with vivid suggestion. Jamaica and her lover share an idyllic, youthful romance in the high grass of a coastal village, but the singer feels a twinge of apprehension cut into his bliss: “Her father was a captain on the rolling seas,/She would stare across the water from the trees./The last time he was home, he held her on his knee/Told her next time they would sail together, just where they pleased…”

Inevitably, the time comes; the singer laments that one day they’d been hiding from the world together, and on the next, without warning, “They had brought her things down to the bay./What could I do?” And his callow plea in the first chorus to “Fill my empty hours” becomes a plea of teeth-gritting urgency in the third to “Fill my sails/And we will sail until our waters have run dry.” But there’s no chance of his fulfilling his dream, as he’s known all along.

Much of the dramatic force of “Jamaica” derives from its gorgeous choruses. Each chorus builds tension by offsetting its lyrical meter from the movement of the music, so that the first part of each line is packed tightly and the second part is stretched out, as here, in the second chorus:

Harmonies enter at the “Sayyy” section of each of the first three lines, accenting the rush of words that precedes them. All the tension built up by the struggle for balance between the lyrical and musical structures resolves itself gracefully in the even last line. Naturally, Browne’s single-minded delivery drives the tension to even greater heights, and the song soars. It’s as moving a love song as I’ve ever heard.

What’s astounding about this record is that there are a half dozen tracks of “Jamaica”-beauty (“Song for Adam” and “From Silver Lake” are especially affecting), and none of the ten songs is any less than brilliant and lovely. Each has the immediacy of a touch, due in part to Jackson’s first-person approach.

The music is as direct and fluid as the lyrical content. It’s arranged and played with appropriate restraint by a dozen Los Angeles session favorites, among them Sneeky Pete, Craig Doerge (his piano playing is particularly sensitive), Lee Sklar, and Russ Kunkel. David Crosby’s harmonies haven’t sounded this real since he left the Byrds. And although you’ll hear, aside from the standard acoustic guitar, piano, and bass, the sounds of electric guitar, organ, mouth harp, pedal steel, and viola, these instruments are subdued and spread carefully through the ten songs. No one get’s in Jackson’s way — it’s completely his album.

Jackson Browne’s sensibility is romantic in the best sense of the term: his songs are capable of generating a highly charged, compelling atmosphere throughout, and — just as important — of sustaining that pitch in the listener’s mind long after they’ve ended.

Jackson Browne’s sensibility is romantic in the best sense of the term: his songs are capable of generating a highly charged, compelling atmosphere throughout, and-just as important-of sustaining that pitch in the listener’s mind long after they’ve ended.
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One of the reasons that Jackson Browne’s first album is among the most auspicious debuts in pop music history is that it doesn’t sound like a debut. Although only 25, Browne had kicked around the music business for several years, writing and performing as a member of the Nitty Gritty Dirt Band and as Nico’s backup guitarist, among other gigs, while many artists recorded his material. So, if this doesn’t sound like someone’s first batch of songs, it’s not. Browne had developed an unusual use of language, casual yet full of striking imagery, and a post-apocalyptic viewpoint to go with it. He sang with a calm certainty over spare, discretely placed backup — piano, acoustic guitar, bass, drums, congas, violin, harmony vocals — that highlighted the songs and always seemed about to disappear. In song after song, Browne described the world as a desert in need of moisture, and this wet/dry dichotomy carried over into much of the imagery. In “Doctor My Eyes,” the album’s most propulsive song and a Top 10 hit, he sang, “Doctor, my eyes/Cannot see the sky/Is this the prize/For having learned how not to cry?” If Browne’s outlook was cautious, its expression was original. His conditional optimism seemed to reflect hard experience, and in the early ’70s, the aftermath of the ’60s, a lot of his listeners shared that perspective. Like any great artist, Browne articulated the tenor of his times. But the album has long since come to seem a timeless collection of reflective ballads touching on still-difficult subjects — suicide (explicitly), depression and drug use (probably), spiritual uncertainty and desperate hope — all in calm, reasoned tones, and all with an amazingly eloquent sense of language. Jackson Browne greater triumph is that, having perfectly expressed its times, it transcended those times as well. (The album features a cover depicting Browne’s face on a water bag — an appropriate reference to its desert/water imagery — containing the words “Saturate Before Using.” Inevitably, many people began to refer to the self-titled album by that phrase, and when it was released on CD, it became official — both the disc and the jewel box read Saturate Before Using

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In celebration of Earth Day today (April 22nd), Jackson Browne has released a new single entitled, “Downhill From Everywhere”. The rock tune joins the previously-released “A Little Soon To Say” as the second track to appear on Browne’s forthcoming studio album, scheduled to for release on October 9th. Last month, it was reported that Browne had tested positive for COVID-19 following a trip to New York City in mid-March. His symptoms were pretty mild, however, and did not require any special medication or hospitalization.

In addition to the song’s arrival onto major streaming platforms, “Downhill From Everywhere” appears in the trailer for the Discovery Channel‘s new documentary, The Story of Plastic, which premieres tonight.

“People have gotten a glimpse of what it’s like to have no smog,” Browne said of the current state of the environment without the use of cars in people’s daily lives thanks to COVID-19. “Nature has gotten a break, and it’s visible; you can see it. People are suddenly saying, ‘Oh, yeah, this is what it’s like when the skies are clear and birds are singing!’ People in Spain were telling me, ‘We saw dolphins swimming, and we never see that.’ The natural world is sort of coming back. We’ll see how long that lasts.”

This is the 15th studio album from Jackson Browne, “Downhill From Everywhere”, is a delightful easy listen, loaded with that classic contemporary charm Browne has been synonymous with. You know what you’re getting with Browne: no frills, nothing out of left field, and he’s never trying to do too much.

Browne’s single, “My Cleveland Heart,” definitely hits that heartland songwriter-rock sweet spot. And the subsequent music video is worth a watch, too. He is seen looking like Tommy Chong’s younger brother (I say that as a compliment) who receives a mechanical heart transplant among many medical onlookers and surgeons who are simultaneously singing his song, and soon don their respective instruments, hospital garb in tact. There’s even a Phoebe Bridgers sighting (she’s everywhere these days) as a nurse, later seen post-gnaw on Browne’s former heart.

If you’re looking for some experienced and refined blue-collar song writing, you can’t go wrong with Browne and “Downhill From Everywhere”.

Downhill From Everywhere · Jackson Browne, Inside Recordings
written by : Greg Leisz, Jackson Browne, Jeff Young

2 Meter Sessies

2 Meter Sessions: A legendary archive of music sessions. Songs in different renditions. From a single guitar and a small or acoustic version to complete bands that go full throttle with an electric set. Video sessions and audio sessions.

On 18th June 1994, exactly 24 years ago today, Jackson Browne was a guest at 2 Meter Sessions. At the Bullet Sound Studio in Nederhorst den Berg, the singer / songwriter played some songs from his then new record I’m Alive and some classics from his repertoire, such as The Load-out / Stay. It is actually two songs: the first part an ode to his roadies (The Load-out), the second part an interpretation of the 1960s song ‘Stay’ by Maurice Williams & The Zodiacs, in which the singer indicates quite wants to keep playing longer. A special recording, with a drummer on a cardboard box and a roadie who can sing a few lines ..

Jackson Browne performs ‘The Load-Out / Stay’ on Dutch music show “2 Meter Sessions”

Jackson Browne performs ‘The Load-Out / Stay’ on Dutch music show “2 Meter Sessies”.

Few singer-songwriters embodied the late-’70s California sound as much as Jackson Browne.  He started out writing for others in the previous decade, but broke onto the scene as a solo artist with his 1972 self-titled debut (sometimes referred to as Saturate Before Using).  Five years later, he made waves with Running On Empty, a collection of 10 new songs recorded live during his 1977 tour.  Several tracks were taken from the band’s performance at Merriweather Post Pavilion in Maryland and the Garden State Arts Center in Holmdel, New Jersey.  But further tracks were recorded in more intimate spaces — various hotel rooms, rehearsal spaces, or “on a bus (a Continental Silver Eagle) somewhere in New Jersey.”

It takes awhile for your ears to acclimate to what you’re hearing when you drop the needle on Jackson Browne’s “Running On Empty”. It’s just the droning roar of people, a crowd – something that, in the year and a half the world has been living with COVID-19, isn’t as common as it used to be. Then, like a rocket, Browne and his band kick into high gear with the title track. Browne, with that golden voice that was, at the time, a staple of rock radio waves for a decade, sings with clarity and conviction:

Looking out at the road rushing under my wheels
Looking back at the years gone by like so many summer fields
’65, I was 17 and running up 101
I don’t know where I’m running now, I’m just running on

It’s as classic as his type of rock and roll gets: instantly relatable, meshing the everlasting promise of youth with the vaguer realities of adulthood, hurtling toward a future that has no guarantees.

No matter the space, Browne and his band (featuring David Lindley on lap steel and fiddle, along with members of The Section) delivered stellar performances that have been lauded by critics since the album’s original release more than four decades ago. Running On Empty became Browne’s best-selling album, peaking at No. 3 on the Billboard Albums chart and eventually achieving a 7x Platinum certification from the RIAA.

Now, that legendary album – featuring such classics as “Running On Empty” and “The Load-Out / Stay” – will be re-released on CD, vinyl, and through digital download and streaming providers.  Arriving on July 5th from Asylum/Rhino, the new edition of Running On Empty features a fresh remaster by Gavin Lurssen of Lurssen Mastering.  The vinyl edition, meanwhile, was mastered by Ron McMaster and will be presented on 180-gram vinyl pressed at Pallas.

Running on Empty is not a typical live album. None of the songs took hold on other LPs beforehand. Not all of them were recorded in concert. Some, yes – including album bookends from a rousing show at the Merriweather Post Pavilion in Columbia, MD on August 27th, 1977 – but others were taped in spacious rehearsals, behind the thin walls of motel rooms, and even on a tour bus somewhere down the highways of New Jersey.

But its polish is considerable; for that, you can thank the all-star band backing him up, including session legends like guitarists Danny Kortchmar and David Lindley, keyboardist Craig Doerge, bassist Leland Sklar and drummer Russ Kunkel. (They were the House band for Browne’s label Asylum, playing on albums for Linda Ronstadt and Warren Zevon as well as Carole King’s “Tapesty” and James Taylor’s “Sweet Baby James” .

Moreover, it’s a live document that transcends its typical mission – a souvenir of what it was like to see the singer-songwriter in concert – and becomes a heartfelt commentary of life on the road.

Second track “The Road” offers a powerful confessional to the mundanity of a touring artist’s life, spliced brilliantly between a close-quarters version in a motel room and a version in front of a crowd. “Rosie” is a forlorn song about a girl with a backstage pass – told with none of the salaciousness you might expect of such a tune in the ’70s, with weary harmonies supplied by Browne’s tour photographer. Some songs sound like they could fit into any of Browne’s studio LPs of powerful Everyman observations (“You Love the Thunder,” “Love Needs a Heart”). Others – a cover of J.J. Cale’s “Cocaine,” the original “Nothing But Time” featuring a bus’ shifting gears and Kunkel’s box-tapped percussion – are one-of-a-kind sparks that could only happen here.

The album’s penultimate tune, “The Load-Out,” is a real gut-punch: over his piano and Lindley’s lap steel, Browne sings a tender tune about the people and scenes that make such a tour possible – opening a window to the audience about what goes on when the lights come up and everyone heads out of the parking lot and into the night. More than 40 years later – long after the album spent nearly a year on the USA chart, outsold all of Browne’s other albums and picked up a Grammy Award nomination for Album of the Year – it hits just as hard, in a year marred by illness, death, financial hardships, uncertainty and the wish that, just for a minute, things could go back to something approaching normal and we could go back to enjoying concerts like the ones we hear here.

Then, just as the emotions reach their peak and the song seems ready to come to an emotional end, Browne and the band have one more trick up their sleeves: a cheeky cover of Maurice Williams and The Zodiacs’ “Stay,” rewritten to reflect the thrill of chasing “one more song.” Rosemary Butler’s soaring co-lead vocals – and Lindley’s falsetto, Frankie Valli-esque last chorus – bring the listeners and the players together in one, brilliant truth: the show doesn’t ever have to end, and the needle never has to leave the record.

Jackson Browne caught the attention of fans with a notable single track, “Doctor My Eyes” from his debut release, often referred to as Saturate Before Using (1972). From there, Jackson Browne became an essential staple of Southern California Rock alongside such artists as Poco, The Eagles, Linda Ronstadt, David Lindley, and Warren Zevon. He released several more classic studio sets, including The Pretender album before issuing a live set that would elevate him to a higher status as a recording artist.

The Section featuring Craig Doerge, Danny Kortchmar, Leland Sklar and Russ Kunkel reunite with Jackson Browne at the 2018 NAMM TEC Awards held at the NAMM Show in Anaheim, CA., to perform “Running On Empty”.

On July 12, Elektra will reissue Running On Empty on CD, and vinyl LP and present the classic album with new remastering. However, there are no other adds to this set. The ten songs from the original were tracks performed in various live settings like hotel rooms, tour bus, stages, and a rehearsal room. A DD version will arrive sooner for the remastered classic on July 5.

A single reissue of newly remastered “The Load Out”/”Stay” was released on June 21st digitally.

While some fans may want to hold onto their long-out-of-print previous editions, the newly remastered CD, vinyl, and digital versions that arrive on July 5th will no doubt be essential listening for those who might be new to Browne’s music.

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Echo In The Canyon celebrates the explosion of popular music that came out of LA’s Laurel Canyon in the mid-60s as folk went electric and The Byrds, The Beach Boys, Buffalo Springfield and The Mamas and the Papas gave birth to the California Sound.  It was a moment (1965 to 1967) when bands came to LA to emulate The Beatles and Laurel Canyon emerged as a hotbed of creativity and collaboration for a new generation of musicians who would soon put an indelible stamp on the history of American popular music. Featuring Jakob Dylan, the film explores the beginnings of the Laurel Canyon music scene.  Dylan uncovers never-before-heard personal details behind the bands and their songs and how that music continues to inspire today.  Echo in the Canyon contains candid conversations and performances with Brian Wilson, Ringo Starr, Michelle Phillips, Eric Clapton, Stephen Stills, David Crosby, Graham Nash, Roger McGuinn and Jackson Browne as well as contemporary musicians they influenced such as Tom Petty (in his very last film interview), Beck, Fiona Apple, Cat Power, Regina Spektor and Norah Jones.

Release Date: May 24, 2019 Director: Andrew Slater

Echo in the Canyon 
by director Andrew Slater

I did not set out to make a film about the Laurel Canyon music scene. In fact, I didn’t set out to make a “film” at all. I was looking to record some music.

Growing up in New York in the 1960s, AM radio transported me to places I wanted to be. Of course The Beatles defined mod London, and Bob Dylan defined New York. But the songs by The Byrds, The Beach Boys, The Mamas & The Papas and Buffalo Springfield painted an idyllic picture of life in bohemian Los Angeles. As a young adult I was drawn to move to Los Angeles by these groups and the lifestyles they expressed in song.

Throughout my career in the music business, this earlier music of my adopted hometown was an obvious part of the bedrock of my generation’s cultural place in the universe. But I was also aware of how it remained part of the foundation of the musical palette for generations of musicians that followed.

Whether through nostalgia or some other force I cannot quite account for, as we neared the 50th anniversary of the advent of this revolutionary period in rock and roll, I was struck with the need to explore the music of this era through the eyes, ears and souls of musicians who were born into a culture where this music was always a part of the world as they knew it.

I enlisted the help of Jakob Dylan, along with a few artists of his generation, to join me, and we journeyed to places where the music was made and to the people who made it. Jakob had known many of these people his whole life, and they began telling him the stories behind the songs. And the stories we heard echoed all the things I thought I knew but never was able to articulate in a way that clearly captured what was happening at this fantastic creative moment in time.

We recorded the music that is now the Echo in the Canyon album, and luckily I must have always known this project would be more than just a record, as I began filming our experiences early on, whenever and wherever it was possible. It was not long before it became clear through our conversations with the original artists that this needed to be more than album. The stories and insights, told by my heroes, “primary sources” from this magical period of time, were too compelling to be buried in “research.” That is how this movie, which has now taken on a life of its own, came to be made.

What was happening here in the mid-‘60s, before the onset of psychedelia and the era of the singer-songwriter was obvious to me—but no one had ever told the story of this legendary place from the standpoint of how deeply and richly the artists impacted and collaborated with one another, and how the waves of influence traveled across the ocean to England and back, with The Beatles claiming The Beach Boys’ “Pet Sounds” as a precursor to much of the musical landscape of “Sgt. Pepper’s Lonely Hearts Club Band.”

Personally, I embarked on the Echo in the Canyon project because these songs defined what I couldn’t say about the places that I had yearned to see. And these bands changed the way I thought about music—electrifying folk and trading ideas amongst each other that not only inspired The Beatles but inspired generations of artists to this day. And I wanted to film and record it to be experienced in a state-of-the-art movie theater, to try to recapture the magic I felt so many years ago. Thank you Landmark for helping me bring this dream to life.

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Warren Zevon was a very clever songwriter. He went were other songwriters don’t often go. This song was off his critically acclaimed album “Excitable Boy” released in 1978.

Zevon wrote this with guitarist Robert “Waddy” Wachtel. When Zevon was working with The Everly Brothers, he hired Wachtel to play in their backing band. At one point, Phil Everly asked them to write a dance song for the Everly Brothers called “Werewolves Of London.” Wachtel and Zevon were good friends and were strumming guitars together when someone asked what they were playing. Zevon replied, “Werewolves Of London,” and Wachtel started howling. Zevon came up with the line “I saw a werewolf with a Chinese menu in his hand,” and they traded lyrics back and forth until they had their song.

In 2000, a fight broke out while Zevon was performing this at the Bowery Ballroom in New York. Zevon stopped, waited for the fight to end, said “I bet this never happens at Sting concerts,” and continued the song.

This track was produced by Jackson Browne. The songwriters were LeRoy Marinell, Waddy Wachtel, and Warren Zevon. John McVie and Mick Fleetwood played on this song.

On this day in September of 2003 we lost one of the great singer songwriters, after a year long battle with Lung Cancer Warren Zevon passed away leaving a legacy of some amazing songs, including one of his most well known “Werewolves of London” with bouts of depression, drugs and alcohol dependecy, fame and wealth and financial strife Zevon experienced everything throughout his nearly 40 years career with a dark and somewhat outlandish sense of humour in his songs, he was praised by many other musicians he was also keyboard player and orchestrater for the Everly Brothers he roomed with Stevie Nicks and Lindsay Buckingham

His songs include“Johnny Strikes Up The Band”, “Excitable Boy”.”Roland the Thompson Headless Gunner” and “Accidently Like A Martyr and “Poor Poor Pitiful Me”

For Everyman

Released 45 years ago this month, Jackson Browne’s second album, “For Everyman”, was proof that his remarkable debut was no fluke. As on that earlier work, the lyrics offer sharp observations on both personal and social concerns, and Jackson sings them with even greater confidence – among the standouts from his songbook are single “Redneck Friend,” “These Days” (a song he’d given to Nico years earlier) and “Take It Easy,” which he’d co-written with Glenn Frey. Frey appears here in support, along with fellow Eagle Don Henley and a host of L.A. rock greats including David Crosby, Joni Mitchell and Bonnie Raitt; additionally, multi-instrumentalist David Lindley begins his long collaboration with Browne on the 1973 Asylum Records set. Today we’ll give the platinum-certified “For Everyman” another spin and to wish Jackson Browne a happy birthday.

The title track was written by Browne in response to the apocalyptic “Wooden Ships”, a song written by Crosby, Stephen Stills and Paul Kantner. His own version of “These Days” appears here after having been previously recorded by Nico, Tom Rush, who also covered “Colors of the Sun”, and Gregg Allman. Nico was the first to record the song in 1967. Browne later commented “When [Allman] did [These Days] I thought that he really unlocked a power in that song that I sort of then emulated in my version. I started playing the piano. I wasn’t trying to sing it like Gregg; I couldn’t possibly. I took the cue, playin’ this slow walk. But it was written very sort of, kind of a little more flatpicking.” “Take It Easy” was written by Browne and Frey and became the Eagles‘ first single,