In many ways, Jackson Browne was the quintessential sensitive California singer/songwriter of the early '70s. Only Joni Mitchell and James Taylor ranked alongside him in terms of influence, but neither artist tapped into the post-'60s Zeitgeist like Browne. While the majority of his classic '70s work was unflinchingly personal, it nevertheless provided a touchstone for a generation of maturing baby boomers coming to terms with adulthood. Not only did his introspective, literate lyrics strike a nerve, but his laid-back folk-rock set the template for much of the music to come out of California during the '70s. With his first four albums, Browne built a loyal following that helped him break into the mainstream with 1976's The Pretender. During the late '70s and early '80s, he was at the height of his popularity, as each of his albums charted in the Top Ten. Midway through the '80s, Browne made a series of political protest records that caused his audience to gradually shrink, but when he returned to introspective songwriting with 1993's I'm Alive, he made a modest comeback. Born in Heidelberg, West Germany, Jackson Browne and his family moved to Los Angeles when he was three years old, and by the time he was a teenager, Browne had developed an interest in folk music. He began playing guitar and writing songs, which he sang at local folk clubs. Early in 1966, he was invited to join the Nitty Gritty Dirt Band, whom he had met through the L.A. folk circuit. While he was only with the band for a few months, the group recorded a handful of his songs on its first two records. By the beginning of 1967, he had signed a publishing deal with Nina Music, a division of Elektra Records; Nina helped Browne secure songs on albums by Tom Rush and Steve Noonan in 1968. During 1967 and 1968, he lived in New York's Greenwich Village, where he played in Tim Buckley's backing band. Browne also began working with Nico, who recorded three of his songs on her Chelsea Girl album. When their relationship disintegrated in 1968, he returned to Los Angeles, where he unsuccessfully tried to record a solo album and form a folk group with Ned Doheney and Jack Wilce. Browne continued to play local clubs and his reputation as a songwriter continued to grow, with Linda Ronstadt and the Byrds recording his songs. By the end of 1971, he had signed with David Geffen's fledgling Asylum Records on the strength of his widely circulated demo tape. Jackson Browne was released in the spring of 1972, spawning the Top Ten hit single "Doctor My Eyes." Shortly after "Doctor My Eyes" reached its peak position, "Take It Easy," a song Browne co-wrote with Glenn Frey, became the Eagles' breakthrough hit. Many songs from his debut, including "Rock Me on the Water" and "Jamaica Say You Will," became singer/songwriter standards, but the album itself didn't establish Browne as a pop star, despite its hit single. On his second album, 1973's For Everyman, he began a long-term collaboration with instrumentalist David Lindley. For Everyman was a commercial disappointment, yet it consolidated his cult following. Released in the fall of 1974, Late for the Sky expanded Browne's audience significantly, peaking at number 14 on the charts and going gold by the beginning of the following year. Browne's first wife, Phyllis, committed suicide in the spring of 1976, but in the wake of the tragedy he recorded his commercial breakthrough album, The Pretender. The record climbed into the Top Ten upon its fall 1976 release, going platinum in the spring of 1977. In the summer, Browne launched an extensive tour, recording a new album while he was on the road. The resulting record, Running on Empty (1977), was a bigger success than its predecessor, peaking at number three and launching the hit singles "Running on Empty" and "Stay/The Load-Out." With his career riding high, Browne began to pursue political and social causes, most notably protesting the use of nuclear energy. The success of Hold Out, the 1980 follow-up to Running on Empty, was evidence of Jackson Browne's popularity. Though the album wasn't as well-crafted as its predecessors, it became his only number one album upon its summer release. In the summer of 1982, "Somebody's Baby," from the soundtrack of Fast Times at Ridgemont High, became Browne's biggest hit, climbing to number seven on the U.S. charts. Divided between love songs and political protests, Lawyers in Love was another hit due to success of the hit singles "Lawyers in Love," "Tender Is the Night," and "For a Rocker." Nevertheless, the album also showcased a newlfound social consciousness, which dominated 1986's Lives in the Balance. The album lacked any hit singles, yet its fiery condemnation of the Reagan era won an audience -- the album stayed on the charts for over six months and went gold. Browne continued to write primarily political songs on 1989's World in Motion, but the record became his first album to not go gold. Browne was quiet for the next four years, working on a variety of social causes and suffering a painful public breakup with his girlfriend, actress Daryl Hannah. He finally returned with a comeback effort in the fall of 1993 entitled I'm Alive. Comprised of personal songs, I'm Alive received his best reviews since the late '70s and the record went gold without producing any major hits. In the spring of 1996, Browne released Looking East, which failed to gain the same attention as I'm Alive. In 2002, he released The Naked Ride Home. Two years later the two-disc The Very Best of Jackson Browne hit the shelves as Browne was being inducted into the Rock and Roll Hall of Fame by fellow Hall of Famer Bruce Springsteen. Around this time Browne took to the road and played intimate acoustic shows around the globe. The 2005 release Solo Acoustic, Vol. 1 was compiled from these concerts and appeared on Inside Recordings, an independent label founded by Browne. Solo Acoustic, Vol. 2 appeared in 2008, while an album of new material, Time the Conqueror, followed later in the year. Spring 2010 saw the release of Love Is Strange, followed by 2011's Live In Milan. Standing in the Breach, issued in October of 2014, was the first release of new studio material from the artist in six years. It appeared on his Inside Recordings label.
© Stephen Thomas Erlewine /TiVo
© Stephen Thomas Erlewine /TiVo
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Pop - Released July 12, 2019 | Rhino - Elektra
Instrumental and vocal firepower, the considerable ears of engineer Greg Ladanyi, and some magical mixing at the Sound Factory in Hollywood, combined to create the best known album of Jackson Browne's long career, reissued here in gloriously detailed and dynamically thrilling high resolution sound. Russ Kunkel's drum break at the climatic shift of the title track. David Lindley's mournful fiddle in "The Road." Rosemary Butler's soaring vocal solo in "Stay." A song list heavy with covers. Jackson Browne on piano. An extraordinary example of utterly masterful sequencing. Sometimes a band is in such a groove that it demands to be captured live. But making a live album that reflects being on the road, recorded literally on the road? Cutting tracks in a Holiday Inn room in Edwardsville, IL, or on a moving tour bus, complete with grinding gears? Even today with all the digital advances in home recording gear, it still seems like a disaster in the making. In addition, none of the material had ever appeared on a Browne studio record. A shambling cover of Rev. Gary Davis's "Cocaine" and a rendition of Maurice Williams' (The Zodiacs) "Stay"—with David Lindley memorably singing the falsetto part—are both knockouts. "You Love the Thunder," recorded live in Holmdel, NJ, is a classic Jackson Browne love song, one of the last before he turned to political themes. And then there’s the album's heart: the epic Lowell George/Browne/Valerie Carter collaboration, "Love Needs a Heart." It's the one tune worth having the entire record for: "Love needs a heart/And I need to find/If love needs a heart like mine." As this fresh remastering proves again, Browne and his merry band of SoCal pros better known as The Section drew a masterpiece out of the hat with Running on Empty. © Robert Baird / Qobuz
Pop - Released January 1, 1997 | Elektra Records