By Parke Puterbaugh

ACKSON BROWNE IS AMONG THE VANGUARD Browne had already been making waves in certain singer/ of the rock & roll era. Over quarters as a singer/ for seven years. the course of three decades as a recording Clyde was bom on October 9,1948, in artist, he’s established himself as both a cere­ , Germany, where his father worked as an bral, introspective songwriter and a politi­ army journalist. Returning to the States, the family cally attuned voice of conscience. His career moved to when Browne was three and relo­ has unfolded as a series of chapters reflecting personal J cated to suburban Orange County when he was twelve. evolution and changing priorities. In broad outline, he As a well-situated child of the sixties, Browne observed emerged as a soul-baring folksinger whose songs dealt and partook of the sun-drenched, sensual lifestyle that with the riddles of romance and existence. During his made seem i i golden - and also, at times, lost middle period, he became a more outgoing and extro­ and adrift — thus shaping his wistful, inquisitive song- verted rocker. Later work grew more topi­ wnting from an early age. He fell in with an cal in nature as Browne sang of political estimable crowd of folk-oriented song­ and social realities within and beyond our writers that included , Steve borders, all the while drawing on a varied musical palette. Noonan and Greg Copeland. Headquarters for their scene was the Paradox, a coffee­ A Southern Californian for most of his house in Orange. In 1967, Browne ventured life, Browne surfaced in the early seventies to , where he found himself on the as part of a loose-knit collective of rock- periphery of ’s offbeat scene, minded folkies (and vice versa) that including backing up Velvet Underground included the ; Crosby, Stills and chanteuse . A publishing deal with Nash; ; J.D. Souther; ; Bonnie led to the recording of thirty demos. Raitt; ; and others. They’d write songs Browne was also, at age seventeen, briefly a member of together, produce or appear on one another’s records the newly formed . and share stages on tour or at benefits. As a result, they All the while, other performers began getting wind of were linked in the public mind as architects of a musi­ his songs. As a teenage songwriter, Browne seemed far cal movement. Browne, though deeply engaged with wiser than his years on such early gems as “These Days” other musicians, stood apart by virtue of his uniquely and Shadow Dream Song.” Both were written when he poetic and somewhat solipsistic stance. He was only was a senior in high school and would, be recorded by twenty-three when his self-titled first , known the likes of , Nico and . Browne popularly as Saturate Before Using, was released. It was was signed to ’s Asylum label in ig^i, in one of the most auspicious debuts in rock history. Yet fact, Geffen’s desire to show Browne’s talent to the world

With longtime friend coming of age or trying to recover th e late W arren Zevon their emotional equilibrium in the wake of the sixties’ fitful demise. Along w ith ’s Sweet Baby fames and Joni M itchell’s Blue, Saturate Before Using was the seventies’ quintessential singer/songwriter album - required listening for sensitive souls wrestling with feelings of doubt and yearn­ ing while reluctantly embracing adulthood. In a 1974 profile, sagely noted Browne’s pen­ chant for writing “songjs] of retrospection, of the man looking back at the child.” Indeed, Browne’s oeuvre has included numerous requiems: “,” “For a Dancer,” “Sleep’s Dark and Silent Gate,” “Of Missing Persons,” “.” The followup, , refined his burnished folk- rock approach and added more classics to the canon, includ­ ing “I Thought I Was a Child” and the philosophical title track. It also included Browne’s versions of “These Days” and “,” the Eagles hit he’d cowritten with . Many regard , Browne’s third album, as his He is required masterpiece, and it’s certainly his deepest and most allegori­ cal work. Even in a career studded with ambitious state­ ments, Late for the Sky boasts an exceptional number of big listening for songs: “Late for the Sky,” “,” “For a Dancer,” “The Late Show” and the antinuclear, apocalyptic sensitive souls “Before the Deluge.” Two years passed before the release of The Pretender (1976), a cathartic album that sounded like a personal exorcism - was the main reason Asylum - home to the Eagles, Joni albeit one that carried Browne to a new plateau of popularity. Mitchell, and even, for a spell, and Bob There were songs of painful, unflinching autobiography, Dylan - was launched in the first place. including “Your Bright Baby ” and “Here Come Those Browne’s first three - Saturate Before Using (1972), Tears Again.” Album-oriented radio adopted the title track, a For Everyman (1973) and Late for the Sky (1974) - are of a piece, statement for the ages about the collision between soul and representing his singer/songwriter period at its apex. From commerce in a society where bruised idealists found them­ the outset, Browne arrayed words and music with meticulous selves “caught between the longing for love and the struggle care and craftsmanship. He wasn’t exactly a folk purist, and for the legal tender.” This anthem of discontent, issued dur­ songs like “Doctor My Eyes” rocked out in their own un­ ing America’s bicentennial year, astutely prophesied what lay bridled way, but his early lyrics evinced a more genteel and ahead in the Reagan-led eighties and the stock market run-up erudite approach than the pop-music norm. It is unsurprising o f the nineties, when erred grievously on the side that Browne has cited , with whom he crossed of the legal tender. paths during his New York fling, as an early influence. Browne’s next album was the bril- Jamming w ith his Saturate Before Using was rife with thoughtful, lilting liantly conceived Running on Empty L.A. buddies the classics - including “” and “Jamaica Say (1978), which wasn’t a standard live Eagles on The Long You Will” - that touched a nerve in listeners who were either album but an audio-verite tour docu- Run'tour, 1980 mentary consisting of conceit performances and music increasingly politicized, as Browne felt 21st-century made backstage and in hotel rooms. By now Browne had a compelled to Call attention to geopoliti- troubadour fine-tuned band led by his versatile longtime accompanist, cal imbalances and injustices. To those the great , and their high-spirited renditions of who fretted about his shift in subject matter from the the title track and Maurice Williams and the personal to the political, he countered that Zodiacs’ "Stay” made this album a multi­ “nothing is more personal than your political platinum phenomenon.. To date, it has sold beliefs.” Besides, he returned to home base with more than seven million copies, and its key a masterwork, I ’m A live (1993), whose artfully songs remain staples of classic-rock radio. Cer­ introspective tone harked back to his begin­ tainly, Browne was among the subtlest musi­ nings. (1996) took a more varied cians ever to crack that pantheon. Browne’s approach, mingling leftist politics, world profile was further raised when, in 1979, he music, love songs and paeans to his hometown. and organized a series of benefit The twenty-fifth anniversary of Browne’s concerts for MUSE (Musicians United for Safe debut album was marked by the release of The Energy) at Madison Square Garden. Browne’s Next Voice You Hear: The Best ofrjackson Browne run at the top continued with Hold O ut (1980), (1997). The new millennium found him his first Number One album. In 1982, he con­ undertaking solo acoustic tours that returned tributed a cut to the Fast Times at Ridgemont him to intimate settings. In 2002, The Naked High soundtrack; released as a single, “Somebody’s Baby” hit Ride Home tied the various strands of his career into a coher­ Number Seven. ent whole and showed him to be a still-formidable and Subsequent albums in the eighties - (1983), gifted songwriter. And fittingly, we now welcome him in (1986) and World in Motion (1989) - were join his pèers in the Rock and Roll Hall of Fame. "He's a very funky guy" Bonnie Raitt on the many talents of her friend of thirty-plus years I fir s t met Jackson a t a gig at the Junction,” this great together than either one o f American poet/activist we did together a t the old Shorty Long hit, as our us could count. JphnTru dell's musical University of Syracuse at a encore, played a lot of Jackson and I started career. He walks the ta lk - little coffeehouse called cards and listened to doing benefits together building a house ta the the Jabberwocky around Richard Pryor's album on around the late seventies, country off the grid years 1970. We became fa st the tou r bus. We had both most significantly the No ago, running it in solar and . When I heard his our bands on one bus fo r Nukes concerts at Madison converting his car to songs, I fell in love with his fifty cities, which was Square Garden in 1979, out propane way before anyone music and his unique lyrical pretty challenging. Thirteen o f which came Musicians thought it was cool. sense. He was singing guys and m e-could be the United fo r Safe Energy. We Jackson's also deeply about love and longing and most fun I ever had. hooked up with some like- committed to being a dad what it was like to be our I hear a lot o f influences minded musteian/aetivists and being there fo r his age in a way th a t ju s t in Jackson’s music - ones and have gone on to do family. He's serious about moved me. I can't separate that resonate for me, scores of concerts for a his politics and his Jackson as a person from especially as we were both wide range o f causes-from relationships, yet he's an his voice, the way he plays raised in L.A., surrounded protecting Native lands to absolute sensualist. He guitar and piano from his by su rf and Mexican music stopping oil drilling o ff the loves being in love; he loves songs. It's the whole and loving the same folk, California coast to opposing romance; he loves good person th a t I've been blues, RSB and rock 8 roll the U.S. wars in Central food and wine. He lives fully. connected to since we we got turned on to as America-and a host of Like all o f us, he's put his met. To this day, he's an teenagers. I hear all o f th a t other peace and justice responsible side more to expression of what I’m in his songs-from Staple issues we still work on. the fore as he's gotten going through and what Singers gospel to Political music can be a older, yet he still keeps bis our generation is going music, from the coolest very dodgy a ffa ir- surfer/street connection. through. We grew up Motown and soul grooves pedantic, wussy and He surfs almost every day. together and became like to the most beautiful mostly tiresome. But He's rnadea conscious sister and brother. Appalachian-like melodies Jackson's great sense of choice to live the way he . I moved back to LA. from he sings with his piano and language, empathy as § does, and l tiSttk it's Cambridge in '73 to make guitar. He's all those storyteller and keen exemplary how he tre a ts § my third record with Lowell influences but so uniquely intelligence allow him to his musicians, finds ffafte to George and some o f Little himself, a true American articulate the issues with honor the different causes Feat. By then, Jackson and I original who's influenced such eloquence th a t his and the things th a t are had become part o f this whole generations of music cuts rig ht to the . im portant to him - and still very fertile L.A. scene. He, singer/songwriters, heart b f the matter. He manages to come up w ith o f course, was connected including me. I love singing illuminates and inspires, as album a fte r album th a t with the Eagles, Joni, J.D. his songs and have cut a he did on Lives in the shows such real growth. Souther and Linda bunch over the years, Balance, World in Motion I treasure the gift our R o n sta d t-th a t whole starting with "Under the and other albums friendship has been. I can’t Elektra/Asytum crowd. I Falling Sky," on my second throughout his career. He's imagine going through life hadn't yet had a hit, but album Give It Up, in '72, taken time out from what without him. Jackson's Streetlights was ju s t out, followed by "I Thought I Was could have been a fa r more shown me th a t you can dig and Jackson asked me to a Child," "My Opening fabulous rock-star life to deep-when you're at that open fo r him on his national Farewell" and "Sleep's Dark produce other artists ledge where you think to u r in '74. For a sensitive and Silent Gate." He's sung who need some help, there's nothing le ft to say, singer/songwriter, he's a on my albums, I've sung on working with artists from. th a t all the best songs have very funky guy-and gets his, and we've probably and been written, he knows th a t the joke. We sang "Function done more benefits and shepherding Native if you ju s t go deeper, you'll get to something even more true. He stays open- eyed, always curious and always vulnerable. That's what I love about him. Like a beautiful prism, ft© reflects that light on himself and then shines it bût so the rest of us can see something we couldn't find before. That's what great a rtis ts do. fit

Left: Protestors: [from left) , Browne, Raitt. Right: Browne, walking the walk and talking the talk«