🎵
Artist: Jackson Browne

Time The Conquerer

🏷️ Rock 📅 2008 💿 CD ⭐ **

Field
Rock
Recorded
2008
Label
Inside
Pressing
Aus
Rating
**
Discs
1
Media
CD
Bought
01-Nov-2008
Cost
¤0.00

📜 Artist Biography

In many ways, Jackson Browne was the quintessential sensitive Californian 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 newly found 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.

Jackson 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.

— Stephen Thomas Erlewine

✍️ Record Review

Time the Conqueror is Jackson Browne's first studio offering in six years. The last was 2002's Naked Ride Home for Elektra. Browne established his sound in the '70s and has made precious few adjustments, with the exception of a couple of records in the '80s where the keyboards and drum machines of the period were woven into his heady, West Coast pop, singer/songwriter mix. Whereas his '90s albums I'm Alive and Looking East, as well as Naked Ride Home, mirrored the personal concerns of his '70s records in more elegiac terms, Time the Conqueror returns in some ways to Browne's more overtly political statements from the '80s such as Lives in the Balance and World in Motion and weighs them against the personal, but he's all but forgotten how to write hooks. The title track is as personal as it gets; its breezy, cut-time beat and airy melody signals motion like the white lines clicking by on a highway. They underscore both time and life passing away, juxtaposed against the need to appreciate each moment. Browne accepts the blindness of the future as he does the helplessness of the past, though he doesn't accept aging. The next couple of tracks underscore this. There's the elegy to the '60s in "Off to Wonderland," a paean to the lost innocence of the heady years of idealism betrayed in both the Kennedys' and Martin Luther King's murders. The last line in this midtempo rock ballad is: "Didn't we believe that love would carry on/Wouldn't we receive enough/If we could just believe in one another/As much as we believed in John." It was wonderland, all right; these ideals were not hollow but they had no basis in American reality. The hardest rocking cut is "The Drums of War," which is Browne at his most didactic. It's as much a renewed call to arms as it is an indictment of the Bush years. It's a quickly passing moment, however, in that the very next track, "The Arms of Night," is a spiritual paean urging the listener to seek love in the right places. It's tender, confused, and authentic, but dull. "Where Were You?" has more teeth with its stuttering attempt at 21st century funk. Musically it serves more as a rock track with actual rhythm than it does funk. It's another socio-political indictment of alleged apathy in the post-millennial age. This album goes on, with no real aim other than telling us things that Browne's been thinking about these days (with the exception of the Latin-tinged "Goin' Down to Cuba," the best tune here; it's the only song with something resembling a hook). Browne seems to be speaking to his own generation; he's still trying to make sense of the world he wanted to live in and the one he actually does. Next time out, though, instead of worrying about his "enlightened" perspective, perhaps he should pay more attention to what made his earlier songs feel as if he actually owned one: craft. Most of these songs feel like quickly dashed off poems; it's all "tell" with no "show," because there isn't anything in the music to effectively offer them to the listener as conversation; instead they are on display as mixed-message sermons.

—Thom Jurek