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Artist: Jackson Browne

Standing In The Breach

🏷️ Rock 📅 2014 💿 CD ⭐ ****

Field
Rock
Recorded
2014
Label
Inside
Pressing
Aus
Rating
****
Discs
1
Media
CD
Bought
01-Apr-2016
Cost
¤20.00

📜 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

On Jackson Browne's first studio recording since 2008, the man who defined the '70s singer/songwriter generation finds a fresh way of dealing with the world as it is both personally and politically -- by going back to his own roots. Lyrically, Browne is inspired in a way he hasn't been since 1976's The Pretender, and this recording's production aesthetic adheres closer to that of even earlier records. His core accompanists are guitarists Greg Leisz and Val McCallum, with an all-star cast. Socio-political songs are plentiful, but these come from an intimate -- and therefore more appealing -- perspective; he often uses personal memory to frame his concerns. The opener is a (finally) finished version of "The Birds of St. Marks," a song begun in 1967 and performed live intermittently but never recorded in a studio. Its sound harkens back to the the Byrds. Jangly guitars and an electric 12-string solo frame its introspective lyrics. "Yeah Yeah" borrows the changes from Lou Reed's "Sweet Jane" and pulls them off anew in a love song: "And you paid for the love that we've got, you paid/And you made for the heart when we fought and you stayed…" "Leaving Winslow" is a West Coast country song whose locale was namechecked in "Take It Easy," yet this isn't an exercise in nostalgia but a solid, and sometimes humorous, paean to acceptance and the desire to disappear.

Few writers could deliver a poignant song where surfing transitions to environmentalism and the historical consequences of empire. Browne can, and does -- with obvious melodic inspiration from Paul McCartney -- on "If I Could Be Anywhere," where step by step, the political is equated with personal responsibility. There are two exceptional covers that introduce the record's latter half. Both are stellar love songs that are nonetheless topical, and both are by true song poets. The first is a stunning folk-rock arrangement of Woody Guthrie's "You Know the Night," while "Walls and Doors" is a translation of Cuban songwriter/guitarist Carlos Varela's "Las Paredes y Puertas," and features him and his trio. The latter is a lilting romantic ballad, arranged to underscore both the composer's and Browne's personas. Only "Which Side Are You On" sounds "preachy," but that's because it is; it employs the same gospel-blues lyric scheme Bob Dylan did on "You Gotta Serve Somebody" but to secular ends. The title track, led by the songwriter and his piano, is a testament to the power of irrepressible hope and resilience: "Though the world may tremble and our foundations crack/We will all assemble and we will build them back." Closer "Here" is one of Browne's classic broken love songs; its sadness echoes long after the album whispers to a close. Standing in the Breach is a back to the basics Browne album, and is all the better for it. He's no longer speaking at anyone, but conversing from the well of his own experience.

—Thom Jurek


"It's never been that hard to buy a gun/Now they'll sell a Glock 19 to just about anyone," muses Jackson Browne midway through "The Long Way Around," balancing America's pursuit of freedom with the notion of consequence. Even in what the singer/songwriter can't embrace, he seeks compassion as piano chords fall like soft rain, ultimately offering, "With all we disagree about/The passions burn, the heart goes out…"

Browne has always led a double life: sensitive singer/songwriter and committed activist. During his 40-year career, there's been a tug of war between the romantic poet and the surging outcry. On Standing In The Breach, his first album since 2008's Time The Conqueror, the Southern California soft rock icon seamlessly reconciles the two.

Drawing on touchstones from his past, most notably The Pretender, Late for the Sky and For Everyman, he embraces his past without getting mired in the temple of who he used to be. His past is vibrant, but the shimmering melodies and tracks' spaciousness lends Breach immediacy.

Browne also reinvents Lou Reed—taking the changes of "Sweet Jane" and writing a forged-by-mingled-lives love song "Yeah Yeah"—and Bob Dylan—recasting the churning "Gotta Serve Somebody" in a more personal reckoning/invitation "Which Side?"—in far more hopeful terms. He even invokes "Take It Easy," Browne's co-written '70s Eagles anthem, with the train-beat rootlessness of "Leaving Winslow."

He understands the chambers and echoes of the heart. The haunted "Here" embodies the numb vertigo of a lover's absence, while the mythic "The Birds of St Marks," begun in 1967 and played sporadically live but never recorded, weighs the costs and loss in love from a young man's eye.

That idealism permeates the twang of "You Know The Night," a song of desire realized through the prism of awareness—drawn from 15 pages of Woody Guthrie's journals. The same ardor infused with seeking a higher world entwines Carlos Varela's "Windows + Doors," Varela providing plangent echo vocals as the song finds a hushed climax.

Unlike Pete Seeger, Browne's activism never drowned the lover inside. For Breach, the two merge with an intoxicating sense; the personal elevates the political. "Breach" delicately offers optimism beneath its reckoning, while "If I Could Be Anywhere" tackles hard truth, love and the notion this is where he chooses to make his stand.

But it's "The Long Way Around," where his misspent youth and our cultural mandates merge in a wake-up call as he name-checks Citizens United and the Gulf oil spill. Here acceptance isn't acquiescence, but the suggestion coming together is the only chance we have. For Browne, Breach is the best of all worlds.

—Holly Gleason