After his acclaimed debut album, expectations must have been high for Jackson Browne's sophomore effort, destined to be entitled "For Everyman". In the event, whilst containing some of his strongest and most memorable songs, it somehow lacks the uniform excellence of the records which came immediately beforehand and afterwards. Despite my occasional ambivalence about the LP, it is well worthy of examination.
The most immediately conspicuous thing for me about "For Everyman" is that it lacks the cohesion of most other Jackson Browne albums. The exact reasons are not easy to pin down, but the tracks do not fit together very seamlessly, despite the insertion of one or two segues. The presence of a couple of "filler" tracks also adversely affects the flow and continuity.
It almost feels like this record was partially assembled from left-overs and curios. The Browne rendition of "Take It Easy" emerges as quite anemic and perfunctory, as if there was some obligation to record it, and tick a box. "Red Neck Friend" and "Ready Or Not" are California rock by numbers, notwithstanding their amusing, charming or mischievous lyrical content. "The Times You've Come" and "Sing My Songs To Me" are well-crafted and tuneful, if a touch laboured and ponderous.
Thankfully, this is redeemed by the quality of the stronger numbers. It is here also that we seen the first signs of Jackson Browne's socially conscious side, in the title track, and in snippets of lyrics elsewhere on the set. Still, though, "confessional", introspective and personal subjects predominate. The first half (or side 1 on vinyl!) is loaded with the more substantial songs, although the aforementioned title song rounds the album off in emphatic and powerful style.
There is a large cast list of session players and guest musicians and vocalists, but despite this, the album does not sound particularly disjointed or diffuse melodically or sonically. There are some very pleasing acoustic guitar lines, with this instrument possibly more to the for than on any other Browne record. On several tracks, the arrangements are quite heavily layered, with several keyboard and guitar parts intermingling, a departure from much of the debut album, and the succeeding "Late For The Sky". A significant innovation is the emergence of the wonderful David Lindley as an integral part of the Browne sound.
Lyrically, this album undoubtedly contains some of Jackson's most penetrating and memorable lines, such as the opening sequence to "I Thought I Was A Child", the whole of "These Days", and "For Everyman". These pieces lend credence to Browne's status as a lyricist of insight and acuity.
"These Days" has become one of Jackson's most durable songs, having been covered by several other people. It has a simple but affecting melody which, in tandem with the lyrics, forms a profound impression. This is one of the first Jackson Browne songs to benefit from the guile and sensitivity of the aforementioned David Lindley, on slide guitar here.
"Our Lady of The Well" and "Colors of the Sun" are both slightly redolent of the stripped down haunting landscape of the debut album. Somewhat "pastoral" in nature, they conjure up mental images of rural living, community, hardship and melancholy. As elsewhere on the record, intricate acoustic guitar parts are well to the fore.
The first piano chords, and the ensuing words, perhaps summarize why some of us became so receptive to, and enthused by, Jackson Browne's music in the first place. Yes, it bears distinct hallmarks of standard California singer-songwriter fare, but it also possesses that intangible Browne quality of striking an intimate chord with the listener.
The story of the origins of the closing title track is quite well documented. It was apparently written in response to David Crosby's "Wooden Ships", and ironically features the very same Mr Crosby on harmony vocals. This is the most elaborate arrangement on the record, with strata of keyboards and guitars almost threatening to drown out the vocals and lyrics. The song explores similar, if not identical, territory, to the later "Before The Deluge";apocalyptic, but seeking to salvage some vestige of humanity and brotherhood. One can view it as part idealism, and part a reaction to the fears and threats of the age in which it was composed (Cold War, emergent ecological concerns).
As an overall package, "For Everyman" is not Jackson Browne's most consistent or coherent album, but it does show an artist in the course of development, on the road to the peerless "Late for The Sky". The better tracks stand favourable comparison with anything else in his repertoire.
Showing posts with label for everyman. Show all posts
Showing posts with label for everyman. Show all posts
Sunday, 15 December 2013
Tuesday, 24 January 2012
Late For The Sky - Jackson Browne - album review
On internet forums, and in the media generally, it is commonplace for people to be asked to name their "top 10 albums" or their favourite album of all-time. The centre of gravity of my musical tastes constantly shifts, but for around a decade and a half, pride of place at the top of my list has been occupied by Jackson Browne's 1974 work, "Late For The Sky".
I had been aware of Jackson's music, but mostly through his more glitzy and commercial singles of the 1980s. It was only when I became a fan of the Eagles that I discovered his classic 1970s material. The Eagles and Jackson were label-mates, friends and songwriting collaborators in the early Seventies, and I was persuaded therefore to look into the Browne canon.
As soon as I heard "Late For The Sky", it struck a chord, both melodically and lyrically. I actually came to it after hearing three or four of Jackson's other LPs of that era, and it stood out from those efforts in several ways. The instrumentation and arrangements were more spartan and stripped-down than the previous "For Everyman", with its layered acoustic guitars and keyboards. On "Late For The Sky", one is aware of greater separation, through which the inspired lyrics are able to project themselves.
In addition to the technical musical differences, the themes and concerns examined in the songs seem more focussed than before, and Jackson is generally less oblique and cryptic in telling his stories. This extra focus adds to the emotional impact of the songs, as they zero in on the hearts and minds of the listener with more clarity, and the album feels more like an overall "experience", certainly compared to its two predecessors.
In its entirety, "Late For The Sky" is the most compelling showcase for Jackson Browne's special capacity to both tug at the heart strings, and stimulate the grey matter. Some of the subjects explored may have had peculiarly contemporary resonance in 1974, but they have proved to be timeless, and indeed to me the songs are more relevant than ever.
Considering that we are dealing with a classic album, it seems churlish to refer to "filler", but two of the songs, "The Road and The Sky" and "Walking Slow", have to be described as such. I suspect that they were included to offset and ameliorate the effect of the meatier and more profound fare around them. For the purposes of this review, I will therefore disregard these two tracks, and concentrate on the six numbers which form its solid and enduring core.
The opener, and title track, introduces us to the type of backing we can expect throughout the album, Browne's piano and David Lindley's evocative and wonderfully brittle guitar are supported by some subtle, and at times almost inaudible, organ work. The lyrics of this song are the bleakest of all, seemingly concerned with the break-up of a relationship. Film fans may recall the song being employed to telling effect in the movie "Taxi Driver"
On this work, Jackson seems to have enlisted the help of various people to help out with vocal harmonies, and they are a feature of this album, helping to create quite a gritty effect, consistent with the overall tone. Jackson himself sings more passionately on these tracks than at virtually any stage of his career. Whether this was intentional, or just a function of his development as a vocalist, is difficult to say. The pleading phrasing ideally complements the words.
Track two, "Fountain of Sorrow", is the longest on the LP, and also the most lyrically impenetrable. To be truthful, I have never fully made my mind up what the metaphors here are alluding to, but this is a beautiful and intelligent piece of work. The instrumentation is even more sparse than on the title track, and Browne's voice captured with greater clarity, supported by some more substantial backing vocals.
Next we come to "Farther On", a song which had a major effect on me almost from the first time I heard it. Rarely can an instrumental part have been as apposite as David Lindley's weeping lap steel is on this. The song muses, reflects and laments upon the passing of time, and frustrated ambitions and hopes, but also celebrates humanity and its compassion and eternal optimism.
The thoughts and sentiments being expressed here will seem relevant and powerful for people, most probably those in their thirties and forties. What still seems remarkable, not just about this song but most of those on "Late for The Sky", is that Jackson Browne was writing cohesive statements like this in his mid-twenties.
"The Late Show" is marginally less demanding than the numbers preceding it, but has some very thoughtful lines, accentuated by an appealing, wandering melody. Vaguely "country rock" in nature, but with more complex lyrics than would be expected from that genre, it touches on many of the themes central to the album.
A song addressing the subject of death, "For A Dancer", stops well short of descending into the maudlin, and is a deceptively simple but incisive piece, curiously hopeful in areas. David Lindley's violin is used effectively but sparingly.
"Before The Deluge" is a song which tackles apocalyptic and utopian anxieties, continuing on from "For Everyman", but it also expands its reach into environmental issues, which were to become a recurring feature of the songwriter's career. Some may consider the lyrics dated, naive and even quite mawkish, but I see them as courageously idealistic. Lindley's violin is more integral to the melody, and there are some delicate but unobtrusive organ flourishes.
It seems appropriate that this song, with its concentration on social concerns, finishes the album, which itself closed a phase in Jackson Browne's career, the "singer-songwriter" period. From now on, "non-confessional" topics would gradually assume greater importance.
In itself, "Late For The Sky" probably represents some kind of high watermark in the California singer-songwriter "movement". It may not have been Jackson Browne's best-selling album, but its emotional pull and understated quality shine like a beacon when assessing his discography.
At every opportunity, I try to encourage people to listen to this album, stressing what a thought-provoking and rewarding listen it remains.....
I had been aware of Jackson's music, but mostly through his more glitzy and commercial singles of the 1980s. It was only when I became a fan of the Eagles that I discovered his classic 1970s material. The Eagles and Jackson were label-mates, friends and songwriting collaborators in the early Seventies, and I was persuaded therefore to look into the Browne canon.
As soon as I heard "Late For The Sky", it struck a chord, both melodically and lyrically. I actually came to it after hearing three or four of Jackson's other LPs of that era, and it stood out from those efforts in several ways. The instrumentation and arrangements were more spartan and stripped-down than the previous "For Everyman", with its layered acoustic guitars and keyboards. On "Late For The Sky", one is aware of greater separation, through which the inspired lyrics are able to project themselves.
In addition to the technical musical differences, the themes and concerns examined in the songs seem more focussed than before, and Jackson is generally less oblique and cryptic in telling his stories. This extra focus adds to the emotional impact of the songs, as they zero in on the hearts and minds of the listener with more clarity, and the album feels more like an overall "experience", certainly compared to its two predecessors.
In its entirety, "Late For The Sky" is the most compelling showcase for Jackson Browne's special capacity to both tug at the heart strings, and stimulate the grey matter. Some of the subjects explored may have had peculiarly contemporary resonance in 1974, but they have proved to be timeless, and indeed to me the songs are more relevant than ever.
Considering that we are dealing with a classic album, it seems churlish to refer to "filler", but two of the songs, "The Road and The Sky" and "Walking Slow", have to be described as such. I suspect that they were included to offset and ameliorate the effect of the meatier and more profound fare around them. For the purposes of this review, I will therefore disregard these two tracks, and concentrate on the six numbers which form its solid and enduring core.
The opener, and title track, introduces us to the type of backing we can expect throughout the album, Browne's piano and David Lindley's evocative and wonderfully brittle guitar are supported by some subtle, and at times almost inaudible, organ work. The lyrics of this song are the bleakest of all, seemingly concerned with the break-up of a relationship. Film fans may recall the song being employed to telling effect in the movie "Taxi Driver"
On this work, Jackson seems to have enlisted the help of various people to help out with vocal harmonies, and they are a feature of this album, helping to create quite a gritty effect, consistent with the overall tone. Jackson himself sings more passionately on these tracks than at virtually any stage of his career. Whether this was intentional, or just a function of his development as a vocalist, is difficult to say. The pleading phrasing ideally complements the words.
Track two, "Fountain of Sorrow", is the longest on the LP, and also the most lyrically impenetrable. To be truthful, I have never fully made my mind up what the metaphors here are alluding to, but this is a beautiful and intelligent piece of work. The instrumentation is even more sparse than on the title track, and Browne's voice captured with greater clarity, supported by some more substantial backing vocals.
Next we come to "Farther On", a song which had a major effect on me almost from the first time I heard it. Rarely can an instrumental part have been as apposite as David Lindley's weeping lap steel is on this. The song muses, reflects and laments upon the passing of time, and frustrated ambitions and hopes, but also celebrates humanity and its compassion and eternal optimism.
The thoughts and sentiments being expressed here will seem relevant and powerful for people, most probably those in their thirties and forties. What still seems remarkable, not just about this song but most of those on "Late for The Sky", is that Jackson Browne was writing cohesive statements like this in his mid-twenties.
"The Late Show" is marginally less demanding than the numbers preceding it, but has some very thoughtful lines, accentuated by an appealing, wandering melody. Vaguely "country rock" in nature, but with more complex lyrics than would be expected from that genre, it touches on many of the themes central to the album.
A song addressing the subject of death, "For A Dancer", stops well short of descending into the maudlin, and is a deceptively simple but incisive piece, curiously hopeful in areas. David Lindley's violin is used effectively but sparingly.
"Before The Deluge" is a song which tackles apocalyptic and utopian anxieties, continuing on from "For Everyman", but it also expands its reach into environmental issues, which were to become a recurring feature of the songwriter's career. Some may consider the lyrics dated, naive and even quite mawkish, but I see them as courageously idealistic. Lindley's violin is more integral to the melody, and there are some delicate but unobtrusive organ flourishes.
It seems appropriate that this song, with its concentration on social concerns, finishes the album, which itself closed a phase in Jackson Browne's career, the "singer-songwriter" period. From now on, "non-confessional" topics would gradually assume greater importance.
In itself, "Late For The Sky" probably represents some kind of high watermark in the California singer-songwriter "movement". It may not have been Jackson Browne's best-selling album, but its emotional pull and understated quality shine like a beacon when assessing his discography.
At every opportunity, I try to encourage people to listen to this album, stressing what a thought-provoking and rewarding listen it remains.....
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