A selection of newly released music that caught my attention
Welcome to the latest installment of my new music revue. As still oftentimes happens, even after having done this weekly feature for about two years, all of my picks represent artists who are entirely new to me. Unless noted otherwise, the tracks appeared on albums that were released yesterday (March 25).
Camp Cope/Running With the Hurricane
Kicking things off are Aussie alternative rock trio Camp Cope from Melbourne. Formed in 2015, the all-female group includes singer-songwriter and guitarist Georgia “Georgia Maq” McDonald, Kelly-Dawn Hellmrich (bass) and Sarah “Thomo” Thompson (drums). Apple Music characterizes Camp Cope’s music as “an angst-ridden sound sitting somewhere between confessional folk-punk and lo-fi pop-punk.” The trio released their eponymous debut album in April 2016. Their sophomore effort How to Socialise & Make Friends from March 2018 marked their breakthrough in the land from down under, reaching no. 6 on the domestic charts. Camp Cope have also toured the U.S. and Europe, which included a headlining tour of North America in 2019. Running With the Hurricane, credited to the entire band, is the pleasant title track of their third and latest album.
Wallows are an alternative rock band based in Los Angeles. Here’s more from their Apple Musicprofile: Wallows’ synth-spiked, sun-soaked indie rock captures an aching nostalgia for romances come and gone, and all the innocence lost in between. It’s a sound inspired by the Los Angeles-based trio’s own evolution: The members have experienced many of their growing pains together, after all. As preteens, singers/guitarists Dylan Minnette and Braeden Lemasters met drummer Cole Preston in Santa Clarita, California, and founded Feaver (who played 2011’s Warped Tour), which became The Narwhals and eventually Wallows in 2017. The group’s debut studio album Nothing Happens yielded the single Are You Bored Yet?, which peaked at no. 2 on Billboard’sAlternative Airplay chart. Missing Out, written by Tevin Toriano Walls, is a track from Tell Me That It’s Over, the second and new full-length record by Wallows.
The Wilder Blue/Feelin’ the Miles
There were many country releases this week, including the eponymous sophomore album by Texas five-piece The Wilder Blue. According to their website, the band features Zane Williams (lead vocals), Paul Eason (lead guitar), Andy Rogers (multi-instrumentalist), Sean Rodriguez (bass) and Lyndon Hughes (drums). It sounds like the band came together in 2019. Their debut album Hill Country appeared in May 2020. Here’s Feelin’ the Miles, a nice laid-back track written by Williams.
Jensen McRae/Take It Easy
Jensen McRae is a singer-songwriter originally hailing from Santa Monica, Calif. McRae who is of Black and white Jewish descent has been singing since her childhood and began taking piano lessons as a 7-year-old. She also plays guitar. Her early influences included Carole King, James Taylor, Stevie Wonder and Alicia Keys. McRae who has been compared to folks artists like Tracy Chapman has described her music as “folk-alternative-pop”. Her debut EP Who Hurt You? came out in June 2021. On March 22, McRae released her first full-length album Are You Happy Now? Here’s Take It Easy, which like all other songs on the record was solely written by McRae. I’m really impressed with this young lady who sometimes reminds me a bit of Joni Mitchell. Check out Wolves, which is included in the below Spotify playlist.
Last but not least, here’s the aforementioned Spotify playlist.
Sources: Wikipedia; Apple Music; The Wilder Blue website; YouTube; Spotify
The other day, I found myself listening to Redneck Friend, a great early rocker by Jackson Browne. This prompted me to pull up For Everyman, Browne’s sophomore album that came out in October 1973. While he’s one of my favorite singer-songwriters and I’ve listened to him for 40 years, for the most part, I really didn’t know this record. Just like for many other artists I dig, I’m mostly familiar with certain songs and perhaps a handful of albums. It didn’t take me long to recognize what a gem For Everyman is, and I decided then and there to blog about it once I would get a chance.
As I started reading up on the album, one of the things that struck me first is the impressive cast of guests. David Crosby, Glenn Frey, Don Henley, Elton John, Joni Mitchell and Bonnie Raitt are among Browne’s songwriter peers. In addition, you have top notch session musicians like David Lindley, Jim Keltner, Russ Kunkel, David Paich and Leland Sklar. Kunkel and Sklar were part of The Section, a group of top-notch musicians who together or individually backed the likes of Carole King, James Taylor, Warren Zevon and, well, Jackson Browne.
While I completely realize that having high-caliber guests on an album doesn’t automatically guarantee high quality, a good rule of thumb is that great artists play with other great artists. These guys knew what they had in Jackson Browne. Yes, he already had released his well received eponymous debut album in January 1972. And, yes, he had written songs since the mid-’60s and given the Eagles their first single and top 40 U.S. hit with Take It Easy. Still, I find it impressive how well established the then-25-year-old artist already was at this early stage in his own recording career.
Let’s get to some music. Here’s Browne’s version of the aforementioned Take It Easy, the album’s opener. Originally, Browne began work on the song in 1971 and wanted to include it on his debut album. But he couldn’t finish it at the time. When he played the unfinished tune to his friend Glenn Frey, who lived in the same building, Frey completed the song and received a co-writing credit. At first, I preferred the Eagles’ version but over time, I’ve increasingly come to like Browne’s recording and now dig it at least as much as the rendition by the Eagles. That sweet pedal steel guitar was provided by Sneaky PeteKleinow, an original member of The Flying Burrito Brothers.
What can I say about Colors of the Sun other than it’s a beautiful singer-songwriter type song. In addition to singing lead, Brown played piano on this track. Don Henley provided harmony vocals. It’s simply a great tune – no need to over-analyze. The neat acoustic guitar fill-ins were provided by David Lindley, an incredible musician who bears a significant degree of responsibility for the album’s great sound.
The last track on side one is These Days, a song Browne wrote as a 16-year-old. German singer-songwriter Nico was the first of many artists to record the tune. It was included on her debut album Chelsea Girl from October 1967. Another great version appeared in October 1973 on Gregg Allman’s first solo album Laid Back. Until Allman’s final studio album Southern Blood came out in September 2017, which features Browne as a guest on Allman’s cover of Brown’s Song for Adam, I had no idea these seemingly very different artists had great appreciation of each other and had been good friends. The beautiful harmony vocals on Browne’s original were provided by Doug Haywood who also played a great bass line. Once again Lindley shined, this time on slide guitar.
One to side two and the first track there, Redneck Friend, the tune that prompted my deep exploration of this album. This is one seductive melodic rocker featuring a killer cast of guests: Lindley (slide guitar), Elton John (piano) and Frey (backing vocals), along with Haywood (bass) and Keltner (drums). In addition to lead vocals, Browne provided rhythm guitar. Redneck Friend was also released separately as a single. While it spent 10 weeks on the U.S. Billboard Hot 100, it only peaked at no. 85, significantly lower than Browne’s previous two singles Rock Me On the Water (no. 48) and Doctor, My Eyes (no. 8).
Next up: The Times You’ve Come. In addition to the track’s great melody, the standout to me is the melodic bass part by Leland Sklar – absolutely beautiful! I also want to call out Bonnie Raitt who sang harmony and Lindley’s acoustic guitar work.
This brings me to the title track, which is the album’s closer. The idea of the song came to Browne while he was temporarily living with David Crosby on his boat in the San Francisco Bay and met two of Crosby’s neighbors who also owned boats. All three boat owners shared the vision to escape on their boats and create a new civilization elsewhere – essentially the same theme Crosby, Stills & Nash had voiced on their 1969 single Wooden Ships. For Everyone featured Crosby on harmony vocals. Sklar (bass) and Lindley (acoustic and electric guitar) once again were among Browne’s backing musicians.
For Everyman was produced by Jackson Browne. Just like his eponymous debut album, For Everyman made the U.S. and Australian mainstream album charts, reaching no. 43 and no. 48, respectively. It was ranked at no. 450 in Rolling Stone’s 2012 edition of the list of The 500 Greatest Albums of All Time. The album didn’t make the most recent revision from September 2020. While Browne’s Mount Rushmore Running on Empty was still four years away, For Everyman is a great early album by a singer-songwriter who after a close to 50-year recording career as a solo artist is still going strong.
“…The Pretender, These Days, For Every Man, I’m Alive, Fountain of Sorrow, Running On Empty, For a Dancer, Before the Deluge. Now, I know the Eagles got in first; but let’s face it it – and I think Don Henley would agree with me – these are the songs they wish they had written. I wish I had written them myself, along with Like a Rolling Stone and Satisfaction…”
The above words were spoken by Bruce Springsteen in 2004 as part of his Rock & Roll Hall of Fameinduction speech for Jackson Browne. Springsteen also recalled when he first met Browne in New York City at The Bitter End, a storied Greenwich Village performance venue, he knew the singer-songwriter from California was “simply one of the best”. Coming from somebody who has written so many great songs himself and during that same speech also admitted to be “a little competitive”, I think these remarks speak volumes.
The first Jackson Browne record I listened to in its entirety was what I still consider a true ’70s gem: Running On Empty. If I recall it correctly, my brother-in-law had it on vinyl, and I initially copied it on music cassette. I was spending countless hours at the time taping music from records, CDs and certain radio programs. I still have hundreds of tapes floating around. While it’s safe to assume the quality of most is less than stellar at this time, I just cannot throw them out!
Back to Browne with whom I happen to share one fun fact: We were both born in Heidelberg, Germany, though close to 18 years apart. Browne’s dad was stationed in Germany, working for American military newspaper Stars and Stripes. Two of his three siblings were born there as well. In 1951 when Browne was three years old, his family relocated to Los Angeles.
During his teenage years, Browne started performing folk songs at local L.A. venues like The Ash Grove and The Troubador Club. After graduating from high school in 1966, he joined country rockers Nitty Gritty Dirt Band, which would later record some of his songs. After a few months, Browne left and moved to New York City where he became a staff writer for Elektra Records’ publishing company Nina Music.
In 1967, Browne met and became romantically involved with singer Nico of The Velvet Underground. He became a significant contributor to her debut solo album Chelsea Girl. After they broke up in 1968, Browne returned to Los Angeles where he met Glenn Frey soon thereafter. Before he started recording his own songs, Browne’s music was recorded by other artists such as Tom Rush, Gregg Allman, Eagles, Linda Ronstadt and of course the aforementioned Nico and Nitty Gritty Dirt Band.
In 1971, Browne finally managed to get a deal with Asylum Records, and in January 1972, he released his eponymous debut album. Thirteen additional studio records have since appeared, as well as seven compilation and live albums and more than 40 singles. And this brings us to the most fun part of the post: Some of Browne’s music he has released during his close to 50-year recording career.
I’d like to kick things off with Song for Adam from Brown’s above noted eponymous debut album. The mournful memory of Adam Saylor, a friend of Browne who died in 1968 – possibly by suicide – was covered by various other artists, including Gregg Allman, who included a moving rendition with Browne singing harmony vocals on his final studio album Southern Blood from September 2017.
By the time Browne recorded Take It Easy for his sophomore album For Everyman, which appeared in October 1973, the Eagles had released the tune as their first single in May 1972. It gave them their first hit peaking at no. 12 on the Billboard Hot 100 and one of their signature songs. Originally, Browne began writing the tune for his eponymous debut album. But he got stuck with it, so played it to his friend Glenn Frey, who ended up finishing it. When Browne finally recorded the song, he also released it as a single, but it didn’t chart – perhaps it sounds pretty similar to the Eagles‘ version.
Fountain of Sorrow is a great track from Browne’s third studio Late for the Sky. Released in September 1974, it was his first top 20 record in the U.S., climbing to no. 14 on the Billboard 200. Like Take It Easy, the tune also appeared separately as a single but did not chart either.
In November 1976, Browne released The Pretender, his fourth studio album. It was his first major album chart success, climbing to no. 5 on the Billboard 200, and marking his first record to chart in the U.K., where it reached no. 26. Here’s the title track, which also became the second single. It did moderately well, reaching no. 58 on the Billboard Hot 100 – love that tune!
Next is the album that started my Jackson Browne journey: The amazing Running on Empty from December 1977. Frankly, I could list each tune on that record, so let’s go with one that is a less obvious choice: The Road, written by American singer-songwriter Danny O’Keefe. Themed around life on the road as a touring musician, Running on Empty was an unusual record featuring live recordings on stage and in other locations associated with touring, such as hotel rooms, tour buses or backstage. The first 2:28 minutes of The Road were captured in a hotel room in Columbia, Md., while the remainder was recorded live at Garden State Arts Center in Holmdel, N.J., which nowadays is known as PNC Bank Arts Center and a venue where I’ve seen many great shows.
In June 1980, Browne released Hold Out, his sixth studio album. While the record received poor reviews from music critics, ironically, it became his only no. 1 album in the U.S. It also was Browne’s second record to chart in the U.K. Here’s Of Missing Persons, a beautiful tribute to Little Feat co-founder Lowell George, a collaborator and longtime friend of Browne’s who had passed away the year before. The tune was specifically written for George’s then six-year-old daughter Inara George who since became a music artist as well.
For many years, Jackson Browne has been a political activist, e.g., speaking up against the use of nuclear power and supporting environmental causes. But it wasn’t until the ’80s that political themes starting to play a more dominant role in Browne’s lyrics. The album that comes to my mind first in that context is Lives in the Balance, which came out in February 1986. Here’s the catchy opener For America. It also became the lead single and reached no. 30 on the Billboard Hot 100.
For the next tune, I’m jumping to the ’90s, specifically to February 1996 and Browne’s 11th studio album Looking East. Like many of his previous records, it featured various notable guests, such as Bonnie Raitt, David Crosby, Ry Cooder and Mike Campbell. Here is Baby How Long, for which Cooder provided a great slide guitar part and Raitt sang harmony vocals, together with Australian singer Renée Geyer.
Let’s do two more from the current millennium. First up: The title track from The Naked Ride Home, Browne’s 12th studio album from September 2002, which my streaming music provider served up as a listening suggestion that in turn triggered the idea to do this post.
The final song I’d like to highlight is from Browne’s most recent 14th studio album Standing in the Breach, which was released in October 2014. Here is the nice opener The Birds of St. Marks. Originally, Browne wrote that tune in 1967 after his breakup with Nico and return from New York to California. While first released on his 2005 live album Solo Acoustic, Vol. 1., it wasn’t until this 2014 studio album that Browne properly recorded the tune. “This is a song I always heard as a Byrds song, and that was even part of the writing of the song,” Brown toldRolling Stone in an August 2014 interview. Standing in the Breach became a remarkable late-stage career chart success, reaching no. 15 on the Billboard 200 and no. 31 in the U.K.
Earlier this year, in the wake of testing positive for COVID-19 (though luckily with relatively light symptoms), Browne released A Little Soon to Say, a song from his next studio album scheduled for October 9, which I featured in this previous Best of What’s New installment. To date Browne has sold more than 18 million albums in the U.S. alone. Apart from the above mentioned Rock & Roll Hall of Fame induction, Browne has also been inducted into the Songwriters Hall of Fame in June 2007. He is ranked at no. 37 in Rolling Stone’s 2015 list of 100 Greatest Songwriters of All Time.
Jackson Browne must have a secret, and I wanna know what it is. While the man supposedly has been running on empty for the past 40 years, he doesn’t show any signs of slowing down. After I had heard the song for the first time on the radio in Germany in the late ’70s, Browne quickly became one of my favorite artists. Not surprisingly, I was really psyched when I finally saw him for the first time Sunday night at Sands Bethlehem Event Center in the former steel town of Bethlehem, Pa.
After a 45-year-plus recording career, Browne’s voice still sounded just as great as it did back in the days of Running On Empty. Heck, he even largely looked the same with the same hairstyle – okay, now with grey hair and glasses, but overall, time has been relatively kind to Browne. And what an ace backing band! But let’s start from the beginning.
Have you ever been to a rock & roll show that started on time? I don’t recall any, but this one actually did! At 7:30 PM on the dot, Browne walked out on stage to personally introduce his opening act: American singer-songwriter Vonda Shepard. Frankly, I had never heard of her before. Browne called her a great songwriter who for sometime had been part of his band. Oh, and he also allowed her to use his current backing band – what a class act!
I have to say I was impressed with Shepard, who reminded a bit of Sheryl Crow. Her voice has a nice soulful vibe. She also is a musician, playing the piano, bass and guitar. Shepard started out as a backing singer, eventually got a record contract, and released her eponymous debut album in 1989. After her third record had appeared in 1996, she was hired for the TV sitcom Ally McBeal, for which she recorded two companion soundtrack albums. She scored a hit with Searchin’ My Soul, a catchy pop rock tune she co-wrote with Paul Howard Gordon. To date Shepard has released 14 albums. Here is a clip of Searchin’ My Soul, which was the closer of her 25-minute set.
Then the time had finally come for Jackson Browne. From the opening bars of Before The Deluge to the final notes of the encore, I was amazed by Browne’s voice and his musicianship. With a 45-year-plus recording career, he certainly had an enormous catalog he could pull from and he did. I wasn’t familiar with all of the tunes he performed, but with the help of Setlist.fm, I figured out the entire set except for one song.
The first tune I’d like to call out is The Long Way Around, a track from Browne’s last studio album Standing In The Breach, which appeared in October 2014. One thing I liked about the song was the great solo by Browne’s lead guitarist Val McCallum, whose guitar work shined throughout the evening. I just dig the clear and transparent sound he got out of his Fender Telecaster. Here’s a nice clip.
Another highlight was Lives In The Balance, the title song from Browne’s eighth studio album released in February 1986. The stripped back version prominently featured his terrific backing vocalists Alethea Mills and Chavonne Stewart, who added a dose of gospel and soul. Check it out.
Amid all his songs, Browne also threw in a cover of I’m A Patriot, a tune written by Little Steven for his second solo album Voice Of America from May 1984. Again, backing singers Mills and Stewart featured prominently in the laid back tune and did a beautiful job.
In addition to being a great songwriter and vocalist, Browne is a pretty decent guitarist. One standout in this context was Your Bright Baby Blues from his fourth studio album The Pretender released in November 1976. It featured some nice slide guitar work by Browne. You can watch it here.
Speaking of The Pretender, here is the great title track of the album. It was one of the tunes Browne played on the piano.
Running On Empty was the last track of the regular set. I still love this song after all these years. Greg Leisz did a beautiful job on pedal steel guitar. Like the amazing David Lindley, this guy is an impressive multi-instrumentalist.
Browne waited to the encore to play one of his other major hits: Take It Easy, which he co-wrote with Glenn Frey. It became the first single for the Eagles in May 1972. Browne included the tune on his sophomore album For Everyman, which came out in October 1973. On Sunday night, he blended it into Our Lady Of The Well, the second tune on that record. Leisz provided more beautiful pedal steel guitar. It’s all nicely captured in the following clip.
In addition to McCallum, Leisz, Mills and Stewart, Browne’s excellent backing band included Bob Glaub (bass), Mauricio Lewak (drums) and Jeff Young (keyboards). Here is the entire set list.