Looking into Jackson Browne
It’s not really worth a special trip, but anyone visiting London’s South Bank arts complex between now and June 14 will find an exhibition of photographs by Henry Diltz and Chuck Pulin, titled Both Sides Now: Moments in American Music, in the foyer of the National Theatre, organised by the Corbis picture agency. Diltz, a former member of the Modern Folk Quartet, took mellow colour photos of Laurel Canyon aristocracy in the late ’60s and early ’70s. Pulin took raw black and white snaps of the new-wavers and no-wavers of downtown New York City in the late ’70s. The contrast speaks for itself.
Among Diltz’s contributions are a couple of pictures of Jackson Browne, one of which you can see above. The first time I saw Browne on stage was at the South Bank’s Royal Festival Hall in February 1971, when he and his guitar supported Laura Nyro and her piano. He was aged 22 and his first album was awaited, containing songs of astonishing maturity that he’d written when in his mid-teens; he performed them impressively. Now there’s a new 2CD set called Looking into You: A Tribute to Jackson Browne, on the Music Road label, which features a couple of dozen people interpreting his songs, and I enjoyed it enough to set aside the wariness with which one has grown used to approaching such projects.
It starts with Don Henley treating “These Days” very well and continues with Bonnie Raitt and David Lindley doing “Everywhere I Go” beautifully before moving on to some names less familiar to me, including Bob Schneider (“Running on Empty”), Paul Thorn (“Doctor My Eyes”), Griffin House (“Barricades of Heaven”) and Venice (“For a Dancer”). Jimmy LaFave’s version of “For Everyman” is good enough to have made me order his latest album (Depending on the Distance) straight away.
You also get Lucinda Williams (a wild-eyed “The Pretender”), Lyle Lovett (“Our Lady of the Well” and “Rosie”), Ben Harper (“Jamaica Say You Will”), Bruce Hornsby (“I’m Alive”), Keb’ Mo’ with “Rock Me on the Water”, the wonderful Karla Bonoff with “Something Fine”, the unlikely pairing of the underrated Marc Cohn and Joan as Police Woman with “Too Many Angels”, another Joan — Osborne — with “Late for the Sky”, J.D. Souther with “My Opening Farewell”, Shawn Colvin with “Call It a Loan”, Bruce Springsteen and Patti Scialfa with a sensual “Linda Paloma”, and the Indigo Girls’ lovely version of “Fountain of Sorrow”, which contains some of my favourite Browne lines, about coming across a photograph of an old lover: You were turning ’round to see who was behind you / And I took your childish laughter by surprise / And at the moment that my camera happened to find you / There was just a trace of sorrow in your eyes.
Many excellent musicians make their appearance in the various backing bands — the guitarist Marc Ribot with Springsteen and Scialfa, the bassist Victor Krauss with Souther, the Parks/Sklar/Kunkel rhythm section with Lovett, the pianist Chuck Leavell with the Indigo Girls — and I can’t imagine anyone who likes Browne not enjoying this. I was left wondering that no one chose “The Naked Ride Home”, “In the Shape of a Heart” or “Sky Blue and Black”, which only goes to show how many fine songs he’s written.
Eliza Gilkyson sings another of his best, and I like what she has to say about it: “I don’t think anyone has ever told the story of our generation — our ideals, illusions and spectacular fall from grace — better than Jackson does in ‘Before the Deluge’. It is forgiving and tender, sad and hopeful, and ultimately prophetic as we now face the very future he predicted when he wrote it in 1974. I wish he had gotten it wrong.”