Jackson Browne | ||
| Allmusic Biography : In many ways, Jackson Browne was the quintessential sensitive California 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 1976s 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 1993s Im 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 Yorks Greenwich Village, where he played in Tim Buckleys 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 Geffens 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 didnt establish Browne as a pop star, despite its hit single. On his second album, 1973s 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 Brownes audience significantly, peaking at number 14 on the charts and going gold by the beginning of the following year. Brownes 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 Brownes popularity. Though the album wasnt as well-crafted as its predecessors, it became his only number one album upon its summer release. In the summer of 1982, "Somebodys Baby," from the soundtrack of Fast Times at Ridgemont High, became Brownes 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 newlfound social consciousness, which dominated 1986s 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. Browne continued to write primarily political songs on 1989s 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 Im Alive. Comprised of personal songs, Im 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 Im 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. Solo Acoustic, Vol. 2 appeared in 2008, while an album of new material, Time the Conqueror, followed later in the year. Spring 2010 saw the release of Love Is Strange, followed by 2011s Live In Milan. Standing in the Breach, issued in October of 2014, was the first release of new studio material from the artist in six years. It appeared on his Inside Recordings label. | ||
 | Album: 1 of 22 Title: Jackson Browne / Saturate Before Using Released: 1972-01 Tracks: 10 Duration: 41:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Jamaica Say You Will (03:25) 2 A Child in These Hills (03:59) 3 Song for Adam (05:23) 4 Doctor My Eyes (03:20) 5 From Silver Lake (03:52) 6 Something Fine (03:48) 7 Under the Falling Sky (04:10) 8 Looking Into You (04:19) 9 Rock Me on the Water (04:14) 10 My Opening Farewell (04:44) |
| Jackson Browne / Saturate Before Using : Allmusic album Review : One of the reasons that Jackson Brownes first album is among the most auspicious debuts in pop music history is that it doesnt sound like a debut. Although only 23, Browne had kicked around the music business for several years, writing and performing as a member of the Nitty Gritty Dirt Band and as Nicos backup guitarist, among other gigs, while many artists recorded his material. So, if this doesnt sound like someones first batch of songs, its not. Browne had developed an unusual use of language, studiedly casual yet full of striking imagery, and a post-apocalyptic viewpoint to go with it. He sang with a calm certainty over spare, discretely placed backup -- piano, acoustic guitar, bass, drums, congas, violin, harmony vocals -- that highlighted the songs and always seemed about to disappear. In song after song, Browne described the world as a desert in need of moisture, and this wet/dry dichotomy carried over into much of the imagery. In "Doctor My Eyes," the albums most propulsive song and a Top Ten hit, he sang, "Doctor, my eyes/Cannot see the sky/Is this the prize/For having learned how not to cry?" If Brownes outlook was cautious, its expression was original. His conditional optimism seemed to reflect hard experience, and in the early 70s, the aftermath of the 60s, a lot of his listeners shared that perspective. Like any great artist, Browne articulated the tenor of his times. But the album has long since come to seem a timeless collection of reflective ballads touching on still-difficult subjects -- suicide (explicitly), depression and drug use (probably), spiritual uncertainty and desperate hope -- all in calm, reasoned tones, and all with an amazingly eloquent sense of language. Jackson Brownes greater triumph is that, having perfectly expressed its times, it transcended those times as well. (The album features a cover depicting Brownes face on a water bag -- an appropriate reference to its desert/water imagery -- containing the words "saturate before using." Inevitably, many people began to refer to the self-titled album by that phrase, and when it was released on CD, it nearly became official -- both the disc and the spine of the jewel box read Saturate Before Using.) | ||
 | Album: 2 of 22 Title: For Everyman Released: 1973 Tracks: 10 Duration: 41:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Take It Easy (03:51) 2 Our Lady of the Well (03:39) 3 Colors of the Sun (04:17) 4 I Thought I Was a Child (03:44) 5 These Days (04:39) 6 Redneck Friend (03:59) 7 The Times Youve Come (03:39) 8 Ready or Not (03:35) 9 Sing My Songs to Me (03:25) 10 For Everyman (06:11) |
| For Everyman : Allmusic album Review : Jackson Browne faced the nearly insurmountable task of following a masterpiece in making his second album. Having cherry-picked years of songwriting the first time around, he turned to some of his secondary older material, which was still better than most peoples best and, ironically, more accessible -- notably such songs as "These Days," which had been covered six times already, dating back to Nicos Chelsea Girl album in 1967, and "Take It Easy," a co-composition with the Eagles Glenn Frey that had been a Top 40 hit for the group in 1972. Browne unsuccessfully looked for another hit single with the up-tempo "Red Neck Friend," reminisced about meeting his wife and starting a family in the coy "Ready or Not," and, at the end, finally came up with a new song to rank with those on the first album in the philosophical title track, which reportedly was his more positive reply to Crosby, Stills, Nash & Youngs "Wooden Ships." (David Crosby sang harmony.) Musically, the album was still restrained, but not as austere as Jackson Browne, as the singer had hooked up with multi-instrumentalist David Lindley, who would introduce interesting textures to his music on a variety of stringed instruments for the next several years. All of which is to say that For Everyman was a less consistent collection than Brownes debut album. But Brownes songwriting ability remained impressive. | ||
 | Album: 3 of 22 Title: Late for the Sky Released: 1974-09 Tracks: 8 Duration: 41:07 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Late for the Sky (05:38) 2 Fountain of Sorrow (06:51) 3 Farther On (05:19) 4 The Late Show (05:13) 5 The Road and the Sky (03:06) 6 For a Dancer (04:44) 7 Walking Slow (03:53) 8 Before the Deluge (06:20) |
| Late for the Sky : Allmusic album Review : On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first albums "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second albums "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they dont mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "Im not sure what Im trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the albums thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before. | ||
 | Album: 4 of 22 Title: The Pretender Released: 1976-11 Tracks: 8 Duration: 35:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 The Fuse (05:49) 2 Your Bright Baby Blues (06:05) 3 Linda Paloma (04:06) 4 Here Come Those Tears Again (03:34) 5 The Only Child (03:44) 6 Daddys Tune (03:37) 7 Sleeps Dark and Silent Gate (02:37) 8 The Pretender (05:52) |
| The Pretender : Allmusic album Review : On The Pretender, Jackson Browne took a step back from the precipice so well defined on his first three albums, but doing so didnt seem to make him feel any better. Employing a real producer, Jon Landau, for the first time, Browne made what sounded like a real contemporary rock record, but this made his songs less effective; the ersatz Mexican arrangement of "Linda Paloma" and the bouncy second half of "Daddys Tune," with its horn charts and guitar solo, undercut the lyrics. The man who had delved so deeply into lifes abyss on his earlier albums was in search of escape this time around, whether by crying ("Here Come Those Tears Again"), sleeping ("Sleeps Dark and Silent Gate"), or making peace with estranged love ones ("The Only Child," "Daddys Tune"). None of it worked, however, and when Browne came to the final track -- traditionally the place on his albums where he summed up his current philosophical stance -- he delivered "The Pretender," a cynical, sarcastic treatise on moneygrubbing and the shallow life of the suburbs. Primarily inner-directed, the songs defeatist tone demands rejection, but it is also a quintessential statement of its time, the post-Watergate 70s; dire as that might be, you had to admire that kind of honesty, even as it made you wince. | ||
 | Album: 5 of 22 Title: Running on Empty Released: 1977 Tracks: 10 Duration: 42:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Running on Empty (05:30) 2 The Road (04:46) 3 Rosie (03:41) 4 You Love the Thunder (03:56) 5 Cocaine (04:54) 6 Shaky Town (03:40) 7 Love Needs a Heart (03:30) 8 Nothing but Time (03:36) 9 The Load-Out (05:35) 10 Stay (03:22) |
| Running on Empty : Allmusic album Review : Having acknowledged a certain creative desperation on The Pretender, Jackson Browne lowered his sights (and raised his commercial appeal) considerably with Running on Empty, which was more a concept album about the road than an actual live album, even though its songs were sometimes recorded on-stage (and sometimes on the bus or in the hotel). Unlike most live albums, though, it consisted of previously unrecorded songs. Browne had less creative participation on this album than on any he ever made, solely composing only two songs, co-writing four others, and covering another four. And he had less to say -- the title song and leadoff track neatly conjoined his artistic and escapist themes. Figuratively and creatively, he was out of gas, but like "the pretender," he still had to make a living. The songs covered all aspects of touring, from Danny OKeefes "The Road," which detailed romantic encounters, and "Rosie" (co-written by Browne and his manager Donald Miller), in which a soundman pays tribute to auto-eroticism, to, well, "Cocaine," to the travails of being a roadie ("The Load-Out"). Audience noises, humorous asides, loose playing -- they were all part of a rough-around-the-edges musical evocation of the rock & roll touring life. It was not what fans had come to expect from Browne, of course, but the disaffected were more than outnumbered by the newly converted. (It didnt hurt that "Running on Empty" and "The Load-Out"/"Stay" both became Top 40 hits.) As a result, Brownes least ambitious, but perhaps most accessible, album ironically became his biggest seller. But it is not characteristic of his other work: for many, it will be the only Browne album they will want to own, just as others always will regard it disdainfully as "Jackson Browne lite." | ||
 | Album: 6 of 22 Title: Hold Out Released: 1980-06-24 Tracks: 7 Duration: 38:20 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Disco Apocalypse (05:12) 2 Hold Out (05:39) 3 That Girl Could Sing (04:35) 4 Boulevard (03:21) 5 Of Missing Persons (06:33) 6 Call It a Loan (04:50) 7 Hold On Hold Out (08:08) |
| Hold Out : Allmusic album Review : If Jackson Browne had convincingly lowered the bar set by his first three albums on his fourth and fifth ones, his sixth, Hold Out, found him once again seeking some measure of satisfaction, albeit in reduced circumstances. His songs were less philosophical, but they were also more personal. In "Of Missing Persons," he once again took on a eulogy as his subject, but unlike "Song to Adam" or "For a Dancer," there the song was directed to his late friends daughter and encouraged her recovery: it was more a song for the living than for the dead. Newly aware of the world around him ("Boulevard"), he was also newly sensitive to others, notably on the mutual dependency song "Call It a Loan." But the personal tone sometimes made him less sure-footed as a performer; "Hold on Hold Out," the traditional big, long, last song on the album, was awkwardly, not winningly, intimate, just as the attention-grabbing lead-off track, "Disco Apocalypse," was merely foolish instead of whatever it may have been intended to be (satire? drama?). If Browne was still trying to write himself out of the cul-de-sac he had created for himself early on, Hold Out represented an earnest attempt that nevertheless fell short. | ||
 | Album: 7 of 22 Title: Lawyers in Love Released: 1983 Tracks: 8 Duration: 35:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Lawyers in Love (04:21) 2 On the Day (03:59) 3 Cut It Away (04:47) 4 Downtown (04:08) 5 Tender Is the Night (04:53) 6 Knock on Any Door (03:38) 7 Say It Isnt True (05:25) 8 For a Rocker (04:04) |
| Lawyers in Love : Allmusic album Review : Jackson Brownes messages had always seemed so important that one tended to overlook the sheer songwriting craft that went into his work, craft that was apparent, for example, on his 1982 single "Somebodys Baby," which became his biggest hit ever (and which appears on none of his albums, only being available on the soundtrack to Fast Times at Ridgemont High), and on songs like "Downtown," a street-life portrait on his seventh album, Lawyers in Love. The craft seemed all the more important because Browne was so intent on turning his back on the conundrums that had obsessed him in the past. On "Cut It Away," he sang of his desire to remove his "desperate heart" (a phrase he had used before), to rid himself of "this crazy longing for something more/This question that I dont have the answer for." In place of such ambitions, Browne substituted the beginnings of social concern ("Say It Isnt True") and, most imaginatively, a humorous look at contemporary trash culture in the title track, one of the more exhilaratingly silly moments in Brownes generally dour catalog. But the craft, and the familiar tightness of Brownes veteran studio/live band, couldnt hide the essentially retread nature of much of this material. | ||
 | Album: 8 of 22 Title: Lives in the Balance Released: 1986-04-30 Tracks: 8 Duration: 39:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 For America (05:12) 2 Soldier of Plenty (04:37) 3 In the Shape of a Heart (05:42) 4 Candy (04:12) 5 Lawless Avenues (05:39) 6 Lives in the Balance (04:18) 7 Till I Go Down (04:19) 8 Black and White (05:11) |
| Lives in the Balance : Allmusic album Review : Usually among the most introspective of songwriters, Jackson Browne cast his gaze on the world outside on Lives in the Balance and did not like what he saw. Beginning with "For America," he lamented his previous indifference to social issues -- "I went on speaking of the future/While other people fought and bled" -- but immediately tried to make up for lost time. The albums context, of course, was five years of Ronald Reagans presidency, with what the Left saw as an indifference to the plight of the poor at home and a dangerously aggressive policy against insurgent movements in the Central American countries of El Salvador and Nicaragua they feared would lead to a Vietnam-like war. Without naming those places, Browne wrote and sang passionately against poverty in the songs "Soldier of Plenty" and "Lawless Avenues" and against war in "For America," "Lives in the Balance," and "Till I Go Down." Elsewhere, his more familiar themes of romantic ("In the Shape of a Heart") and philosophical ("Black and White"); disillusionment also made appearances. But, from its hard rock sound and forceful singing to its frankly agit-prop lyrics, "For America" remained primarily a political statement, and if Browne sounded more involved in his music than he had in some time, the specificity of its approach inevitably limited its appeal and its long-term significance. | ||
 | Album: 9 of 22 Title: World in Motion Released: 1989-06-05 Tracks: 10 Duration: 47:23 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 World in Motion (04:28) 2 Enough of the Night (04:56) 3 Chasing You Into the Light (04:19) 4 How Long (06:14) 5 Anything Can Happen (05:08) 6 When the Stone Begins to Turn (04:51) 7 The Word Justice (04:21) 8 My Personal Revenge (04:10) 9 I Am a Patriot (04:05) 10 Lights and Virtues (04:46) |
| World in Motion : Allmusic album Review : Jackson Browne continued amassing a repertoire best suited to an Amnesty International benefit on his second highly politicized album, World in Motion. War, homelessness, and Oliver North (though not by name) were condemned; freedom, truth, and Nelson Mandela were praised. Now and then, Browne drew parallels between the personal and the political, notably in the double-edged "Anything Can Happen," but for the most part he sermonized, frequently adopting the generalized terms and reasoning that sermons usually employ. Except for the gloomy viewpoint, it was hard to recognize the Jackson Browne of his first few albums amid all the commentary, and even if you agreed with his overall political stance, that was disappointing. | ||
 | Album: 10 of 22 Title: Im Alive Released: 1993-10-26 Tracks: 10 Duration: 47:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Im Alive (05:01) 2 My Problem Is You (04:40) 3 Everywhere I Go (04:37) 4 Ill Do Anything (04:32) 5 Miles Away (03:52) 6 Too Many Angels (06:04) 7 Take This Rain (04:50) 8 Two of Me, Two of You (02:56) 9 Sky Blue and Black (06:05) 10 All Good Things (04:27) |
| I'm Alive : Allmusic album Review : Jackson Browne abandoned politics for the war between the sexes on Im Alive. "I have no problem with this crooked world," he sang; "...My problem is you." The album detailed the ups and downs of a relationship, starting with the defiant post-breakup title track and then doubling back to describe irritation ("My Problem Is You"), devotion ("Everywhere I Go," "Ill Do Anything"), increasing tension ("Miles Away," "Too Many Angels"), separation ("Take This Rain," "Two of Me, Two of You"), forgiveness ("Sky Blue and Black"), and finally acceptance ("All Good Things"). Longtime fans welcomed the album as a return in style to the days of Late for the Sky, but a closer model might have been Hold Out, a complementary album concerned with the flowering of an affair rather than the withering of one, since Browne eschewed the greater philosophical implications of romance and, falling back on stock imagery (angels, rain), failed to achieve an originality of expression. Just as, in Hold Out, one wasnt so much inspired as informed that Browne had found love, on Im Alive, one wasnt so much moved as told that hed lost it. While it was good news that he wasnt tilting at windmills anymore, Browne did not make a full comeback with the album, despite a couple of well-constructed songs. | ||
 | Album: 11 of 22 Title: Looking East Released: 1996-02-13 Tracks: 10 Duration: 50:32 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Looking East (04:56) 2 The Barricades of Heaven (05:40) 3 Some Bridges (04:51) 4 Information Wars (05:14) 5 Im the Cat (03:55) 6 Culver Moon (05:45) 7 Baby How Long (05:05) 8 Niño (05:14) 9 Alive in the World (04:51) 10 It is One (04:57) |
| Looking East : Allmusic album Review : Jackson Browne begins his most Los Angeles-oriented album standing in the Pacific Ocean "Looking East" across the country and, as usual, doing so without much approval, but with a persistent hope. After reflecting on his youth in "The Barricades of Heaven," he compares the rich and poor in "Some Bridges" and takes time out to watch a little television in "Information Wars," before considering romance in "Im the Cat," "Culver Moon," and "Baby How Long" and childhood in "Nino." He then decides he would like to be "Alive in the World," as opposed to inside his head or "behind some wall," and declares of that world, "It Is One." Thus, listeners are taken on another of Jackson Brownes tours, which manages to travel to outer and inner space without leaving the county of Los Angeles. After 24 years of record-making, he remains puzzled by the same personal and philosophical issues, and he approaches them in the same way, alternately hopeful and pessimistic, but more often than not ending up determined to persevere. He now uses fewer words, such that the songs sometimes seem no more than sketches, and he continues to set them to loping rock rhythms played against slabs of ringing guitar with traces of world music. Here, he co-credits eight of the ten songs to his backup musicians, yet the haunting, long-line melodies remain familiar from his earlier work. But then, Looking East is a highly referential work from an artist who started where most end and has been earnestly seeking the right direction ever since. Looking East finds him in his own backyard, still searching. | ||
 | Album: 12 of 22 Title: The Next Voice You Hear: The Best of Jackson Browne Released: 1997-09-23 Tracks: 16 Duration: 1:15:22 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Doctor My Eyes (03:20) 2 These Days (04:39) 3 Fountain of Sorrow (06:51) 4 Late for the Sky (05:38) 5 The Pretender (05:52) 6 Running on Empty (04:56) 7 Stay (02:29) 8 Call it a Loan (04:18) 9 Somebodys Baby (04:22) 10 Tender is the Night (04:37) 11 Lawyers in Love (03:47) 12 In the Shape of a Heart (05:42) 13 Lives in the Balance (04:16) 14 The Barricades of Heaven (05:44) 15 The Rebel Jesus (03:57) 16 The Next Voice You Hear (04:48) |
| The Next Voice You Hear: The Best of Jackson Browne : Allmusic album Review : Theoretically, assembling a Jackson Browne greatest-hits collection would be easy, but The Next Voice You Hear: The Best of Jackson Browne proves that isnt necessarily the case. Boasting 13 tracks, plus two new songs, The Next Voice You Hear contains some of Brownes biggest hits -- "Doctor My Eyes," "Running on Empty," "Somebodys Baby," "Tender Is the Night" -- but it leaves just as many off, including "Rock Me on the Water," "Here Come Those Tears Again," "Stay," "Boulevard," "Lawyers in Love," and "For America." Of course, singles only told half the story with Browne, and many of his greatest songs were only available as album tracks. Therefore, it makes sense that album cuts like "These Days," "Late for Sky," and "The Pretender" are present, but there are still a number of equally good, if not better, cuts that are left off. As a result, The Next Voice You Hear is merely adequate for casual Browne fans, but its nowhere near definitive. | ||
 | Album: 13 of 22 Title: Jackson Browne: Best of...Live Released: 1998-03-15 Tracks: 27 Duration: 2:13:15 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Doctor My Eyes (04:02) 2 My Problem Is You (04:58) 3 In the Shape of a Heart (06:18) 4 Take It Easy (03:27) 5 For a Dancer (04:44) 6 The Pretender (07:00) 7 Running on Empty (05:02) 8 The Load Out (05:02) 9 Stay (03:24) 10 Somebodys Baby (04:16) 11 Before the Deluge (08:20) 1 Doctor My Eyes (03:20) 2 These Days (04:39) 3 Fountain of Sorrow (06:51) 4 Late for the Sky (05:38) 5 The Pretender (05:52) 6 Running on Empty (04:56) 7 The Load Out (05:03) 8 Stay (02:27) 9 Call It a Loan (04:18) 10 Somebodys Baby (04:22) 11 Tender is the Night (04:37) 12 In the Shape of a Heart (05:42) 13 Lives in the Balance (04:16) 14 The Barricades of Heaven (05:44) 15 The Rebel Jesus (03:57) 16 The Next Voice You Hear (04:48) |
| Jackson Browne: Best of...Live : Allmusic album Review : These two Jackson Browne albums (Best of...Live and The Next Voice You Hear) were combined in a double-CD set for the Japanese market in 2003. | ||
 | Album: 14 of 22 Title: The Naked Ride Home Released: 2002-09-24 Tracks: 10 Duration: 1:00:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 The Naked Ride Home (05:58) 2 The Night Inside Me (04:40) 3 Casino Nation (06:58) 4 For Taking the Trouble (04:26) 5 Never Stop (04:58) 6 Walking Town (06:22) 7 About My Imagination (06:11) 8 Sergio Leone (07:59) 9 Dont You Want to Be There (07:37) 10 My Stunning Mystery Companion (04:53) |
| The Naked Ride Home : Allmusic album Review : Jackson Browne was so much the archetypical L.A. singer/songwriter of the 1970s that its tempting to view him as a man out of time on his 2002 album The Naked Ride Home, but while some will dismiss him as a fossil from the days when the Mellow Mafia ruled, thats not really where Brownes first album of the 21st century goes wrong. For the most part, The Naked Ride Home devotes itself to Brownes two favorite themes -- the slightly melancholy recollections of relationships either failed or failing which dominated albums like The Pretender and Late for the Sky, and socio-political observations of an increasingly chaotic world in the manner of Lives in the Balance and World in Motion. But the problem is that Browne hasnt come up with any stories about his personal battle of the sexes that sound especially fresh or compelling on The Naked Ride Home, and while his songs about post-Y2K America are stronger (particularly "Casino Nation"), most of the time he doesnt appear to have a specific axe to grind or causes to speak either for or against beyond the growing ugliness of our culture. The craft of Brownes songwriting is still strong, and his performances are pin-sharp and passionate, but unfortunately the very real strengths of The Naked Ride Home only make its flaws all the more glaring -- namely, that Brownes muse hasnt taken him anyplace new and interesting in some time, and even though its clear he still takes the arts of songwriting and recording very seriously, the results lack the depth or the impact of his earlier work. Neil Young, Bob Dylan, Bruce Springsteen, and Joni Mitchell have all proven its possible for a veteran songwriter to gain a second wind and remain fresh and relevant; one can only hope the same will be true of Jackson Browne someday, but that new breeze did not arrive in time for The Naked Ride Home. | ||
 | Album: 15 of 22 Title: The Very Best of Jackson Browne Released: 2004-03-16 Tracks: 32 Duration: 2:35:40 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Doctor My Eyes (03:20) 2 Jamaica Say You Will (03:25) 3 Rock Me on the Water (04:14) 4 Take It Easy (03:41) 5 These Days (04:39) 6 Redneck Friend (04:01) 7 For Everyman (05:58) 8 For a Dancer (04:48) 9 Fountain of Sorrow (06:51) 10 Late for the Sky (05:38) 11 Before the Deluge (06:20) 12 Your Bright Baby Blues (06:03) 13 The Pretender (05:52) 14 Here Come Those Tears Again (03:34) 15 The Load-Out (05:35) 16 Stay (03:22) 1 Running on Empty (04:56) 2 You Love the Thunder (03:56) 3 Boulevard (03:21) 4 Somebodys Baby (04:22) 5 Tender Is the Night (04:53) 6 Lawyers in Love (04:21) 7 In the Shape of a Heart (05:47) 8 Lawless Avenues (05:39) 9 Lives in the Balance (04:15) 10 I Am a Patriot (04:05) 11 Sky Blue and Black (06:05) 12 I’m Alive (05:10) 13 The Barricades of Heaven (05:40) 14 Looking East (04:56) 15 The Naked Ride Home (05:58) 16 The Night Inside Me (04:39) |
| The Very Best of Jackson Browne : Allmusic album Review : Jackson Browne long displayed an aversion to hits collections, releasing his first one 25 years after his debut album. That 1997 disc, entitled Next Voice You Hear: The Best of Jackson Browne, had many hits, yet it was also missing many essential songs, leaving an opening for a collection that had all of Brownes hits and signature songs in one place. Released seven years later, Rhino/Elektras double-disc The Very Best of Jackson Browne is more or less that collection. Produced by Jackson Browne and featuring 32 songs, this set has all the major songs -- "Doctor My Eyes," "These Days," "Late for the Sky," "The Pretender," "Fountain of Sorrow," "Redneck Friend," "Running on Empty," "Somebodys Baby" -- including songs missing on Next Voice You Hear, such as "Jamaica Say You Will," "Rock Me on the Water," "Take It Easy," "Before the Deluge," "The Load-Out," "Stay," and "Boulevard." However, there are a handful of smaller hits missing -- including "That Girl Could Sing," "Cut It Away," "For a Rocker," "For America," "Chasing You Into the Night," "World in Motion," and "Call It a Loan," the latter of which was on the previous compilation -- which may frustrate some listeners. Nevertheless, this is not a major problem since the collection does contain the great majority of Brownes best and best-known material in an attractive, engaging fashion (although the cardboard packaging may be a bit too flimsy to weather heavy, repeated listening), and for listeners who want a comprehensive overview without purchasing individual albums, this suits the bill nicely. | ||
 | Album: 16 of 22 Title: Solo Acoustic, Volume 1 Released: 2005-10-11 Tracks: 21 Duration: 1:15:17 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 The Barricades Of Heaven (05:59) 2 Intro to These Days (01:43) 3 These Days (03:39) 4 Intro to The Birds of St. Marks (00:29) 5 The Birds Of St. Marks (04:46) 6 Intro to Fountain of Sorrow (02:10) 7 Fountain of Sorrow (07:04) 8 Your Bright Baby Blues (06:11) 9 For a Dancer (04:47) 10 Too Many Angels (05:07) 11 Intro to For Everyman (01:21) 12 For Everyman (04:36) 13 Intro to Lives in the Balance (00:29) 14 Lives in the Balance (03:38) 15 Intro to Looking East (00:34) 16 Looking East (05:42) 17 Intro to The Pretender (00:14) 18 The Pretender (06:39) 19 Intro to Take It Easy (01:20) 20 Take It Easy (04:18) 21 The Rebel Jesus (04:22) |
| Solo Acoustic, Volume 1 : Allmusic album Review : The opening 28 seconds of Jackson Brownes Solo Acoustic, Vol. 1 are massive crowd applause. Even its volume level gets boosted the way it did on live albums from the 1970s. Guess he wants you to know he still matters to people -- and its totally unnecessary. The music here speaks for itself. Whether or not one appreciates Brownes recorded catalog is immaterial; his gift as a songwriter is enigmatic, unassailable, and singular. There are 12 songs here from throughout Brownes career, ranging from "These Days" and "For Everyman" to "Lives in the Balance" and "Looking East" and all points in between. There are numerous spoken and instrumental intros to the material; Brownes a fine and comfortable communicator when it comes to sitting naked and alone in front of an audience, though sometimes his humor is cynical and borders on bitter. The versions of "For a Dancer" and "The Pretender" are deeply moving as are "These Days" and "Too Many Angels." It would be easy to live without all the intros, as they merely point toward Browne and what he has accomplished, when the songs so easily speak for themselves and for him. Perhaps on volume two hell let that happen. Despite his many asides, this is a fine and necessary addition to Brownes catalog. Still one has to wonder, with the double-disc Rhino set that appeared earlier in 2005 and these live retrospectives, when there will be new material coming from a songwriter who has had something to say that mattered in each of the last four decades. Lets hope its soon. | ||
 | Album: 17 of 22 Title: Solo Acoustic, Volumes 1 & 2 Released: 2008 Tracks: 39 Duration: 2:21:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Barricades Of Heaven (05:59) 2 Intro to These Days (01:43) 3 These Days (03:39) 4 Intro to The Birds of St. Marks (00:29) 5 The Birds Of St. Marks (04:46) 6 Intro to Fountain of Sorrow (02:10) 7 Fountain of Sorrow (07:04) 8 Your Bright Baby Blues (06:11) 9 For a Dancer (04:47) 10 Too Many Angels (05:07) 11 Intro to For Everyman (01:21) 12 For Everyman (04:36) 13 Intro to Lives in the Balance (00:29) 14 Lives in the Balance (03:38) 15 Intro to Looking East (00:34) 16 Looking East (05:42) 17 Intro to The Pretender (00:14) 18 The Pretender (06:39) 19 Intro to Take It Easy (01:20) 20 Take It Easy (04:08) 1 Never Stop (05:35) 2 Intro to The Night Inside Me (02:19) 3 The Night Inside Me (04:50) 4 Intro to Enough of the Night (01:28) 5 Enough of the Night (05:03) 6 Intro to Something Fine (01:51) 7 Something Fine (05:16) 8 Sky Blue and Black (05:37) 9 In the Shape of a Heart (06:45) 10 Alive in the World (04:24) 11 Intro to Casino Nation (01:21) 12 Casino Nation (03:52) 13 All Good Things (04:33) 14 Intro to Somebody’s Baby (00:58) 15 Somebody’s Baby (04:38) 16 Intro to Redneck Friend (01:16) 17 Redneck Friend (04:31) 18 Intro to My Stunning Mystery Companion (01:42) 19 My Stunning Mystery Companion (04:07) |
 | Album: 18 of 22 Title: Solo Acoustic, Volume 2 Released: 2008-02-19 Tracks: 19 Duration: 1:10:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Never Stop (05:35) 2 Intro to The Night Inside Me (02:19) 3 The Night Inside Me (04:50) 4 Intro to Enough of the Night (01:28) 5 Enough of the Night (05:03) 6 Intro to Something Fine (01:51) 7 Something Fine (05:16) 8 Sky Blue and Black (05:37) 9 In the Shape of a Heart (06:45) 10 Alive in the World (04:24) 11 Intro to Casino Nation (01:21) 12 Casino Nation (03:52) 13 All Good Things (04:33) 14 Intro to Somebody’s Baby (00:58) 15 Somebody’s Baby (04:38) 16 Intro to Redneck Friend (01:16) 17 Redneck Friend (04:31) 18 Intro to My Stunning Mystery Companion (01:42) 19 My Stunning Mystery Companion (04:07) |
| Solo Acoustic, Volume 2 : Allmusic album Review : Jackson Browne gave listeners the first volume of his solo acoustic live performances in 2005. It was steeped in the gems from his rich catalog, presented with spoken word introductions to many of his best-known songs with a smattering of newer ones. The commentary got tiring in the CD format, but the music was impeccable and illustrated just how valuable hes been to American music as a songwriter. This second volume, while it does the same thing, is -- in a manner -- a mirror image of the first. The songs here are primarily from his later years. Whats really interesting is that it doesnt matter. Brownes later songs communicate so directly that, presented in this manner, with only an acoustic guitar or a piano as accompaniment, we can find ourselves wandering around in reverie, or re-glimpsing the traces of emotion and times passage as signposts to the way we live now. While there are a few "classic" tracks -- "Redneck Friend," "Something Fine," and "Somebodys Baby" (from the Fast Times at Ridgemont High soundtrack) -- most of the material here comes from records after Hold Out. There are three tunes from his last studio offering, the generally ignored and underrated Naked Ride Home, which stack up seamlessly with his 70s material. Those tunes, "The Night Inside Me," "Casino Nation," and "My Stunning Mystery Companion," grace the beginning, middle, and end of this offering. In other words, no matter where else Browne goes (and he goes all the way back to "Something Fine"), he returns to the present tense, where he now exists as a songwriter. The performances of these tracks, and those from albums such as Looking East, Im Alive, World in Motion, and Lives in the Balance, offer listeners an opportunity to hear Browne at his most elemental. His songs began this way, with a lone instrumental backing, as a melody dictating itself to words or vice versa, and were hammered out or came in the flush of white-heat creativity, but they were shorn of any adornment -- just as they are here. The spoken introductions to several numbers are overly long and may have been fine for a sitting audience, but dont necessarily translate well to CD. Thats a small complaint, however, as these 12 songs are quietly powerful, full of a particular craft and enigmatic gifts -- no matter when they were written or recorded. Browne has never lost it as a songwriter; this is the proof. If you went to the trouble to purchase the first volume, this is an essential counterpart. | ||
 | Album: 19 of 22 Title: Time the Conqueror Released: 2008-09-23 Tracks: 10 Duration: 57:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Time the Conqueror (05:26) 2 Off of Wonderland (03:40) 3 The Drums of War (06:12) 4 The Arms of Night (04:33) 5 Where Were You (09:48) 1 Going Down to Cuba (05:44) 2 Giving That Heaven Away (06:24) 3 Live Nude Cabaret (04:16) 4 Just Say Yeah (05:50) 5 Far From the Arms of Hunger (05:16) |
| Time the Conqueror : Allmusic album Review : Time the Conqueror is Jackson Brownes first studio offering in six years. The last was 2002s 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 Im 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 Brownes more overtly political statements from the 80s such as Lives in the Balance and World in Motion and weighs them against the personal, but hes 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 doesnt accept aging. The next couple of tracks underscore this. Theres 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 Kings murders. The last line in this midtempo rock ballad is: "Didnt we believe that love would carry on/Wouldnt 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. Its as much a renewed call to arms as it is an indictment of the Bush years. Its 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. Its 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. Its 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 Brownes been thinking about these days (with the exception of the Latin-tinged "Goin Down to Cuba," the best tune here; its the only song with something resembling a hook). Browne seems to be speaking to his own generation; hes 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; its all "tell" with no "show," because there isnt anything in the music to effectively offer them to the listener as conversation; instead they are on display as mixed-message sermons. | ||
 | Album: 20 of 22 Title: Love Is Strange: En Vivo Con Tino Released: 2010-05-10 Tracks: 28 Duration: 1:46:35 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Intro (00:50) 2 I’m Alive (05:02) 3 Intro (00:45) 4 Call It a Loan (05:02) 5 Looking East (07:02) 6 Intro (00:48) 7 The Crow on the Cradle (06:01) 8 Intro (00:20) 9 Mercury Blues (05:16) 10 Intro (00:54) 11 El Rayo X (03:59) 12 Sit Down Servant (04:04) 13 Intro (00:20) 14 Take It Easy (04:13) 15 For Taking the Trouble (04:38) 1 For Everyman (05:36) 2 Intro (00:45) 3 Your Bright Baby Blues (06:40) 4 Intro (01:29) 5 Tu Tranquilo (06:04) 6 Late for the Sky (06:03) 7 Intro (00:43) 8 These Days (04:39) 9 Intro (01:03) 10 Running on Empty (06:34) 11 Love Is Strange / Stay (07:46) 12 Intro (00:49) 13 The Next Voice You Hear (09:08) |
| Love Is Strange: En Vivo Con Tino : Allmusic album Review : Love Is Strange: En Vivo con Tino is, simply put, a double CD that documents Jackson Brownes and David Lindley’s short Spanish tour of 2006. But it’s actually far more than that. While the song titles may be familiar to fans of both men, they don’t begin to tell the musical story on display here. Lindley and Browne were accompanied on all dates by the great flamenco percussionist, rock drummer, and producer Tino di Geraldo, and on select concerts by well-known Spanish musicians flutist Carlos Nunéz, vocalists Kiko Veneno and Luz Casal, banduria player Javier Mas, and others. Beautifully recorded, this set shows what Browne is capable of when he has musical foils who will not allow him to simply rest on his laurels. Lindley is, as expected, brilliant in shaping the textures and surfaces of these songs as well as highlighting the more subtle melodic touches in them, and Di Geraldos rhythmic interactions push these two to play at their level best. The interplay between him and Lindley is near symbiotic, even on the most basic of tunes like “Mercury Blues” or "For Taking the Trouble,” where the percussionist plays tablas to Lindley’s bouzouki. The Latinization of “El Rayo X,” with Browne on a baritone guitar and stellar harmony vocals by Lindley is a high point. Lindley plays fiddle on “Take It Easy,” and transforms it into something that envisions a Spanish bluegrass. “These Days,” with Casal’s heavily accented guest vocal, the fiddle, and di Geraldos cajón, makes an already beautiful song exquisite. Lindley’s Hawaiian guitar transforms “Running on Empty” from its former place as a rock anthem to 70s-era alienation into a haunted warning filled with regret and loss. A full-band performance of the nine-minute closer “The Next You Voice You Hear,” featuring Veneno on duet vocals, also includes the cajón, tres player Raul Rodriguez, Hawaiian guitar, Charlie Cepeda on baritone guitar, and Nunézs whistle. It becomes a dry, arid, funky blues that sends the whole package off on a soaring though lonesome note. This could have been an experiment that failed miserably, drenched in nostalgia and excess; instead, it succeeds grandly because of a sparse, tasteful approach with excellent arrangements and genuinely inspired performances. | ||
 | Album: 21 of 22 Title: Standing in the Breach Released: 2014-10-07 Tracks: 10 Duration: 56:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 The Birds of St. Marks (04:22) 2 Yeah Yeah (06:14) 3 The Long Way Around (06:24) 4 Leaving Winslow (03:52) 5 If I Could Be Anywhere (07:07) 6 You Know the Night (05:31) 7 Walls and Doors (06:01) 8 Which Side (06:37) 9 Standing in the Breach (05:37) 10 Here (04:25) |
| Standing in the Breach : Allmusic album Review : On Jackson Brownes 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 hasnt been since 1976s The Pretender, and this recordings 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 Reeds "Sweet Jane" and pulls them off anew in a love song: "And you paid for the love that weve 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 isnt 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 records 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 Guthries "You Know the Night," while "Walls and Doors" is a translation of Cuban songwriter/guitarist Carlos Varelas "Las Paredes y Puertas," and features him and his trio. The latter is a lilting romantic ballad, arranged to underscore both the composers and Brownes personas. Only "Which Side Are You On" sounds "preachy," but thats 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 "Her" is one of Brownes 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. Hes no longer speaking at anyone, but conversing from the well of his own experience. | ||
 | Album: 22 of 22 Title: The Road East: Live in Japan Released: 2017-10-04 Tracks: 10 Duration: 1:03:27 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 The Barricades of Heaven (10:34) 2 These Days (05:27) 3 Call It a Loan (05:37) 4 The Crow on the Cradle (06:34) 5 Looking East (06:59) 6 Im Alive (05:11) 7 In the Shape of a Heart (06:44) 8 Lives in the Balance (05:59) 9 Far From the Arms of Hunger (05:03) 10 I Am a Patriot (05:19) |