Jackson BrowneEvery podcast appearance, updated as new ones drop

The original Jackson Browne interview just got hit with a c*pyright strike, so here's a video version without the song clips. Originally aired in 2023. Our guest on the Season One finale is Jackson Browne (!) and we talk about his whole career, from writing "These Days" at 16 up to his latest record, Downhill From Everywhere. Reach me at delugepodcast@gmail.com. LISTEN TO THE FULL JACKSON BROWNE SEASON https://www.patreon.com/collection/16831 2:00 - The Dreamer 7:20 - “I can’t write a song that simple” 10:00 - “Somebody’s Baby” & simple songs 13:00 - Describing life to yourself is a cool job 16:45 - The ocean is downhill from everywhere 20:00 - Sylvia Earle and the Blue Heart of the planet 23:00 - "We need the ocean to survive" 22:45 - Coming down from acid and getting a song idea on the freeway 32:00 - Jamming with Greg Copeland and Greg Leisz 36:00 - The invaluable nature of session musicians (and how Jackson treats them) 41:45 - Me sharing an dorky story about a Jackson Browne show 43:25 - Playing acoustic and why have 10 guitars up there 49:30 - Are guitar solos dead? 52:45 - On Phoebe Bridgers, Dawes, Tal Wilkenfeld, and other young artists 54:20 - The last lines of "These Days" explained

Edit Piaf once famously sang “Je Regrette Rien” (I Regret Nothing), and listening to the following heart wrenching live performances, I’m reminded that anyone claiming that spiritual stance must be in denial - or, crowing in battered defiance in order to buttress themselves against the memory of life’s cavalcade of pain and tortured conscience. For who can sincerely state that they have no regrets? No harsh word you wish you could have retracted?; No unsubstantiated suspicion that poisoned the well of a friendship or a faithful love?; Are you discounting the abuses large and small that have piled up so high that, somehow, you’ve become numb to them?; What about the road not taken…? These songs tell tales about the burden of living under the crushing weight of regret. If you don’t shed a tear listening to them, your fluids need replenishing. The divine Spanish diva, Luz Casal singing Jackson Browne’s “These Days”, accompanied by the writer and his ride or die Sancho Panza, David Lindley on his keening fiddle is like hearing a penitent sinner’s weary confession; and, then there’s the incomparable Rufus Wainwright, in a duet with Sara Bareilles, delivering her own anthem with a thrilling operatic intimacy. THESE DAYS / LUZ CASAL, JACKSON BROWNE, AND DAVID LINDLEY The preternaturally wise Jackson Browne was sixteen when he wrote “These Days” for Nico, who intoned it with a teutonic world weariness that spoke volumes. What did he know then about regrets? Certainly, the intervening years have instructed the now 76 year old songsmith in all the permutations of tragedy, yet somehow, he has managed to valiantly soldier on, staying creative, performing, and advocating for humanity. There is something almost mystical about the voice of Luz Casal, and the delicacy with which she interprets Jackson’s lyrics that transcends her heavily accented pronunciations. The words are sometimes hard to follow - but not the meaning - that’s never lost. Time collapses as the message of this song, originally brought into being by the foreign born Christa Paffgen - and resurrected now, almost 60 years later, by this Goddess, comes full circle to enfold the aging songwriter in the arms of his own mortality. SHE USED TO BE MINE / SARA BAREILLES AND RUFUS WAINWRIGHT Sara Bareilles wrote She Used to Be Mine as a show stopper for her Broadway musical, Waitress, and it’s a barn burner. Here, in combination with the musical magus, Rufus Wainwright it morphs into something entirely different from it’s template: it has become a religious act of forgiveness and redemption - an acknowledgment of life’s profound losses, and at the same time an appreciation for what was - a ritual of devotion that celebrates living in all its ecstasy and futility - the duality of darkness and light, love and death. First Rufus sings alone, then Sara… but, when they harmonize the full extent of the love that was lost, and yet remains, lifts us up to the realization of the eternal knowledge that love is never lost. It is a requiem.

APOCALYPSE NOW! JACKSON BROWNE AND CHUMBAWAMBA Have T***p derangement syndrome? Don’t worry; be happy! Go with the flow. Things can always get worse, right? The dual apocalyptic visions featured today may derive from decades past, when anxiety within the zeitgeist was running hot, but they look positively edenic in retrospect. “All Things Must Pass,” as George Harrison prophetically wrote, and if that includes our entire civilization, we best make our peace with it. No bomb shelter can save us. Chumbawamba’s 1997 hit “Tubthumping” had that ear worm: I Get Knocked Down, but I get up again,” which signified a contagious resiliency. However, in this, their eerie cover of The BeeGees NY Mining Disaster 1941, the protagonists portrayed will probably never see daylight, or their families again. Jackson Browne’s elegant metaphor of the approaching deluge that will sweep everything under its power has always brought tears to my eyes, even back when I first heard it in college. Now, as an elder, the hopeful innocence of the doomed weighs like an anchor on my heart. CHUMBAWAMBA This group of anarchist-artists from Leeds, U.K., has been hard to pin down because their musicality encompassed so many different genres. Maybe that’s the source of the Trump campaign’s confusion when they tried to use the group’s one hit TubThumping as their campaign rallying cry before Chumbawamba put a stop to that. (Reminiscent of Reagan and his attempted coopting of Springsteen’s Born in the USA). Ironic because they are known for having crooned such leftist provocations as “So long, so long, Margaret Thatcher,” and “The Day the Nazi Died,” in their long career of social protest. Their choice to cover the mid-60s BeeGees hit about a fictional mass grave in the making is intriguing. It sounds like a church hymn sung by an angelic choir. JACKSON BROWNE Before the Deluge, the last song on the 1974, Late For The Sky record - (a perfect album, in my opinion) - is Jackson Browne at his best: with a heart wrenching melody (aided by David Lindley’s keening violin), and a solid poetic metaphor that, in its specificity, encompasses worlds. As we follow the travails of the pilgrims who just want to live freely and honestly, apart from the excesses and corruption of the modern world, we watch with trepidation as their annihilation through compromise approaches. The “deluge” may be interpreted widely as a metaphor for whatever impending disaster one chooses. When Jackson sings: “let the music keep our spirits high, let the buildings keep our children dry, Let creation reveal it’s secrets by and by, when the light that’s lost within us reaches the sky,” its a prayer… a prayer that the dark forces within us and surrounding us may somehow be quelled and quieted.

Our guest on this season's finale is Jackson Browne (!) and we talk about his whole career, from writing "These Days" at 16 up to his latest record, Downhill From Everywhere. Reach me at delugepodcast@gmail.com. LISTEN TO THE FULL JACKSON BROWNE SEASON

My Rock Moment sits down with the legendary Danny "Kootch" Kortchmar. Originally from New York, Danny moved to LA in the 60s, settled in Laurel Canyon and made his mark in the LA music scene. Even if you aren't familiar with his name, chances are his work has had a prominent place in your rock playlists. Danny Kortchmar’s credits as guitarist, producer, songwriter, and session musician include work with James Taylor, Don Henley, Carole King, Linda Ronstadt, Jackson Browne and Billy Joel, among many others. As a songwriter, Kortchmar has both written alone or collaborated with numerous artists, penning indelible tracks such as Don Henley’s “Dirty Laundry,” “All She Wants to Do Is Dance,” and “New York Minute,” as well as Jackson Browne’s “Somebody’s Baby” and “Shaky Town,” to name a few. Danny is now with The Immediate Family (the modern iteration of a legendary studio ensemble known as “The Section”), a rock and roll band composed of four of the most recorded, respected and sought-after players in modern music: Danny Kortchmar (guitar and vocals), Waddy Wachtel (guitar and vocals), Leland Sklar (bass), Russ Kunkel (drums) and the addition of prominent touring, session guitarist and songwriter Steve Postell (guitar and vocals). The Immediate Family had a new EP Live From Telefunken Soundstage come out on May 13. This is a bridge release to the band’s forthcoming second full-length studio album and anticipated documentary, directed by Danny Tedesco (The Wrecking Crew). The film is expected to be released later this year. We cover quite a bit of ground in this episode, but check out their website below to learn more about this iconic band of musicians, listen to their latest work and get information on show dates later in the year: https://www.immediatefamilyband.com/ Please don't forget to RATE and SUBSCRIBE anywhere you listen to podcasts. And if you're a fan of Instagram, follow me @la_woman_rocks for rarely seen classic rock photography and info on upcoming episodes! Learn more about your ad choices. Visit megaphone.fm/adchoices

It doesn't get more Americana than James Taylor and Jackson Browne. On this episode of The Concert Goers, we review James Taylor and his All-Star Band with Special Guest Jackson Browne's 2022 Canadian Tour.