JACKSON BROWNE - tout sur le nouveau CD

bonsoir à tous,

outre les morceaux "time the conqueror",et "the drums of war" en ligne sur youtube depuis hier, voici le morceau "giving that heaven away"

une chose est sure...il est en forme!!

[url]=http://media.putfile.com/JB-Giving-That-Heaven-Away-mp3]http://media.putfile.com/JB-Giving-That-Heaven-Away-mp3[/url]

Il parait qu'on a des dons divinatoires dans la famille. Je vais m'hasarder à emettre une suppostion. Thomas, es-tu fan de Jackson Browne????

ben didons je suis demasqué!!
oui en effet je dois dire que je sui très fan de jackson , sam me connait plutot bien et pourrai t'expliquer à quelle occasion s'est produit notre rencontre...
mais bon l'actualité fait que j'ai très envie de faire decouvrir le nouvel album aux autres..j'ai cru voir qu'il etait très apprécié au sein de ce collectif..

mais bon je dois dire que james occupe aussi une très grande place dans ma vie, surtout dernierement ac le one man band qui est absolument splendide.j'ai pu faire decouvrir ca à mes potes!

alors il est pas bon ce morceau?

Bon je dirais pas que c'est toujours un peu pareil, parce que je vais faire de la peine à Thomas, mais je suis pas loin de penser cela, sorry

non ne t'en fais pas il n'y a pas de peine lol chacun ses sensibilités..mais bon je viens d'ecouter l'album et honnetement il est vraiment très bon et je ne dis pas ca parce que je suis fan!! voilà je ne force personne lol bisou et bonne journée!

En même temps je dois être honnête, je me suis tellement "gavée" de ses albums "solo acoustic" que je fais forcément un petit rejet.

Salut Thomas,

C'est super de recevoir quelques messages de ta part.

Je viens d'écouter le morceau et bien que je sois d'accord avec Fanny ( goût de "déjà entendu") je suis rassuré sur la qualité d'au moins un morceau de l'album.

Ici à paris le CD n'est pas encore sorti et j'attends ta critique morceau par morceau avec impatience.

Biz

PS: As-tu écouté son album gospel d'il y a quatre ans avec Fred Martin and the Levite Camp? Pour ma part, j'arrive pas pas à mettre la main dessus

salut sam,

je suis content que tu repondes à ce sujet j'attendais ton avis là dessus..

Et bien je suis un petit peu etonné de voir que cette chanson renvoie autant à du "jackson browne"..moi je dirais simplement que l'écriture d'un songwriter se reconnait souvent dès les premieres notes..je pense que l'ecriture de james ne ressemble à personne d'autre, de même au niveau français qu'un Cabrel, ou un Goldman..


Mais tout de même, je trouve pour ma part en ce morceau du très bon jackson browne.
je ne suis pas très très fort pour des critiques très approfondies lol, mais je peux déjà dire que la chanson "where were you" est celle que j'ai le moins accroché après quelques ecoutes, en revanche la chanson "far from the arms of hunger" est absolument magnifique.
dans le même registre "the arms of night" n'est pas loin de devenir une de mes chansons préférées dans la carrière de jackson.
Dans le genre pop rock ,"time the conqueror", "off of wonderland", et "just say yeah" me rappellent les premiers albums.
la seule que je n'ai pas pu ecouter est "going down to cuba".

Voilà sam je sais que cela ne t'avancera peut être pas, mais voici plus ou moins mes sentiments après quelques ecoutes..
tu sais combien j'attendais cet album, alors il m'est difficile d'être très ordonné dans mes propos..
Cela fait déjà 5 ans que l'on s'est croisé pour la tournée "the naked ride home tour", alors tout ce que j'espère c'est que l'on puisse remetre ça à nouveau d'ici quelques mois..

à très vite.
thomas

au fait, concernant l'album avec fred martin, je suis dans le même cas que toi, impossible de le trouver!

thomas le basque a écrit:au fait, concernant l'album avec fred martin, je suis dans le même cas que toi, impossible de le trouver!

Bonsoir,

Singer-songwriter Jackson Browne wrote the first half of this couplet to describe the erosion of support and opportunity for the underprivileged in America's inner cites. The second part was inspired by the tireless efforts of Los Angeles music teacher, gospel-music expert and local treasure Fred Martin, who uses the power of song to offer his students a bridge to hope.
La suite ici

On trouve cet album sur Amazon

A propos de Jackson, ses deux potes de lycée sortent un nouvel album ces temps-ci : Greg Copeland, sur Inside Recordings et Steve Noonan sur son propre label (son premier depuis le LP Elektra paru en 1968!). Noonan, Browne et Tim Buckley formaient les "Orange County Three", terme désignant une nouvelle génération de songwriters. Il fabrique des sangles de guitare tandis que Copeland bosse dans un cabinet d'avocat.

J'ai créé une page Myspace pour Copeland, car on ne trouve rien sur lui, à part de mentions sporadiques de son album de 1982, "Revenge Will Come".
J'y ai mis tout ce que j'ai trouvé. Manque juste la mention de la reprise du morceau Revenge Will Come par David Lindley.


En résumé :

Greg Copeland est un pote de lycée de Jackson Browne's. il a écrit la
chanson "Candy" que Jackson a repris sur son album Lives In The
Balance, et a co-écrit certaines des premières chansons de Jackson
comme The Fairest Of The Seasons que trouvait sur le bootleg "Nina
Demo" et l'album de la chanteuse Nico (du Velvet
Underground)Chelsea Girl en 1967.

Jackson a produit son premier album Revenge will come en 1982 pour Geffen Records. Celui-ci comprend un grand nombre de supers musiciens parmi lesquels Danny Kortchmar et Rick Vito aux guitares, Bob Glaub à la basse, Jim Ehingher aux claviers et Ian Wallace à la batterie. Cet album n'a malheureusement jamais été réédité en CD...

le nouvel album de Greg Copeland devrait être dans les bacs au début de l'automne. Voici ce que l'artiste en dit:

La sortie "Diana and James” est prévue sur le propre label de Jackson, Inside Recordings, le 7 octobre. Si vous avez aimé "Revenge Will Come", je pense que vous apprécierez encore plus le nouveau disque. Il sera certainement composé de 13 chansons, d'une durée de 50 minutes à peu près. Il a été produit par Greg Leisz, qui est un authentique génie, comme vous devez déjà le savoir. Le groupe comprend Leisz sur toutes sortes de guitares, Carla Kihlstedt (Tin Hat Trio) et Gabe Witcher (Punch Brothers) aux violons, Jay Bellerose (Joe Henry) à la batterie, Jennifer Condos (Joe Henry) et Bob Glaub (un héros de L.A.) à la basse ainsi que Patrick Warren (Joe Henry) et Phil Parlapiano (John Prine and Lucinda Williams) aux claviers. ce fut une joie absolue de travailler avec tous ces gens, et je suis vraiment fier du disque".

Voila voila!

Hervé

bonne nouvelle: je reviens de Gibert et ils me disent que tout leur stock de "Time The Conqueror" est parti en deux jours... ils attendent un nouvel arrivage probablement jeudi.

l'attente des fans devait être énorme....

Et cela augure certainement une date parisienne dans les prochaines mois...

Effectivement, tu es passé après moi et mes potes, on était cinq à demander l'album et... bad luck! On patientera:-)))

hervé

Admin a écrit:bonne nouvelle: je reviens de Gibert et ils me disent que tout leur stock de "Time The Conqueror" est parti en deux jours... ils attendent un nouvel arrivage probablement jeudi.

l'attente des fans devait être énorme....

Et cela augure certainement une date parisienne dans les prochaines mois...

Ah ben si il y a une date parisienne je suis preneuse :-)

What you see—what you’re shown—is riveting. That’s the magic of songs well realized; in this case, though we expect Jackson Browne the master songwriter to craft every last note before hitting the studio, it is the alchemy of the parts on the fly that lend the song its temerity.

“One of the quests I went on was how to make a bunch of songs not really based on the way I play and to make use of these great players,” he explains of the creative evolution that produced many of Time’s best songs. “Every night, I’d come in here after everyone had left and get a verse or two.

“I wouldn’t know how to end it, so I’d pull up what I’d done originally…and I don’t know how these guys got days of sessions listening to me sing nonsense. Amazingly. I think it frees them up, ‘cause they probably tune out and play more emotionally. They might have half the song written, then a whole section they don’t know what’s coming.

“‘Where Were You’ was basically written based on a guitar lick. Whole movements of that song came from a session where Jeff just started playing beautiful stuff. I key them off and go where the music wants to go.

As David Lindley said, ‘The thing about music is it’s supposed to sound good.’ It’s true in so many ways…and those recordings that’ve been led on what feels good—it’s like doing the crossword; that doesn’t fit there, but it’ll work here.”

Elevating the collaboration with core band of guitarist Mark Goldenberg, keyboardist Jeff Young, bassist Kevin McCormick and drummer Mauricio “Fritz” Lewak are singers Chavonne Morris and
Alethea Mills, who came to Browne as teenage soloists with South Central L.A. choirmaster Fred Martin and his Levite Camp.

Browne eventually co-produced an album merging his own songs with blues and gospel standards called Some Bridges, which not only shifted his recording aesthetics (drums are now in the vocal booth,
allowing the other instruments to be together and the energy to commingle more organically) but also the collaboration. Both opened up his worldview in new ways and provided other voices to inform
his songs.

“Fred had come to me about ‘Lives in the Balance,’ and he said they’d written another verse…I was like, ‘OK, let me hear it...,’ because I wouldn’t have thought of them doing it. But they sang this verse with a point of view of people of faith questioning the war. I thought, ‘Great! This is a great thing to have happened to this song…’ because
it’s one of the most difficult things for me to justify: If you believe
in the teachings of Christ, how do you bomb anybody?

“[These girls] were just teenagers when they sang on ‘For Taking the
Trouble,’ and they became my sisters on that record. But they give
me a chance to write for their voices. Knowing I’ve got them to use,
it’s been a great extension of my power as a songwriter.”

Indeed, on “Where Were You,” they are the shipwrecked less-thans, trying to figure out how to be safe, dry, and warm in a world where everything’s been swept away. And on the equally propulsive “Drums Of War,” they are almost bolts of righteousness hailing down as one’s sense of personal conviction and definition is challenged by the abuses of the nation’s core values.

“That was inspired by reading about these Bay Area drummers, who were against the war and wanted to put a band together. It was very groovy, but I had this idea that I wanted to put big loud drums on there… It works so much better. I’ll write a song by myself, and come back and play it for the band, then find out I don’t really wanna hear two verses before the chorus.

“My favorite bands all do that, whether it’s Little Feat or the Rolling Stones or U2. One of my early memories of Lowell George…he’d stop by my sessions. It was the end of one, and we’d just turned off ‘The Pretender,’ and I didn’t want to play him the vocal track because I wasn’t in great voice. The track was great, and he listened to it and said, ‘Put the vocal in…’

“He was like, ‘Really? Why is it doing what it’s doing?’ Musically, he didn’t understand why there were two verses before the chorus, then this B section… It was all right, but he couldn’t tell without the vocals.

“Jeff Porcaro was the drummer and [pianist] Craig Doerge…they’d got into this rhythm thing that was much more fun than the disciplined, staid way you had to play the song. Most of my bands have always started grooving when I’m through singing, and it required me to write a couple more phrases and change some words. My producer was like, ‘Well, you’re a writer, write some more stuff…’”

And with that Browne began moving towards a world where, “I decided I didn’t have to finish a song so I could go cut it.” With that freedom came songs that were more musically interesting, making optimal use of the band he’s had since 1993 and the young women he found in a Gospel choir. If it seems counter to the craftsmanship his songs imply, the benefits outweigh the fact that three days before the final deadline, Browne is moving between studios, pushing back interviews and juggling phone calls about causes, family matters and final decisions on his record.

Jackson Browne in some ways is exactly what you’d expect—well-versed in the environmental realities of Vegas, aware of writers like Gretel Ehrlich and Pam Houston, attentive to multiple musical cultures and soft-spokenly gracious. As the afternoon drags on, he apologizes and disappears, committed to realizing whatever is in these songs—rather than settling for what there is.

Even in the personal realm, songs like the jubilantly awkward stumble into love, “Just Say Yeah,” and the furtive seeking of “The Arms of the Night”—there is exploration and revelation. “I think ambiguity is one of the great treasures I’ve come upon late in life.

“[With ‘Arms of the Night’] we wrote it in a key too high, and it took forever to figure out how to play it. It’s magic. It’s mysterious how a particular change will bring stuff out of you, and you’ll begin saying stuff…and you won’t know where it’s going or what you’re trying to say.

“It’d be so much easier if you knew what you wanted to write about and where you wanted to arrive, but it just doesn’t happen to work that way for me. It’s more like an oracle. The things that come out of your subconscious are much more capable of conveying the truth of
the situation than what you’re consciously able to summon.

“It was a challenge to try to figure out who I was talking to, because it’s one of those cases where I do a lot of talking to you, but I’m really talking to myself about myself. I like the ambiguity of the song…I’m either talking to someone who has betrayed me, or I’m talking to myself about having betrayed myself. It’s sort of left open, and I meant to leave it ambiguous.”

Traces of what could be, veins of possibility in rocks of finite absolute—it is a work of reckoning from a man who first arrived in AM radio in 1972 with the plaguing “Doctor My Eyes,” with its bubbling piano and seemingly jubilant confession that the state of what he sees has erased his ability to “not know,” the very condition that has allowed a consumerist me-mine-disco-apocalypse to flourish.

“Time comes when everything you ever thought you knew,” Browne
laments in ‘The Drums of War’ as the track surges up around him, “comes crashing down and flames rise up in front of you…”

It’s about recognizing that there is often more to even the truth than you see… the idea that the enemy is defined by who’s in charge of the story, that profits can come in many forms and that the Constitution is only worth the people who enforce it. For a pacifist, the tables turn significantly.

… Who gives the orders, the order to torture?

Who gets to no bid contract the future?

Who lies, then bombs, then calls it an error?

Who makes a fortune from fighting terror?

Who is the enemy trying to crush us?

Who is the enemy of truth and justice?

Who is the enemy of truth and freedom?

Where are the courts now that we need them?

Why is impeachment not on the table?

We better stop them while we are able…


Quietly eating Cuban pork, plantains and frijoles negros, Browne is
philosophical. If he is a voice of social conscience, he’s also a man
trying to find his place in the world. Never one to wear a cape and
leap issues with total fractiousness, he admits his own personal
evolution is integral to his sense of wholeness.

“Sometimes I write stuff and I don’t know what it means; ‘Late for the Sky’ was like that, ‘Far From the Arms of Hunger’ is, too. It was just the simplest thing, so sad and yet…it took me the longest time and turned out to be the simplest, short phrases. It’s kind of an odyssey, little bit by little bit over a period of time.

“I couldn’t have told you four or five years ago what my goals would
be. If I were to try to enumerate the goals, I’d have to go back
several years…and tell you there’s more to it than just records.

Personally, there were quite a few: to heal someone who’s sick,
preparing for someone coming of age, spending enough time and
Enjoying things with your spouse, my stunning mystery companion…

“The changes in my attitudes, my ability to cope—that’s all part it.
The songs…I had to do them. I had to barricade myself in the studio, book the studio…but I’m living the subjects [alone] enough to let the music express that.”

On the title track, it becomes obvious that the more you know, the
less you realize you know. Wisdom comes from letting go, as Browne
sings, “Time to decide what kind of world I believe in/the world wide
open or the world about to stop breathing…/and every thought of
you casts its own little shadow/and everything I wanted, subject to
review/Time may heal all wounds, but time will steal you blind…”
For a writer of intricate detail—and Time the Conqueror is filled with
tiny elements—it is the specificity that conjures a sense of ownership.
It is also about small things leaving plenty of room for greater open spaces.

“It is really detailed and specific, but then it leaves certain questions for the listener to interpret however they feel and however it speaks to them and resonates for them.”

To let people find the truth may be the most concentrated way to
deliver the message. It takes faith—in one’s process, in one’s
listeners—and yet, 60 years along, it’s all there is. “My output is
kinda small. I’m not so hooked up to the commerce part of it, but I’m
trying to make a living. I’m really happy.”

Happiness, it could be argued, is what you make it. Or it could be being present where you are. Jackson Browne, a Buddhist who wears a suit to sing with his choir friends in South Central, who embraces causes with a fervor yet refuses to preach, who writes romantic truths yet remains private about his own personal life even in the specificity of his lyrics…is here. Now. More alive, more
searching, more willing.

In that, there is a serenity to even his most intense songs of conflict and contradiction. When you know where you are, though, casting hypocrisy into the light can only leave you stirred, never shaken. So it is somewhere just off the Pacific Coast Highway where Browne keeps conjuring his songs in a nondescript block that’s as anonymous as the truths he incites within those who listen to his songs.

Jackson parle de plusieurs chansons du nouvel album sur le site de Rolling
Stone. Les vidéos sont ici

Hervé

bonsoir,
Je n'arrive pas à voir la video de jackson browne au tonight show de jay leno du 10 octobre..quelqu'un a t'il un lien ou cette vidéo est visible? car sur le site de la nbc, je ne peux pas la voir.
merci

Apparemment, c'est inaccessible en dehors des USA...

Le lien sera bientôt posté ici: http://www.jrp-graphics.com/jb/jbnews.html

Hervé

Il chantait le nouveau morceau "Off Of Wonderland". Il faudra attendre eun peu avant le la vidéo fasse surface sur youtube


mais en attendant en parlant de nouveaux morceaux, voici quelques vidéos extraits de concerts récents