Running On Empty - Jackson Browne

Pretenders

Brass in Pocket (2006 Remaster)

The Best of Bread

Everything I Own

The Best Of Lobo

Me and You and a Dog Named Boo

Some Guys Have All the Luck

Tonight's the Night (Gonna Be Alright) [2008 Remaster]

Nine Lives

Sea of Love (2006 Remaster)

Running on Empty

You Love the Thunder

The Road

The Load Out

Rosie

Nothing but Time

The Bang Years 1966-1968

Girl, You'll Be A Woman Soon

September Morn

The Concert in Hyde Park

Late in the Evening (Live at Hyde Park, London, UK - July 2012)

Rock & Roll High School

Only The Lonely

A Whiter Shade of Pale (Original Single Version)

A Whiter Shade of Pale (2007 Remaster)

Jackson Browne is not only a pivotal figure in the artistic history of Elektra/Asylum – remaining with the label for a remarkable 30 years – but the very existence of Asylum Records was a direct result of his exceptional talent. When artist manager David Geffen was initially unsuccessful in securing a recording deal for the L.A.-based singer/songwriter, he turned to his mentor, Atlantic Records founder Ahmet Ertegun – who suggested that if he truly believed in Browne, he should start his own label as a joint venture with Atlantic. Founded in 1971, Asylum’s earliest releases included Browne’s self-titled debut (1972), followed by For Everyman (1973) and Late For The Sky (1974).
Meanwhile, at the urging of Elektra’s departing founder Jac Holzman, Warner Communications turned to Geffen to lead Elektra, and Browne – along with his friends the Eagles and Linda Ronstadt – became part of the newly merged Elektra/Asylum. It was a fitting turn of events, since Browne’s links with Elektra went back half a dozen years. In 1967, he had signed a publishing deal with Nina Music, a division of Elektra named after Holzman’s then-wife. Browne’s songs were recorded by such artists as Tom Rush and then-girlfriend Nico, and during a brief stint in New York he played in Tim Buckley’s backing band.

Although Browne’s first three albums had been critically acclaimed and commercially successful, he was still not selling as many records as Elektra thought he could. In 1976, it was The Pretender that finally brought Jackson to a wider, deeper audience, with the title track and “Here Come Those Tears Again” among the highlights. Jackson’s introspective examinations of life “caught between the longing for love and the struggle for the legal tender” resonated everywhere. His next release, the 7-times platinum Running on Empty (1977) became his best-selling album, and his role as an iconic artist of his generation was forever cemented. Browne remained with the label until 2002, having charted a rare three-decade career with the first label that had signed him.

Rosie

Jackson Browne

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