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.

Next Edition: 19_24.08.25 | International Festival of Digital Creativity & Electronic Music

Thanks for visiting my page. All original and traditional tracks are downloadable. God Bless

Top music professional Steve Rennie, aka Renman, the longtime manager of rock band Incubus talks about today's music industry with the smartest, most talented, most successful people in the music biz on Renman Live! 

**STAY SAFE OUT THERE MY DEAR MUSIC-LOVING FRIENDS.   <3  <3  <3  I have added a support link above, but please don't feel obligated. All of us working in the arts have times when we could use a little help from our friends—if you are able, my warmest thanks!!**


Singer-songwriter. Auteur-compositeur-interprète. Grande rêveuse.


http://soundcloud.com/kellyanne-1/audiobiography-kellyanne


Assembler of slight bits of backing, to help you imagine where these songs might someday go.

***Please note lyrics for all original songs are in the comments: click through to individual tracks to read lyrics.***

I do get asked a bit about "the music" but it's no more, no less, than support for the songwriting at this point. Let us call each song a humble, unfinished demo, and I do very much hope you'll enjoy them in that vein. 

I sweat blood for each p'tite chanson, considering every word, every turn of the story, and every note as carefully as I am able, and they are all my dear babies. None is put on this 'Cloud unless I believe I gave it my all, and unless I really hope YOU will find something in it to enjoy.


Thanks to every dear one of you for having a read of this About and having a listen to my songs!! I have lovers of my music outside of this venue, and I thank goodness for those friends—but all of you supportive folks on SoundCloud have truly become an *essential* part of the wind in my sails.


[Désolée, certaines chansons sont un peu plus silencieuses, et certaines, un peu plus fortes que les autres. Contrôle du volume est recommandé!]

J'espère que vous entendez : Une mélange entre Sheryl Crow et les Spin Doctors, ouvrée pour une audience Québecois—c'est le rock cru avec des vocals forts qui provient du blues et de la musique folk, avec un peu de funkiness. En ce moment, il y a seulement des vocals (et un peu de batterie avec laquelle je m'ai amusée dans certains chansons), mais c'est là que je veux de cette musique. Le message : Une peu d'humour, un peu d'amour, une peu de colère… flirty, un peu sexy, optimiste sans fin, mais sage et une pointe de lasse.


Music and lyrics (c) KellyAnneFlynn tous droits réservés (Sauf pour Cover Story et certaines dans The Best Time [Christmas Promise])


***Please note lyrics for all original songs are in the comments: click through to individual tracks to read lyrics.***


Music and lyrics (c) KellyAnneFlynn all rights reserved (Except Cover Story and certain songs in The Best Time [Christmas Promise])


[Sorry, for now some songs are a bit quieter and some a bit louder than others. Volume control recommended!]

The notes I hope to hit: A cross between Sheryl Crow and the Spin Doctors, crafted for a Québec audience—a raw rock with strong vocals that draws on blues and folk music, and a little funkiness. At the moment, there’s only vocals (and a little drums I’ve played around with on a few tracks), but that’s about where I’d want the music to land. The message: A little humour, little love, little anger... flirty, a bit sexy, endlessly optimistic, but wise and a touch road-worn.

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