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JACKSON BROWNE - WALKING SLOW 1976

January 25, 2023 – 6:22 am

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JACKSON BROWNE
Walking Slow 1976 [Black Barn Music, 1CD]
Unknown dates and venues in 1976, includes PBS Soundstage, Chicago, Illinois; November 6, 1976. Very good FM broadcasts.

Steve Baltin interviews Jackson Browne, forbes.com; July 2021:

Baltin: We spoke back in 2016 about one of my favorite songs of yours, “That Girl Could Sing,” and why you played it so rarely.

Browne: I tell you, “That Girl Could Sing” is something I did take the trouble to learn and it just about taking the trouble to learn it. We have what it takes. The girls in my band can sing it. Not everyone realizes that it was done in real time with real voices and it sort of delayed. “In the dead of, dead of night, shine, shine a light.” That was Doug Haywood singing the answers to me. And most people think it was just a done with a delay, so it was my voice delayed. But it’s not. And Jeff Young learned it, it’s a trick you have to practice.

But the deepest part of “That Girl Could Sing” to try to do is the David Lindley solo cause you can’t just have someone smear it with a lot of lead guitar, it’s a certain thing. And Greg Leisz can learn stuff that David Lindley originated. In fact David Lindley couldn’t always do it on that song. We were recording it and we did this basic track and it was amazing, but I wanted to redo some of the solo.

He played the solo live, so if you listen to that it’s got a certain sound. It’s him hitting the magnet, the horseshoe magnet that’s on the slide guitar, wraps around the strings, with his finger pick. So no one really has those instruments. Greg does, but the point is when I told him I wanted to do the solo again so the solo could go and reach to the high note, he said, “Okay, I’ll go find that amp.”

Then he said, “You can’t have that sound anymore, that’s gone.” I go, “What do you mean?” “I did that on a certain amp and the speaker broke and I had it re-coned, and it’s different. It doesn’t make that sound anymore.” (Laughing) “You can’t mean that, it’s not gone? It can’t be recreated?”

And we tried, I made him try, and he was right. It just was gone. And he’s a little bit perverse in enjoying that cause David Lindley used to always quote Eric Dolphy, the great jazz saxophonist, who said, “The notes go into the air and they’re gone.” I think it gave him a lot of pleasure to tell me, “You can’t have that, there’s no more of that” (cracks up).

But if we follow that arrangement meticulously there’s usually something extra happens. There’s some good stuff in that song that you get by trying really hard to adhere to that arrangement. I’m lucky because Greg Liesz is well versed in Lindley’s tone. And there times he quotes David. Like in “Running On Empty,” he’ll start it and you’ll think you’re hearing David Lindley the first eight bars or something.

Baltin: But you’ve always been a master of that, mixing the personal and the political. Is there one artist you admire the most for their ability do that?

Browne: John Lennon because I grew up listening to the Beatles. And you have room on your albums to hear the most intimate song, “She’s Leaving Home,” say, as well as “A Day In The Life.” So the breadth and the depth of the Beatles and the ability to move from a very intimate picture to a very universal one informs I think my whole life, my whole idea of music, what music is for.

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Track 01. Walking Slow 4:11
Track 02. Fountain Of Sorrow 6:56
Track 03. Late For The Sky 5:45
Track 04. The Road And The Sky 5:20
Track 05. The Fuse 5:45
Track 06. Doctor My Eyes 5:22
Track 07. Before The Deluge 11:30
Track 08. Werewolves Of London 8:17
Track 09. Take It Easy 5:48
Track 10. Long Distance Love 5:12
Track 11. Fiddlin’ Around 2:05
Track 12. Jamaica Say You Will 5:31
72 mins

   Click here to order Jackson Browne releases.