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DISCID=5e084708
DTITLE=Jackson Browne / Lawyers In Love (West German ''Target'' Pressi
DTITLE=ng)
DYEAR=1983
DGENRE=Rock
TTITLE0=Lawyers In Love
TTITLE1=On The Day
TTITLE2=Cut It Away
TTITLE3=Downtown
TTITLE4=Tender Is The Night
TTITLE5=Knock On Any Door
TTITLE6=Say It Isn't True
TTITLE7=For A Rocker
EXTD=Lawyers In Love (West German ''Target'' Pressing)\n\nOriginally R
EXTD=eleased 1983\nCD Edition Released 1986 ??\n\nAMG EXPERT REVIEW: J
EXTD=ackson Browne's messages had always seemed so important that one 
EXTD=tended to overlook the sheer songwriting craft that went into his
EXTD= work, craft that was apparent, for example, on his 1982 single "
EXTD=Somebody's Baby," awhich became his biggest hit ever (and which a
EXTD=ppears on none of his albums, only being available on the soundtr
EXTD=ack to Fast Times at Ridgemont High), and on songs like "Downtown
EXTD=," a street-life portrait on his seventh album, Lawyers in Love. 
EXTD=The craft seemed all the more important because Browne was so int
EXTD=ent on turning his back on the conundrums that had obsessed him i
EXTD=n the past. On "Cut it Away," ahe sang of his desire to remove hi
EXTD=s "desperate heart" (a phrase he had used before), to rid himself
EXTD= of "this crazy longing for something more/This question that I d
EXTD=on't have the answer for." In place of such ambitions, Browne sub
EXTD=stituted the beginnings of social concern ("Say It Isn't True") a
EXTD=nd, most imaginatively, a humorous look at contemporary trash cul
EXTD=ture in the title track, one of the more exhilaratingly silly mom
EXTD=ents in Browne's generally dour catalog. But the craft, and the f
EXTD=amiliar tightness of Browne's veteran studio/live band, couldn't 
EXTD=hide the essentially retread nature of much of this material. -- 
EXTD=William Ruhlmann\n\n\nAMAZON.COM CUSTOMER REVIEW\nGreat eighties 
EXTD=pop and social commentary, February 14, 2006 \nBy  J. Houzet "woz
EXTD=amoya" (Chicago, IL)\nI give this album five stars because it con
EXTD=tains my favorite Jackson Browne song ever, "Lawyers in Love." It
EXTD='s a clever satire of the Cold War, ironic in its prediction that
EXTD= "the U.S.S.R. will be open soon, as vacation land for lawyers in
EXTD= love." Thanks to Ronald Reagan, such a thing did become possible
EXTD=, but I doubt Browne would give Reagan any credit for that. Jacks
EXTD=on's satirical sting was aimed more at American culture and the R
EXTD=eagan revolution. Like most liberals, he seems incapable of criti
EXTD=cizing leftist and non-Western atrocities. \nBut he is still a da
EXTD=rn good songwriter and musician, that's why I love his music. The
EXTD= rest of this album is also very enjoyable, with my next favorite
EXTD= song being the ballad "Tender is the Night." Jackson intersperse
EXTD=s his personal romantic ruminations with his social commentary. "
EXTD=Cut it Away" is about the break up of a relationship. "Say it isn
EXTD='t True" is a mix of the personal and political, expressing Jacks
EXTD=on's fear of a nuclear holocaust and resignation that there will 
EXTD=always be war. Both of those songs have more of the '80s synth so
EXTD=und that made this album markedly different from his earlier work
EXTD=. \nI always found "For a Rocker" a bit repetitive and annoying, 
EXTD=but I suppose it has some merit. It's certainly one of Jackson's 
EXTD=rarer rockier songs and it still gets radio play. \n\n\nAMAZON.CO
EXTD=M CUSTOMER REVIEW\nJackson branches out, not for the better, Sept
EXTD=ember 14, 2004 \nBy  Dave "missing person" (United States)\nIn 19
EXTD=82, Jackson Browne struck gold with the irresistable big hit "Som
EXTD=ebody's Baby", from the "Fast Times at Ridgemont High" soundtrack
EXTD=--written by Jackson & Danny Kortchmar, the tune is what they cal
EXTD=l pure pop, which was unusual for him, yet it was easy to get car
EXTD=ried away by its infectiousness. This 1983 album, "Lawyers In Lov
EXTD=e", is, in some ways, a continuation of this direction, but actua
EXTD=lly it's much more than that. It also sees Jackson painfully bran
EXTD=ching out into slightly grating, commercialized corporate rock/ a
EXTD=rena rock territory, & in the end the album does not yield consis
EXTD=tently satisfying results--compared to much of his other work, th
EXTD=is album utterly pales in comparison. For instance, the title tra
EXTD=ck is a good example of the distressing move toward arena rock--w
EXTD=ith that vocal melody, the surf-style guitars, & the satire-laden
EXTD= lyrics, it manages to totally scream early '80s MTV all over. Fu
EXTD=rthermore, it sounds like it was mainly written to provide a back
EXTD=drop for a kooky MTV video clip--it's kind of hard to believe it 
EXTD=was written alone by Jackson (as were all but 2 of the songs on t
EXTD=he album). Then there's the tune "Downtown". Lyrically it recalls
EXTD= "Boulevard", but more than that, it's so blatantly modelled afte
EXTD=r Petula Clark's "Downtown", it'll drive you crazy. Check out at 
EXTD=2:52 of the track--it sounds like he's flat out breaking into the
EXTD= actual Petula Clark tune. I have no problem with an artist letti
EXTD=ng their hair down, but the tunes are fairly weak & contrived--he
EXTD= just didn't manage to pull it off. "Knock On Any Door" strongly 
EXTD=recalls "Somebody's Baby" (it's also reminiscent of the Pretender
EXTD=s' "Brass In Pocket") & unsurprisingly, was also partly written b
EXTD=y Danny Kortchmar, & it's okay, but way too repetitive & not even
EXTD= close to as good. Another weak track is the arena rocker (again)
EXTD= "For A Rocker"--Jackson's way out of his element here, & the tun
EXTD=e is a dud in any case, & again, the fact that it's a Jackson Bro
EXTD=wne solo composition is disheartening, demonstrating that he was,
EXTD= to a painful extent, on the wrong track and/ or artistically exh
EXTD=austed. None of these aforementioned tunes are so bad that they'r
EXTD=e unlistenable--certainly some of Jackson's lyrical craftiness is
EXTD= on display--but the efforts are largely wasted. The relative abu
EXTD=ndance of corny (and early 80s-sounding, of course) synths doesn'
EXTD=t help. The absolute low point is the sluggish, tedious, & dull "
EXTD=Say It Isn't True" (additionally marred by an annoying spoken par
EXTD=t). Once you're past all of these tracks, you're left with a few 
EXTD=really strong tracks. "On The Day" is a lively minor-keyed rocker
EXTD= that drops the synths in favor of real organ. "Cut It Away" is a
EXTD=bsolutely brilliant--like "Boulevard" before it, the song shows J
EXTD=ackson can rock out with a vengeance--it's a cathartic tune of ro
EXTD=mantic desperation that brings back the "hold out" undercurrent t
EXTD=heme of his previous album & features a passionate, exciting voca
EXTD=l from Jackson. This tune, as well as the album's one other great
EXTD= track, the feel-good, catchy "Tender Is The Night", have a bit o
EXTD=f a reggae flavor that would become increasingly prominent on iso
EXTD=lated tracks ("Till I Go Down", "When The Stone Begins To Turn", 
EXTD=etc) on following albums. Interestingly, I believe this album was
EXTD= mostly, if not entirely, recorded outdoors--the credits inform u
EXTD=s that it was recorded in Downtown Los Angeles, & you can catch a
EXTD= glimpse of this on the Jackson Browne "Going Home" DVD. I think 
EXTD=it's quite clear that with this album Jackson really wanted to ro
EXTD=ck with a capital 'R', & although "Cut It Away" proves he can do 
EXTD=so with total success, the arena rock trap that he fell quite dee
EXTD=ply into is a disappointment, & unfortunately this direction woul
EXTD=d continue with his subsequent album as well. Overall, "Lawyers I
EXTD=n Love" is a very disappointing album that's often misguided, & s
EXTD=uggests that Jackson's well had run quite dry for the moment. Con
EXTD=sidering, however, how strongly he would bounce back later, it's 
EXTD=easy to forgive him. Certainly it's a bad place to start for some
EXTD=one wanting to understand the magic Jackson was/ is capable of, b
EXTD=ut it's still not a total washout, & if you don't have too hard o
EXTD=f feelings about all the mainstream, commercialized rock of its e
EXTD=ra, you might be able to forgive it even more, but definitely pro
EXTD=ceed with caution. \n\n\nAMAZON.COM CUSTOMER REVIEW\n"Moon River,
EXTD= Wider Than A Mile, I'm Crossing You In Style" !, July 22, 2004 \n
EXTD=By  billy c bowden "Jett" (dallas,texas)\n"Lawyers In Love" is ea
EXTD=sily not one of JB's best efforts..However, it's still thru the p
EXTD=roverbial roof (note the album cover).."Tender Is the Night" is t
EXTD=he most recognizable cut on the CD, and it is rightfully one of J
EXTD=B's signature anthems..Once in a while, an artist has to bring ho
EXTD=me the bacon for the benefit of the suits upstairs: so he can do 
EXTD=what he wants on his next concept album..Quid Pro Quo..The equiva
EXTD=lent of an actor doing "Star Wars" for the money, and "Shakespear
EXTD=e in the Park" for the soul..This CD is Browne's "Star Wars"..A c
EXTD=odicil of hits to be sure, just not up to "The Pretender", "I'm A
EXTD=live" standards.. "Lawyers in Love" is frankly, a mixed metaphor 
EXTD=for starters, a purposeful blend of big business and matters of t
EXTD=he heart..But you can buy the CD with confidence because Jackson 
EXTD=still pounds the gavel for social justices in his inimitable styl
EXTD=e..And despite the blunt commercial overtones on display here thi
EXTD=s CD does rock, i.e. "For A Rocker"..Let's give JB, our Boy Mozar
EXTD=t, a free hall pass for this uncharacteristic random walk-about, 
EXTD=the CD just lacks the typical coherence realized in most Browne t
EXTD=hematics..It is afterall the "Lawyers in Love", who are on trial 
EXTD=here..Can you say societally alienated or perhaps as emotionally 
EXTD=stuffed as a starched Oxford shirt?..I suppose lawyers often have
EXTD= some intrisically deeper sensitivities, that may surface for rea
EXTD=sons besides a $300 hourly wage..And Jackson wants us too, to emp
EXTD=athize with some small part of their misunderstood psyches, confu
EXTD=sions..Perhaps why lawyers love their Mercedes-Benzes more than t
EXTD=heir wives or girlfriends?..Is the Benz then, the true love inter
EXTD=est in this misdirected crime of passion? \n\n\nAMAZON.COM CUSTOM
EXTD=ER REVIEW\nIf you like JB but not this album, you don't get it, O
EXTD=ctober 17, 2003 \nReviewer: A music fan\nJB came out of the perso
EXTD=nal folk-rock tradition of James Taylor, Crosby, Stills, Nash & Y
EXTD=oung, Joni Mitchell, and the Eagles. By the late '70's he was cha
EXTD=nging directions (The Pretender, Hold Out) and a lot of his fans 
EXTD=were disappointed (Disco Apocalypse has to be his alltime worst s
EXTD=ong). With Lawyers in Love JB doesn't go back to his folk acousti
EXTD=c days but finds a good style with good rhythms, driving guitars 
EXTD=and melodic organs.\nSome reviewers cringe at the title song but 
EXTD=after Tender is the Night I think it's the best one on the album.
EXTD= I find it to be a continuation of the Pretender theme: disillusi
EXTD=oned grown-ups from the '60's succumbing to the materialism of th
EXTD=e '80's. This lyric snippet is one of my favorites:\nGod sends hi
EXTD=s spaceships to America, the beautiful\nThey land at six o'clock 
EXTD=and there we are, the dutiful\nEating from TV trays, tuned into t
EXTD=o Happy Days\nWaiting for World War III while Jesus slaves\nTo th
EXTD=e mating calls of lawyers in love\n\nOf course, the soulfulness a
EXTD=nd beauty of Tender is the Night has to be considered the high po
EXTD=int of this album and one of JB's best musical achievements. The 
EXTD=gentle opening and JB's voice as he sings still gives me the chil
EXTD=ls:\nBetween the darkness on the street\nAnd the houses filling u
EXTD=p with light\nBetween the stillness in my heart\nAnd the roar of 
EXTD=the approaching night\nSo, if you gave up on Mr. Browne long ago,
EXTD= you might want to revisit this one--I hope you find it was worth
EXTD= it! \n\n\nAMAZON.COM CUSTOMER REVIEW\nGreat ALbum By AnEnduring 
EXTD=Artist!, July 17, 2002 \nBy  Barron Laycock "Labradorman" (Temple
EXTD=, New Hampshire United States)\nThis is a terrific album, both be
EXTD=cause it represents a snapshot taken of Browne as he continued hi
EXTD=s evolvement from sixties folk-rocker to seventies rocker to eigh
EXTD=ties (and beyond) social commentator. While he still cuts quite a
EXTD= raucous swath through the material with his electrical accompani
EXTD=ment, the lyrics, once dreamy and intensely introspective, are sh
EXTD=owing much more flagrant concern with social issues and the conte
EXTD=mporary political scene. So, while he opens the song cycle with a
EXTD=n amusing take called "Lawyers In Love', he reminds us with a num
EXTD=ber of the lyrics in the song that he may use this irony to try t
EXTD=o say a few things between the lines. \nAnd increasingly, with ea
EXTD=ch song as the cycle progresses, he comes farther and farther alo
EXTD=ng the road of doing so, so that in "Cut It Away", he's describin
EXTD=g the illusions he is being disabused of with the break-up of his
EXTD= romantic relationship, while in the next song, "Downtown", he is
EXTD= talking about the differences among different kinds of people sh
EXTD=aring physical proximity in an urban setting. So too, in "Tender 
EXTD=Is The Night", he mixes romantic overtones with undertones reflec
EXTD=ting the nature of living in an urban landscape. Finally, though,
EXTD= he gets to the crux o the matter, for he uses "Say It Isn't True
EXTD=" to admit his horror in thinking about the reality of what human
EXTD= nature seems to be (with the haunting refrain of "yet there alwa
EXTD=ys has been/and always will be war' echoing throughout the song).
EXTD= \n\nThis is indeed a song one must listen closely to, one that h
EXTD=as a lot of verve and relevance even now, after the arms race has
EXTD= subsided, for the threat of nuclear has not been erased. \nThis 
EXTD=is one of the major milestones in Browne's continuing evolution t
EXTD=oward maturity, and while he has made a number of detours back in
EXTD=to more personal ruminations in albums such as the celebrated "Al
EXTD=ive", which chronicles his infamous break-up with Darryl Hannah, 
EXTD=he keeps returning to concerns with social political, and philoso
EXTD=phical issues. This is a great album; enjoy! \n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nNOT HIS BEST, BUT A SOLID EFFORT, November 20, 2000
EXTD= \nBy  "craig_paul" (Pittsburgh, PA)\nJackson Browne can't be exp
EXTD=ected to match "Late For The Sky" with each album he releases any
EXTD= more than Bob Dylan should be expected to conjur up another "Blo
EXTD=od On The Tracks" every two years, or for Van Morrison to produce
EXTD= "Astral Weeks" on a regular basis.\nThe point here is that this 
EXTD=is NOT a bad album. It's certainly not Browne's best, or most int
EXTD=rospective work, but it's better than most music churned out by h
EXTD=is peers. Being compared to yourself is a tough thing, and the cr
EXTD=itics jumped all over Jackson Browne when "Lawyers In Love" was r
EXTD=eleased. \n\nDoes EVERY Jackson Browne song have to drip emotion 
EXTD=and deal with lost love, loneliness, despair, grief, or death? Ac
EXTD=tually "Cut It Away" and "Tender Is The Night" are excellent exam
EXTD=ples of the brooding Browne. These are good songs. OK, so the gen
EXTD=ius came up a little short in his attempt to show his cynical sid
EXTD=e while poking fun at middle America on the title track, but that
EXTD='s no reason to ditch the entire album. Isn't this guy allowed to
EXTD= have any fun? \n\nMaybe the critics and some fans look to Browne
EXTD= to sum up their problems, worries and crises in neat little four
EXTD= minute packages. Browne, more than any other artist of his gener
EXTD=ation, is known for wearing his heart on his sleeve, for holding 
EXTD=nothing back. He HAD been admired for that, and that honesty is p
EXTD=robably what caused some dissatisfaction with this effort. Maybe 
EXTD=he was just content here to give us a small dose with the songs m
EXTD=entioned above, but also delivering some honest - to - goodness r
EXTD=ock and roll. "Downtown" and "For A Rocker" are terrific examples
EXTD=. \n\nEvery so often, even with an artist of Jackson Browne's imm
EXTD=ense talent, you just have to stop yourself from analyzing the cr
EXTD=ap out of every word he writes, and just enjoy the "listenability
EXTD=" of the recording. This is one of those times.\n\nI wouldn't rec
EXTD=ommend this album as a FIRST taste of Jackson Browne, but for tho
EXTD=se who have listened to, and enjoyed his music, I would suggest t
EXTD=hat you add this recording to your collection. \n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nCome On Guys, Give The Guy A Break, October 12, 2
EXTD=000 \nBy  "brotherjoe" (NC)\nNo, it's not Pretender. That's right
EXTD=. He was older, wiser and not still living in the '70's. Times an
EXTD=d people change. "Hold Out" is a great song. "Call It A Loan" is 
EXTD=a great song. The others are solid additions to his work. You kno
EXTD=w, if you'd rate the 9th by Ludwig Von as a five star piece of mu
EXTD=sic, the 5th would only get three stars, Eroica only two, and Pas
EXTD=torale one. The 4th and 8th would get no stars at all, in compari
EXTD=son. And they are wonderful. Lighten up. Understand that the wors
EXTD=t he's ever done, in comparison to much of the music that is avai
EXTD=lable from others is truly fine. \n\n\nHalf.com Details \nProduce
EXTD=r: Greg Ladanyi, Jackson Browne \n\nAlbum Notes\nPersonnel: Jacks
EXTD=on Browne (vocals, guitar); Bob Glaub (guitar, organ, bass); Rick
EXTD= Vito (guitar, background vocals); Craig Doerge (piano, synthesiz
EXTD=er); Doug Haywood (organ, bass, background vocals); Bill Payne (o
EXTD=rgan); Russell Kunkel (drums).\nRecorded at Downtown, Los Angeles
EXTD=, California.\nThis was Browne's New Wave album, which means you 
EXTD=can expect (and get) a lot of tick-tock eighth note rhythms, catc
EXTD=hy guitar riffs, and lyrics that are less personal and introverte
EXTD=d than usual. There's also more pop, in the Brill Building sense.
EXTD=\nThe standout is the title tune, hands down the funniest song Br
EXTD=owne ever wrote--admittedly, a short list. It's a gleeful skeweri
EXTD=ng of Reagan era Cold War paranoia and yuppie greed, with a kille
EXTD=r chorus hook and a neat falsetto break that may or may not be a 
EXTD=homage to the Four Seasons. Also noteworthy are the hits "On the 
EXTD=Day," "Tender is the Night," and "Downtown," a celebration of win
EXTD=os, bible thumpers and assorted other habitues of the urban jungl
EXTD=e that includes a witty quote from Petula Clarke's '60s classic o
EXTD=f the same name.\n\n\nROLLING STONE REVIEW\nHard cases make bad l
EXTD=aw, lawyers like to say, and no rock & roll case is harder to pin
EXTD= down than Jackson Browne. For many listeners, Browne is the quin
EXTD=tessential guilty pleasure, a navel-gazing singer/songwriter whos
EXTD=e moony ruminations and hokey melodies ought to give anyone the g
EXTD=iggles. But they don't. When Browne has all his talents in regist
EXTD=er, his work is almost appallingly moving. Lawyers in Love, Brown
EXTD=e's seventh album, marks a significant change from the feckless h
EXTD=yperconfessionality of 1980's Hold Out ("Anyway, I guess you woul
EXTD=dn't know unless I told you ... but I love you!"), a welcome wide
EXTD=ning of perspective that allows Browne to escape, once and for al
EXTD=l, the L.A. albatross that has hung around his neck for the last 
EXTD=eleven years. Even though Lawyers in Love does send Browne into u
EXTD=ncharted waters--where he occasionally sounds a bit lost--it neve
EXTD=rtheless is a more nervy, intelligent LP than its predecessor.\n\n
EXTD=Browne's desire to pluck his head out of his navel is evident rig
EXTD=ht from the title cut. "I can't keep up with what's been going do
EXTD=wn," he laments in the opening line, and the big surprise is not 
EXTD=that he's out of touch, but that he cares about being in touch in
EXTD= the first place; for all of Browne's admirable work on behalf of
EXTD= the peace movement, his personal politics seem keyed toward some
EXTD= sort of postapocalyptic utopia ("Before the Deluge"). And in "La
EXTD=wyers in Love," God's interplanetary travelers discover Americans
EXTD= "waiting for World War III," shoveling down fast food in front o
EXTD=f the television. All told, it's an unusually whimsical lyric fro
EXTD=m a man not noted for his sense of humor. Instrumentally, "Lawyer
EXTD=s in Love" is Browne's headiest track to date: a solid keyboard-a
EXTD=nd-guitar attack flavored by a chanting falsetto figure, a church
EXTD=-organ swell, sha-la-la backup vocals, even an old-fashioned modu
EXTD=lation out of the middle eight. Hey, does this guy want a hit sin
EXTD=gle or what?\n\nPlenty of people will choose to read the songs th
EXTD=at follow "Lawyers in Love" as romans  clef about Browne's troub
EXTD=led marriage, but to these ears, it seems as if he's gone to some
EXTD= pains to broaden the scope of his art. "'Cause you survive/Don't
EXTD= mean you grow," he notes in "On the Day," and why couldn't that 
EXTD=refer as much to the moribund California soft-rock claque as to a
EXTD= relationship? "Open your eyes," he implores. "Look out below." T
EXTD=he impassioned "Cut It Away" does sound like it could have fallen
EXTD= off of For Everyman or Late for the Sky--minus, of course, its L
EXTD=inn-drum backng. What hurts more, Browne seems to ask in this tr
EXTD=ack, the person who lets you down or the thing inside you that ma
EXTD=kes you love him or her? His falsetto yelps of "I love you" at th
EXTD=e song's end seem more an afterthought than a directed statement,
EXTD= a self-acknowledgement of inner feeling as opposed to the ostent
EXTD=atious declaration of "Hold On Hold Out."\n\nFrom there, Browne p
EXTD=lunges into new environments and finds new ways of looking at the
EXTD= world. In "Downtown," he seems most dramatically out of place, l
EXTD=ike an upscale tourist misdirected to the wrong side of the track
EXTD=s. He tries to take it in--ghetto blasters, rodents, the rest--bu
EXTD=t all he can manage is a chowder-headed cry of "It's all music." 
EXTD=It sure as hell isn't great music, though, especially with stolid
EXTD= guitarist Rick Vito tugging on his wah-wah bar for that "urban" 
EXTD=feel. You've almost got to admire Browne for making himself look 
EXTD=so dopey here: he knows he's got little or no understanding of in
EXTD=ner-city existence and isn't afraid to admit it.\n\nHis eye is a 
EXTD=lot keener on "Tender Is the Night," an outstanding bit of songcr
EXTD=aft with a gutbucket bottom nicely set off by Craig Doerge's jaun
EXTD=ty keyboard touches. Browne takes in the world of lovers with an 
EXTD=appealing wistfulness: "Just outside, there are people laughing/L
EXTD=iving lives we used to lead/Chasing down the love they need." The
EXTD= perkiness of the arrangement -- and Browne's voice, as marvelous
EXTD=ly American as Ella Fitzgerald's--saves statements like that from
EXTD= the slough of maudlin solipsism, and by the time he gets to "Kno
EXTD=ck on Any Door," he's dishing out some highly uncharacteristic ad
EXTD=vice: "Keep your heartaches to yourself."\n\nBrowne seems to have
EXTD= saved all his worst traits for "Say It Isn't True," a wretched f
EXTD=ive minutes and twenty seconds of antinuke agitprop. There's no q
EXTD=uarrel here with the sentiments he's expressing, but to gravely i
EXTD=ntone, "There always has been and always will be war," over a "Ku
EXTD=m BaYa"-like coo of "Say it isn't true"--surely, you say to yours
EXTD=elf, he can't be that stupid.\n\nThank God that Browne closes the
EXTD= record with the rollicking "For a Rocker," wherein he dispenses 
EXTD=with all things weighty and wearisome (including, I guess, the bo
EXTD=dy of a departed pal) and kicks out the jams a bit. This ain't ju
EXTD=st taking it easy: this is righteous partying. "I got a shirt so 
EXTD=unbelievably bright/I'm gonna dig it out and wear it tonight," he
EXTD= whoops, and his inflection can't help but slap a smile on your f
EXTD=ace.\n\n"For a Rocker" may not be the dance tune it wants to be -
EXTD=- if this were a Bruce Springsteen record, this would be the slow
EXTD= song and the others would be uptempo -- but it ends Lawyers in L
EXTD=ove on the right notes: irreverent, extroverted, unselfconsciousl
EXTD=y optimistic. This isn't Jackson Browne's best album, but it does
EXTD= rein in his excesses better than previous efforts and points in 
EXTD=some interesting directions. And for all of you who want to know 
EXTD=what's really going on in his marriage, let's face it: your perso
EXTD=nal life is at least as interesting as Jackson Browne's. Why shou
EXTD=ldn't his album tell you something about it instead of something 
EXTD=about him? (RS 405 -- Sep 29, 1983)  -- \nCHRISTOPHER CONNELLY
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