Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 719
Whether or not he knows it, [Browne's] been writing about highways and their alternate routes since his beginnings, so the subject matter and thematic concerns of Running on Empty aren't all that different from those of his first four LPs. But the approach is. This time, Browne has consciously created...
(The entire section contains 719 words.)
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Whether or not he knows it, [Browne's] been writing about highways and their alternate routes since his beginnings, so the subject matter and thematic concerns of Running on Empty aren't all that different from those of his first four LPs. But the approach is. This time, Browne has consciously created a documentary, as brightly prosaic as it is darkly poetic, with a keen eye for the mundane as well as the magical. Running on Empty is a live album of new material about life on the road as conceived and recorded by a band of touring musicians in the places they spend most of their time (onstage, backstage, in hotel rooms, even on the bus). Since there are two separate concepts here, the audience gets an unprecedented double feature: ten songs they've never heard Browne sing, and a behind-the-scenes look at "the show they didn't see." Ostensibly, the Gawain of rock & roll has scaled down his heroic obsessions, re-covered the Round Table with Formica and invited us in for a cup of truck-stop coffee, thus proving a point we knew all along: that small gestures can be just as meaningful and revealing as large ones.
Ironically, when Browne tries for specifics, he achieves both facts and universals. But his inclination to ease up makes sense here because he's really running two different, very dangerous races: one positively mythopoeic (the Road and its metaphorical implications), the other presumably maudlin (musicians on the road). The first can barely be done justice to within the confines of a pop record, while the second has rarely risen above its inherent clichés. (p. 51)
For Browne, as for most of us, the question has always been whether to stay or to leave, the answer either or neither. We want commitment, but we're committed only to the quandary.
Of course, one apparent way around all this is to stay out on the road, simultaneously searching while sending constant letters home. But Running on Empty's enormously moving "Love Needs a Heart," cowritten with Lowell George and Valerie Carter, chillingly demonstrates what usually happens to men and women who attempt this…. "Running on Empty" (whose very title bristles with tenacious, win/lose duality) is an effective continuation of the songwriter's darkening "Looking into You"/"Farther On"/"Your Bright Baby Blues" cycle. Here, as with "Love Needs a Heart" and "You Love the Thunder," Browne looks back on his life, revisits The Pretender and reaches similar conclusions….
If love needs a heart, Running on Empty makes it clear that the road isn't a good place either to find or to hold one. But then, neither is a house in the shade of the freeway—"The Pretender" told us that. On the road, at least, there's that old gray magic, asphalt camaraderie and the special language of musicians who mark time by gigs and guitar cases….
Best of all, there's a finale—a fusion of Jackson Browne's and Bryan Garofalo's "The Load-Out" and Maurice Williams and the Zodiacs' "Stay"—that's worthy of such earlier Browne anthems as "For Everyman," "Before the Deluge" and "The Pretender." "The Load-Out" is Jackson Browne's tribute to and summation of every aspect of live performance: the cheering audience out front, the band playing hard-nosed rock & roll, the backstage crew loading up the trucks—and, always, the road to the next town. Packed to capacity with the data of first-rate reporting and with music so warm and soaring it belies the album's title, this song flows triumphantly into "Stay," where Browne tells us he doesn't ever want it to end. Taken together, "The Load-Out" and "Stay" are so accessible they're practically transparent. Maybe that's why they feel so good….
It's simple enough to talk about lyrics, aims, structure and all the critical etceteras, but it's very difficult to pinpoint what it is that's actually moved you. It has to do with essences, I think, and all those corny virtues like truth, courage, conviction, kindness and the rest of them. In other words, as impressed as I am with Jackson Browne's art, I'm even more impressed with the humanity that shines through it. Maybe they're inseparable, but I doubt it. (p. 53)
Paul Nelson, "A Ticket to Ride," in Rolling Stone (by Straight Arrow Publishers, Inc. © 1978; all rights reserved; reprinted by permission), Issue 260, March 9, 1978, pp. 51, 53.