Posts Tagged ‘Hold Out’

Released in June 1980, Jackson Browne’s Hold Out album is notable for two reasons. Critics disliked it, as evidenced by Rolling Stone‘s Kit Rachlis calling it “probably the weakest record he’s ever made”; and, powered by the singles “Boulevard” and “That Girl Could Sing,” the platter spun its way to the top of the charts, becoming his first (and only) No. 1 LP. 

It’s also notable within my life for another reason: It was the first current Jackson Browne LP that I purchased. As I’ve written before, my journey into music fandom began in earnest in the spring of 1978. Everything was new to me, even the old; I was, literally and figuratively, a kid in a candy store. I picked up the “Doctor My Eyes” 45 at some point that summer and followed it on occasion with a few of his LPs; I had a hierarchy of fallbacks when I went to record stores, and Jackson’s were usually third, fourth or fifth down the rung. By the time I picked up Running on Empty, which was released in late 1977, it was late 1979. (In some respects, in those days, he was singing about things that were beyond my years – but that was part of the appeal.)

In any event, I came home with Hold Out not long after hearing “Boulevard,” the first single, on either WMMR or WYSP.

“Down on the boulevard/they take it hard/they look at life with such disregard/they say it can’t be won/the way the game is run…” Those lyrics echoed life then and echo life now, some 40 years later. “The hearts are hard and the times are tough.” Amen.

“That Girl Could Sing” was another immediate favorite. Written for singer-songwriter/backup vocalist Valerie Carter, it’s an evocative portrait of a free spirit: “She was a friend to me when I needed one/Wasn’t for her I don’t know what i’d done/She gave me back something that was missing in me/She could of turned out to be almost anyone/Almost anyone/With the possible exception/Of who I wanted her to be…”

Those are tracks 3 and 4 on the LP; the opener, “Disco Apocalypse,” sets the stage for them quite nicely, detailing the mindless appeal of the era’s club scene; in some respects, it’s “The Pretender” for the disco age: “In the dawn the city seems to sigh/And the hungry hear their children cry/People watch the time go by/They do their jobs and live and die/And in their dreams they rise above/By strength, or hate, or luck, or love…”

Cowritten with David Lindley, “Call It a Loan,” – about the fear that comes with falling in love – is another highlight.

The remainder of the album is as strong. Lyrically, sure, at times it teeters on the brink, especially on the song for Lowell George, “Of Missing Persons,” but – melodically and sonically speaking – it just sounds great. Warm. It could well have been recorded yesterday.

That said, I’d be lying if I said I wore out the album’s grooves at the time. In truth, I moved on to other albums, other songs. As one does. In the decades that followed, I’ve played Late for the Sky and Running on Empty many, many times – and, until a few months ago, Hold Out not once. A month or so ago, however, I found myself stuck in stop-and-go traffic on the 15/501 during my evening commute. “That Girl Could Sing” began circulating and percolating in my brain, and I remembered lying on the floor of my old bedroom and reading the lyrics on the record sleeve as Jackson sang them. There was and is something magical and mystical about the first listen, of having the music usher you elsewhere. 

I’ve listened to the album quite a bit in the weeks since that ride home. As one does. I’m surprised at how well it’s aged and that, at their best, the lyrics are sage and true in detailing matters of the heart. Hell, I even like the closing “Hold On Hold Out,” which every critic I’ve read lambasts for its schmaltzy declaration of love.

The track list:

We watched Ordinary People last night. It’s a film we’d both seen before, though not in decades. Diane first saw it in a movie theater not long after its Sept. 19, 1980, release and I first saw it on PRISM, a now-defunct regional premium cable channel that was popular in the Philly area at the time, about a year later. An understated and powerful movie, it won a bevy of Academy Awards, including Best Picture, Best Director (Robert Redford, in his directorial debut) and Best Supporting Actor (Hutton).

ordinarypeopleFor those unfamiliar with it, the drama delves into the dynamics of a dysfunctional family following the death of eldest son Buck (Scott Doebler), who perished in a sailing accident that youngest son Conrad (Timothy Hutton) survived. As the story opens, Conrad has recently returned from a stay at a psychiatric hospital after a failed suicide attempt; he’s racked with survivor’s guilt. Mother Beth (Mary Tyler Moore, in an Oscar-nominated performance) is emotionally distant, more concerned with appearance than addressing his (or her, for that matter) needs. Father Calvin (Donald Sutherland), on the other hand, just wants everyone to get along. As Roger Ebert put it in his review, he’s “one of those men who wants to do and feel the right things, in his own awkward way.” Enter psychiatrist Tyrone Berger (Judd Hirsch) and the down-to-earth Jeannine (Elizabeth McGovern), a girl who catches Conrad’s eye. Both, in their ways, help him overcome the guilt – one knowingly, the other not.

In other entertainment events from that September, the Dionne Warwick-hosted Solid Gold syndicated music series debuted on the 13th.

I have no memory of whether I watched it or not; likely not. If I wasn’t out at a movie – at the Hatboro Theater in downtown Hatboro or the Eric Theater in the Village Mall in Horsham – I was likely reading the Sunday newspaper while listening to the oldies on the radio, listening to music in my room and/or watching TV. (How’s that for narrowing it down?) I was 15, a high-school sophomore and serious music fanatic.

Among the album releases for the month: Kate Bush’s Never for Ever; David Bowie’s Scary Monsters (and Super Creeps); the Doobie Brothers’ One Step Closer; Ozzy Osbourne’s Blizzard of Ozz; Barbra Streisand’s Guilty; Utopia’s Deface the Music; Stevie Wonder’s Hotter Than July; and Molly Hatchet’s Beatin’ the Odds.

And, with that – onward to today’s Top 5: September 20, 1980, in which I cherry pick my favorite hits from the Weekly Top 40 for the week in question…

1) Diana Ross – “Upside Down.” For the third week in a row, Diana held the top spot with this infectious song. It, like the 1980 diana album as a whole, was written and produced by Chic’s Nile Rodgers and Bernard Edwards, though the end result was not what they intended. Afraid that the original mix was too disco, which was quickly falling out if favor, Diana and engineer Russ Terrana gave the set a sleek, more pop-oriented makeover.

2) Irene Cara – “Fame.” Holding steady at No. 4 is this classic theme song. If you watched the above Solid Gold clip, you know that Irene sang (or lip-synced) it there; it’s such a great song, though, that I can’t help but share it again (And, yes, I know I’ve shared this same clip before – here, to be precise.)

3) Paul Simon – “Late in the Evening.” Clocking in at No. 7 is this classic from Paul Simon, which is one of my favorite songs by him.

4) Olivia Newton-John & Electric Light Orchestra – “Xanadu.” Just bubbling under the Top 10, at No. 12, is this, the title song to the movie musical, which was released the previous month. I saw the film at the aforementioned Eric Theater and, like most who did, didn’t find it a five-star affair. (An understatement, that.). The soundtrack, however, was darn good; I played it to death.

5) Bob Seger & the Silver Bullet Band – “You’ll Accomp’ny Me.” Here’s a classic song from Michigan’s rock ’n’ roll laureate. Against the Wind, the album that it’s from, was my Album of the Year for 1980; I still think it’s great.

And, for today, a few bonuses…

6) Christopher Cross – “Sailing.” Falling from No. 5 to 15 is this Grammy Award-winning song from Christopher Cross. I imagine that this song, from Cross’ debut, would be lumped into what’s now known as “yacht rock.” Whatever. At the time, I found it a pleasant diversion that I didn’t need to own – it was played fairly often on the radio, after all. Nowadays? I often play Rumer’s version from her 2014 B-Sides & Rarities collection.

7) Olivia Newton-John – “Magic.” This classic ONJ number held the top spot for four weeks in August before beginning its downward drift. This week, it fell from No. 13 to 27.

8) Jackson Browne – “That Girl Could Sing.” Debuting on the charts this week, at No. 82, is this classic song from Hold Out, Browne’s only album to reach No. 1.