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Q 107.1 KGSR. Good afternoon, this is Jody. And I am here with Mr. Jackson Browne. Good afternoon, sir.
A Hi, Jody. how are you doing?

Q I'm doing good, but I'm wondering how you're doing the day after your birthday.
A Oh, I'm fine. I'm fine. I spent my birthday doing what I love to do, playing with my band.

Q Taping Austin City Limits last night. But what about afterwards?
A Afterwards, I got to watch what we had done. Basically, my band went home. Wherever they went. They went out to hear some music in some clubs and I stayed to continue to work on the thing. It's a good program. They give you a chance to sort of shape what the program's going to be, because you play about 90 minutes or more and then they cut it down. So they give you a role in that. It's a good format.

Q But it's your birthday and you already did a show, and then...
A Well, we did it the day before. We had my birthday party the day before at Mezzaluna.

Q Oh, yeah. Good restaurant.
A Yeah, fine restaurant.

Q Okay. I was starting to -- you know, all work and no play…
A No, no, that's not us.

Q Okay. Good. And you say, "us." The new album, "The Naked Ride Home" and really the two before it, these are band projects.
A Yeah.

Q Tell me about -- you don't have to name everyone individually, but you know, we think of Jackson Browne as a singer/songwriter, but really you lead a band these days.
A Yeah, whatever I do -- I mean, I tried it before where there's -- a lot of my albums have been more or less band records. My "Late for the Sky" was, but I mean, no one looks at it that way. So it doesn't really matter what you call it. I've always worked to get the best of what people are playing on the record, and it's not -- I don't come in with the idea of what I want somebody to do. I just -- I'm an opportunist and I sort of take advantage of what really happens to make a record of that. And this is a band that's been together for the last three records I've made. From "I'm Alive" and through "Looking East", and this album. And so it's sort of progressed as a -- the chemistry of the band and the relationship we have.
This time, it took me long enough to get these songs together that I really had a chance to make the most of their -- what they do spontaneously as a band, what people love to do when they're just having fun, to make the songs out of that.

Q And you say it took you a long time to get these songs together. It's been about, what, six years since "Looking East?"
A Yeah, yeah. Well, yeah, you spend a year or so touring and then a year trying to get off the road and get your life back. So it really took -- maybe I worked on this record about four years.

Q That's a pretty good chunk of time to work on a record. But now that it's done --
A Well, it's -- it wasn't spent the whole time in the studio. What I did is, I counted from about four years ago because I did the sessions - the initial sessions for this record then. And I spent a lot of time continuing to write the songs after I've tracked them, some of them. And some of them -- one of the songs is written -- I mean, it was an idea I had four years ago, but just written in the week before we finished the record. It just -- it was a rush to sort of finish it and get it on the record. And that was the last song on the record.

Q Oh, My Stunning Mystery Companion.
A My Stunning Mystery Companion, yeah.

Q My Stunning Mystery Companion. It just has that mysterious vibe to it. The band gets co-composition credits in a lot of this.
A Yeah.

Q That's unusual, also, for someone (who's) -- again, a quote unquote "singer/songwriter."
A I did that somewhat on the last record, too. I just think it's giving credit where credit is due. I mean, if you could, you know, give them credit and pay them for that, I mean, it's sort of implies that you want it to go on happening and you want to try to make that happen again. I mean, this is a band that really breathed a lot of life into these ideas. I could show you some differences. I mean, just things that happen musically and compositionally that made the song just open up and become the song it was. Otherwise, it would be very different. You can finish a song and get it all the way done and go in the studio and make a record of it in about three hours. And a lot of people work that way. I started working with Don Was on a couple of songs once and realized, with some amazement that the song that -- the song that I had been working on getting ready -- a bunch of songs that had taken me two or three years to get ready, he wanted to like take one or take two, you know. And it really wasn't enough time to really teach the song to the band. We sort of went around about it. I finally was able to squeeze like eight takes out of it. He said, "That's it, we're not playing it anymore." But that's his method. His method is to get a really fresh take. To hire great players who are really fast studies and to get it really quick. But that's kind of like impressionism as opposed to, you know, something that takes a little longer to -- I do studies, I do different versions and play the songs acoustically and maybe play them with the band in various different circumstances and to see what's in them. Otherwise, it would be kind of like factory work or something.

Q And also, like you say, they grow. So what happens if you put it down in this take one or two and then you take it on the road and you realize --
A That always happens. You take it on the road and it's completely -- it grows by another 50 percent, at least, the first time you play it for a month in front of people. Things happen.

Q We're talking with Jackson Browne, he was in Austin last night on his birthday to play Austin City Limits. And a new album out called "The Naked Ride Home". And I was telling you how much I like that title track. And I was going to ask you to play it, but I figured it was one of those ones you needed a piano for. But do ya?
A No, no, it's a guitar song. I can play that one.

Q Let's go there, first.

* The Naked Ride Home * (song)

Q Thanks, Jackson. I feel like just giving you a blanket "thank you" for every time I've heard one of your songs and it's made me happy and for everyone else who would like to say that to you. So just one big thank you.
A Thanks. Thanks for letting me come here and sing on the radio.

Q The Naked Ride Home, the first few times -- I mean, you have to listen to that song many times before you begin to make heads or tails of it. And I never want to make total heads or tails of it because I want it to be just a little bit impressionistic --
A Well, I notice that people have various different impressions of what's going on in the song. Right from the beginning, people sort of jump to their own conclusions or their own assumptions of what's going to happen in the song, which is exactly what the guy is doing in the song. He's sort of got an idea of where he wants to go and so it's good that people get hooked up to their own version of that, because that's what songs do. I never want to tell people exactly what was going on in my version of it.

Q And it is a song that you have to listen to a bunch of times to hear and to assimilate.
"The Naked Ride Home" is Jackson Browne's new album and the song he just played for us live on KGSR.
So I was saying you were in town last night doing Austin City Limits. But then I remembered you were here earlier this year with the Green Party. There was a rally. And you played acoustic, as you are now. And then before we were talking about the band situation, so there's at least the two musical faces of Jackson Browne. There's the band and there's the acoustic --
A Yeah, you can go play acoustically with a lot less expense and trouble. But the band is pretty likely to jump in onto those kind of things too. As a matter of fact, for a while, we were going to try to join that Jim Hightower review and go wherever we were needed. And he had that sort of, I guess it was a rolling thunder democracy tour, which is pretty much the same idea and the same intent of some of the Nader super rallies.

Q But do you find that your audience -- there's obviously people that like all your work, that are you fans, but there's like the acoustic faction and the rock faction?
A There is. There are different factions. There are those two factions. And sometimes I have to try to talk with people who like my acoustic shows into coming to see the band. I mean, I remember finding myself at dinner with somebody, a gallerist, and she was saying -- she was sort of grilling me to find out if the show that she was planning to come to was going to be -- it was billed an acoustic show. The band wanted to come play and so we wound up doing it half and half. But I did have to sort of talk to this woman into coming because some people -- well, I think in the past it's fair to say that sometimes my band arrangements have sort of served a different purpose than the acoustic arrangements. And some people really prefer the acoustic stuff because the songwriting is less obscured by arrangement. But that was one of the things I wanted to do with this record. I wanted to try to, once and for, try to fold the two things together. And that's probably what took the longest to make happen on this. I just wasn't going -- I mean, you can get a band to play great, but it hasn't always served my songs the best to have -- you know, you can have this great moment in the studio and later you find that there's some part of that that's really fine, but there's a whole other part of the song that can be heard more by the heart or it somehow affects people more emotionally, the more stark -- the starker it is.
A good example of that is like Patty Griffin made this great first album. And right around -- actually, what I heard first was this band record. It was like this record -- I forget, what's his name? Who's that guy from New Orleans, uh…

Q Lanois or…
A The other guy.

Jackson with Shawn Colvin looking on...

Q Malcolm Burn.
A Malcolm Burn did this record. And so Shawn Colvin played me this record that Malcolm Burn had done. And I thought, this is an amazing record. This is really, really interesting. And then that's not the record they put out. And I went and got the record. And it was the demos for that record. And I think she did the right thing, because the songs were much more powerful than what Malcolm Burn had done with that record, although I'd like to hear it now, especially because I know these songs so well.
But then I was afraid that she wasn't going to make a band record. And so the next record she made, "Flaming Red," I think it was called, one of the most powerful rock and roll records of all time. And it kept all the beauty and the mystery of these really quiet songs and still did a really great job of arranging. So that was a real inspiration to me. I thought, you know, there's somebody who had taken the time to make sure her -- that she started and built a foundation of the strict, stark architecture of songwriting and then went on to find out how to make records of those songs.

Q And so we're talking about the acoustic nature of what you do and the electric nature. There's also, I'd imagine, camps of people that were with you really strong around till the time of "Running on Empty" and "Hold On, Hold Out" and then people who kind of picked you up. Do you see that time as being maybe a division in your work, in the sound of it and --
A No. I think what happened is at a certain point -- around the time I was playing with Craig Doerge and Danny Kortchmar and David Lindley -- I had been playing with David Lindley and making records just of -- the same way I do now, which is you go in and you play together and you sort of shape the best record out of what happens between and the chemistry that happens. But hanging around with Danny Kortchmar I started to like really think about band arrangement. And it's not something I did as well as I did some other things. So I got pretty involved in it for a while, but it may not have made the best records. And I think -- but I mean, it marks my being interested in that, arranging and writing songs for a whole band.
Like, there's a song of mine called In the Shape of a Heart, which was really based on stuff that people played in the studio. And it was something I started to write and played with them, because we were together all the time, and then finished later, but with those ideas in mind. And it sort of became -- but that song is a much better song, acoustically, or at least it became a much better song played solo, completely by itself than what we did a record of. The record was just a little bit, a little bit beside the point, really, because the real story was in the lyrics and the playing. And now, when we play it with the band, I get them to play it really almost as if we're not playing anything at all.

Q Would you care to play that song now? I'm putting you on the spot. I don't know what you're prepared --
A I could, you know. It would take me a minute to tune. As a matter of fact, it's not one I can really -- to go on with that story, I mean, I had to like figure out a way of playing acoustically because I had written it with the band in mind. That was a long time -- that was maybe one of the first times I did that. What I wound up doing is learning how to play it in a tuning on a guitar that is really set up for that particular thing. So this guitar wouldn't even work for that.
I can give you another example, though, of a song that's more recent.

Q Yeah.
A I started writing this song called The Night Inside Me. And it's -- I think the record of it came out really great. But it was -- it had this melody that was sort of based on this guitar figure. It went like this. (Plays intro.) Very major.
(Plays early arrangement of The Night Inside Me and illustrates how the song then changed for the band arrangement)

* The Night Inside Me * (song)

Q Jackson Browne playing live on the airwaves on KGSR. The Night Inside Me is from his new album, "The Naked Ride Home". Now, when you explained it to me and showed me how the song opens up to the band version, I see both side of the coin now. And --
A I wouldn't have written it this way. I mean, this is the acoustic version, but it's not the way the song started. It was -- it's an acoustic version of the band composition.

Q Right. You mention Spain in that song. Were you living in Spain or hanging out?
A Yeah, I have an apartment in Spain that I get to usually once or twice a year. But during the finishing of this record it was probably a year between visits there. Especially at that moment in the song where I'm thinking, you know, I'm trying to describe what it is about night that is -- you know, that I rely upon to sort of inspire me and lead me on and sort of blur all the really kind of ugly reality, you know (laughs). And it's quite a natural thought to just go, well, maybe I should just go back to Spain. It's not that doesn't exist in Spain, it's just that for me in Spain, I'm on a completely different trajectory that when I'm at home.

Q So in Spain, the telephones and the computers and everything else are kept to a minimum and you get to --
A The telephone starts to ring about 9:00 at night, because that's when people wake up in L.A. So you have the whole day, you know. And then, of course, you can always say, "Well, I'll call you back later, because I've got to go out now." Because 9:00 or 10:00 is when people go out to eat. People usually go out to eat around 11:00, actually.

Q In Spain?
A Yeah, oh, yeah. People -- it's a night culture, basically.

Jackson with Texan Lyle Lovett

Q Well, it's good that The Night Inside Me has the Spain reference in it. It's all making sense to me now, man. You mentioned Patty Griffin, you mentioned Shawn Colvin, two ladies who live here. Why don't you move here? Come on!
A That's an idea! That's really an idea I've had more than once. Well, there's the distance to the ocean. That's one thing that would have to be kind of, you know, finessed in some way or other.

Q Maybe we could just get you a little apartment like you have in Spain and this could be another --
A I thought of that. I thought of getting like an Air Stream and getting one of those trailer parks somewhere. You know, I can just get a little Air Stream place to go sit and play and come here like I go there. That's not a bad idea.

Q Well, you know, the ocean is a wonderful thing. And I miss it.
A But you have some waters here. You've got some lakes.

Q Yeah, we have the lake. You know, it's a different -- it's a variation on a water theme, I think. But the lakes are beautiful and the Hill Country is beautiful. And actually, someone had told me you passed a comment last night at the taping about maybe moving here or something to that. I'm sure it was an offhand remark. But I thought, what the hell, it's --
A No, being from L.A., I'm always looking for someplace to live. I mean, L.A. is a terrible place to be from, because, you know, you always -- you know, my family is there. I've got all kinds of stuff going on there. I've got -- my band is there. I've got my studio. I built a studio. And it's a good place to have a studio. Not that if I wasn't, you know, to sort of form an expedition to go find some other place to live, I wouldn't -- you know, I'd probably have all kinds of people jumping on that.

Q Well, we'll hold down the fort for you. And -- because we need you to come back anyway. I'm hearing that perhaps the tour you're on with Tom Petty may actually find its way here before the end of it, so...
A I'm hoping. But they've changed that. I'm sure it's never really decided until the last possible minute. They change that schedule all the time. Yeah, I think that -- I thought Austin was one of the cities we were supposed to be playing.

Q Hopefully. The new album, "The Naked Ride Home", sometimes I hear an artist's album and it harkens back to an earlier record. When I heard Bruce Springsteen's new record, for some reason, I was thinking of "Darkness On The Edge Of Town," which seemed to be a simpatico. And for some reason, there's parts of this record that harken back to "The Pretender" for me. Is that just me projecting? Do you feel that at all?
A Well, for me it's all new and there's a kind of contact with the rhythm section of these songs. There's a kind of way in which is sort of -- I finally, I took the time to really let these songs emanate from that. I mean, in the writing, in the completion of it. But I think more of like "Late for the Sky," because the simple fact that "The Pretender" was cut with a lot of studio people coming, studio musicians and had Jim Gordon and Jeff Porcaro and various -- Russ Kunkel. I had a lot of different drummers. I had a lot of different guitarists coming in and playing. But "Late for the Sky" was a record that was made with just the players. And the band was David Lindley playing guitar or lap steel. And then we had Jai Winding playing organ when I was playing piano and playing piano when I was playing guitar. And so it was that kind of a band. And a bass player the same guy that sang the harmonies on most of the songs. So it was a very self-contained album made by just a few people. And that's what this is like. This is more like "Late for the Sky" for me in that regard.

Q This question may seem somewhat rote, but I am truly interested in the answer. And how you decide if you're going to -- when you feel a song germinating whether you pick up the guitar or go to the piano to work on it.
A I generally do both at one time or another. I mean, there are some songs that -- there are some songs that I don't bother trying to play on guitar, that are just piano songs. But they start at both. They start at guitar and piano. And sometimes they start where there's no instrument -- where there is no instrument. And I generally carry a little recorder around and sing ideas into it wherever I might be. And then maybe or maybe not go back and listen to those things. And sometimes the idea stays in your head and it comes up different every time you think of it. But it generally is a good idea to try to play it on the other instrument. If you start it on the piano to try it and play it on guitar.
On "The Naked Ride Home", I actually wrote The Naked Ride Home in D and I couldn't get -- I couldn't -- and it was cut in that key. D-flat or something. But it took hearing another guitarist play it and put the capo on and played in C for me to figure out, oh, that's how to play it. Because it's not that I'm a stickler for playing it exactly the way somebody played it on the record, but if there's a passageway or a little door opens and you can get away with playing whatever in that key. Yeah, so it took me learning the song from the guy that played it on the record and doing what he did.

Q That's why you have a band now. That's the whole deal going on.
Your music has touched so many people so deeply that I'd imagine that you deal with some very intense fans who want to ask you about songs and the way that -- you know, musicians have the ability to transcend time and space. You're living in L.A., but these records are living in Iowa and Miami and New York and Connecticut, so --
A That's good to -- that's a good way of looking at it. It's a good thing to try to keep in mind.

Q And so after a gig or when you -- when people come up to you and if they're not, you know, fanatical, but just, you know, regular people and they come up to you, what do they want to know? Do they want to know the inspiration for the songs? Do they try to project themselves into the songs? I mean, you must deal with this on a frequent --
A Generally, people want to tell me something about their lives. Generally, people want -- it's pretty -- it's a lot of affirmation in that if someone comes up to you. And for the most part, the people who do are pretty -- they're pretty sane. You know, they're not too fanatical. They have a -- they want to express a kind of commonality of experience. They want to say, you know, this particular song really meant a lot to me or this particular album was something I played a lot during a certain time of my life. And it just gave me that kind of affirmation. And it's really reassuring.
It's also instructive. I mean, I had a friend of mine say, "Oh, you know, that song -- your song" -- and I hadn't seen him in a long time. And -- I hadn't seen him in, say, a year. And I had made a record in that time and we'd been really close during a certain period of time. And he said, "Oh, yeah, that song The Sky Blue And Black, that's so about -- that's me and Erin." And I'm going -- and I know Erin. And not only am I thinking, "it is?" Oh, okay. You know, it's amazing how songs work, because they -- because those specifics get sort of blurred by a song. There's a filter that a song has to pass through, which is that you have to sing these words out into -- just the fact that these words have to sort of sound good. They have to actually mean more than -- and it can't be straight reportage, you know, of your own experience. And so whatever happens to it when it becomes a song that you can sing out into the air, winds up, you know, connecting in a lot of ways with people in surprising ways. I mean, there are permutations and sort of resonances that you've never -- as the writer you never thought of, you never intended, but they're there.

Q But that's one of the major rewards, right?
A Yeah.

Q I mean, when you're playing a concert, you get that immediate gratification. You see it in the faces and the people dancing and stuff. But when the one-on-one thing and you're going, gosh, I wrote that in a room in Spain and you're telling me it's about you and Erin - or whatever.
A There's also -- that's the main difference between the acoustic shows and the show with the band. And it's simply that, with the band, you're on stage and you're relating to each other and there's an audience present. And you may take part of your attention to talk to the audience or in some way include them. But there's a chemistry and there's something that's going on -- physically going on on this stage.
But if you do an acoustic show and you're all by yourself, then you're in a chair in front of -- or you're standing in front of, you know, say 3,000 people who are also just listening to the song. And you're listening to the song and they're listening to the song. And you're all sort of like -- it's like you're listening to records together or you're auditing this kind of experience. And we've all had many of the same experiences. And so there is this sort of otherworldly kind of ethereal experience that happens in these acoustic shows. And it's very conversational. There's something about even just the few words that you say to introduce a song or whatever might come to mind in between songs that fixes it in time and people. And that's -- it's like you're all sort of staring into this same void and experiencing -- well, probably some very different things, but all at the same time.

Q Yeah, it's not Jackson Browne here and everyone else here. I mean, we all come together --
A Well, sometimes, in some of these songs -- they'll call for songs that are -- that I may not have been singing for years. And I think, "well, I might be able to remember that" and I'll try. And it's almost like listening to the song -- I'm really listening to it and it's coming out of my mouth. And sometimes it doesn't -- you know, I don't remember all of it or -- but -- or I barely remember it in time to get the words out or something. But it's like -- it's very much like we're in the same space. You know what I mean? I mean, I'm in the same headspace as they are. I'm listening.

Q Yeah, you're hearing it objectively, as if you hadn't written it, almost, right? There's been a lot of water under the bridge since a lot of these songs, too.
A That's another thing. They stop really being about whoever I was thinking about when I wrote it. I mean, if I had to think about some of the people I've written these songs for every time I sang the song, it wouldn't be much incentive for singing 'em. It would be like, you don't -- they become something else. They become more of a fable, as opposed to a, you know, accurate report.

Q Well, but that's what a great song does. It grows and it takes on new meanings, especially after 9-11, a lot of songs for us took on new meanings. Whenever you're gosh darn heart breaks, all the songs seem to come alive and take on new meanings.
Jackson Browne is here with us. He was in town last night taping Austin City Limits on his birthday. And he's going to go back out on the road with Tom Petty soon. And hopefully, that will come our way.
I've got a deal for you. So we're talking acoustic versus band. I thought if you're willing, we could do one more live song on the acoustic and then we could leave folks with a song straight from the record.
A Okay. Cool.

KGSR's Bobby Ray and Jackson Browne

Q Okay. So now I have a -- I had a -- something in mind. I hear you've been playing it, so -- I don't know if it's got a tuning -- I hear you've been playing Your Bright Baby Blues. Is that in another weird tuning or no?
A Yeah, I do that in a tuning. I could play it out of tuning, but it wouldn't be like --

Q No, I want you to do what -- we want to do it the right way. So you choose.
A Yeah, that's one -- I would -- I don't even know if -- my case didn't make it in here. That's a song I play in a tuning, also, and with a slide. And it's like --

Q Well, you give me one that you think smacks of the acoustic experience that we were talking of just before. And then we'll pick one from the album for the band experience.
A Yeah. Is my -- oh, I see my case is right down there. Let me see if someone finds it. Is there a slide bar in there?

Q So where are you going after today? Because you've got a flight --
A Oh, wait a minute. Wait a minute. No, it's not the right guitar. There's another guitar in the truck.
I'm going back to LA and I've got some things to take care of there before getting ready to go out for the rest of the fall, you know.

Q Your children are grown, right? You've got -- your son is how old now?
A My son is going to be 29 in a couple of days -- couple of weeks. And I've got a nephew that's 22 this week. And my other nephew is 12. And I've got a son in Australia also that's going to be 21 in January.

Q Unbelievable. And Jackson, by the way, looks exactly as he did back then.
A Oh, that's very -- that's generous of you.

Q It's true, man.
A So next time you see me, my hair is going to be white. It's all going -- it's all sliding down.
I think, as much as I'd like to -- I tell you what. I'll come back and sing that song for you sometime and just bring the right guitar. If I thought there was going to be more -- it would have been easy to bring that guitar, too.

Q I was putting you on the spot and picking off the top of my head. But I do want you to pick one that you would do at an acoustic show, just you and your guitar.
A I tell you what. And can I pick the one you're going to play from the record, too?

Q Definitely.
A Because that's one that's got this finger picking part that, once again, I had to learn how to do after the band arrangement. Band arrangement is almost sort of Al Green kind of really slow, funk thing. And just to be able to play it when I was writing it, I had to like -- I came up with this thing that was so folky, it was just this drop thumb, finger-picking.
But that's not the one I'm going to play for you right now. I'm going to play something else, a finger-picking thing. And this is a song that was used in a movie not too long ago. And it's a real old song. This was used in "Royal Tannenbaums." And I forgot that I'd licensed them to use this song. And this is one of those things that comes to you in the mail and you don't know what they're talking about and you simply give them their permission. You're sitting in the movie theater and there's this great moment when Gwyneth Paltrow is coming out of a bus or something like that. I'm thinking to myself, I used to play the guitar just like that. And then the voice comes on and it's Nico singing These Days, which I played on.

* These Days * (song)

Q Jackson Browne - thank you!
A Thank you Jody, thanks for having me.

Q You were so much older than, you're younger than that now…
A Exactly.

Q Greg Allman did a great version of that song, didn't he?
A Yeah, and when he did it I thought that he really unlocked a power in that song that I sort of then emulated in my version. I started playing the piano. I wasn't trying to sing it like Gregg; I couldn't possibly. I took the cue, playin' this slow walk. But it was written very sort of, kind of
(strums opening to These Days ). A little more flatpicking. A lot of people have done it now, it's really a, you know, a lot of versions of it.
A And now I've learned how to play the Nico version, which we sort of made up for her.
(Imitates Nico's version of "These Days") Fabulous you know…

Q I'm going back to rent the "Royal Tannenbaums" now. I've got to catch this part where the song comes in.
Jackson Browne's been with us for the better part of an hour. And his new album is "The Naked Ride Home." And I think you accomplished what you, in some sense, set out to do, which is meld those two parts of your musical personality on this record.
A Yeah, thank you. Thank you Jody.

Q It's wonderful. And I think you'll be back here before too long, so I look forward to seeing you then.
A Thanks, thanks

Q Okay. We're taking requests, Jackson, but we can only play from this one record, "The Naked Ride Home".
A Play Never Stop, because that's got that same kind of drop thumb, finger-picking thing underneath it.

Q Track 5. Well, once again, a belated happy birthday.
A Thank you. It's been really good.

Q I think the television program airs in November, if I'm not mistaken, so...
A Yeah, it's coming up pretty soon.

Q Austin City Limits and Jackson Browne back out on the road with Tom Petty and hopefully back in our town before the end of the year. And nice to meet you.
A Thank you. It's great to meet you, Jody.

Q "The Naked Ride Home" is the album. Jackson Browne our guest, 107.1 KGSR. And by request, this is Never Stop.
(End of interview.)