Excitable Recordworks 4509-1: JACKSON BROWN[sic] ‘TECHNICOLOR ROADSHOW’ / ON THE ROAD :Phoenix 44781

Browne Jackson Technicolor RS

Side 1: Take It Easy/ Jesus in 3/4 Time/ For Every Man/ Rock Me On The Water/ Jamaica Say You Will/ Song For Adam
Side 2: These Days/ Redneck Friend/ Sweet Little Sixteen/ My Opening Farewell/ Holiday Inn/ Looking For You

Released ca. 1979

[According to Jackson Browne fan sites, this was recorded at the following show. When comparing, it looks as if some of the song titles on the album are incorrect – likely since even his name is misspelled on the cover.]
1971/March/27     Jabberwocky University Syracuse

“Jackson Browne’s performance at the 200 seat Syracuse University Jabberwocky Club took place March 27, 1971, a year before he released his debut solo album but several years after his career began in the 1960s in Los Angeles and Orange County folk clubs. He also became, briefly, a part of the coffeehouse-based folk circuit in New York City in the late 1960s.

Prior to the Jabberwocky performance, Jackson Browne had written songs recorded by Nico, The Byrds, Bonnie Raitt, and The Eagles.2

Source: The source is from a first generation master, soundboard recording.

Sound Quality: The sound quality is very good to excellent, very clear and clean, in all very good
Set: Full concert recording.

Set List:

01 Introduction
02 Under The Falling Star
03 World To Gain ***
04 Together Again ***
05 Mae Jean Goes To Hollywood
06 Last Time I Was Home ***
07 Jesus In 3/4 Time
08 My Opening Farewell
09 From Silverlake
10 Rock Me On The Water
11 Jamaica Say You Will

12 Together Again ***
13 Take It Underground ***
14 When You Lose Your Money ***
15 Our Lady Of The Well
16 These Days
17 Someday Morning
18 Shadow Dream Song
19 Song For Adam
20 Looking Into You

*** Songs that Jackson Browne never recorded for any album”

Browne J OTR

Sides 1&2: A re-release of Technicolor Roadshow

Sides 3&4: A re-release of Return Of The Common Man [TAKRL 1993]


“Though the FBI’s autumn 1976 operation had done little to abate the flow, it did necessitate one rethink. One problem with bootlegs was that they looked like, well bootlegs. This made it easy for even ill-informed FBI agents to recognize a bootleg at ten paces. While the legal temperature was no more than lukewarm, bootleggers resisted the sort of professional packaging that could double their production costs. From 1976 on, though, it became increasingly important for a bootleg to be stuffed in record racks alongside official goodies and be passed off as low budget legitimate releases. Printed covers started to become the norm; xeroxed inserts began to be reserved for small circulated runs.

Ken seemed willing to go with the flow. Dispensing with his two post-TAKRL labels, Flat and ZAP, he switched to black and white printed covers at the end of 1977, assuming yet [more identities with labels such as Impossible Recordworks, its occasional sister label Excitable Recordworks and the full color cover Phoenix releases.].” [Bootleg!, Heylin, pp. 132-3]

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