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Jackson Browne

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Clyde Jackson Browne is an American singer-songwriter and musician. Browne has written and recorded several notable songs throughout his career including "These Days", "The Pretender", "Running On Empty", "Lawyers in Love", "Doctor My Eyes", "Take It Easy", "For a Rocker" and "Somebody's Baby". In 2004, he was both inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio, and bestowed an Honorary Doctorate of Music by Occidental College in Los Angeles, California.

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Jackson Browne

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May 22, 1970 Caltech Baxter Hall, Pasadena, CA (Benefit for the Foothill Free Clinic with Kate Wallace, Symbia and Ancient Clay)

August ?, 1970 Syracuse University Jabberwocky Club, Syracuse, NY

December 12-13, 1970 Dorothy Chandler Music Pavilion, Los Angeles, CA (supporting Laura Nyro)

December 18, 1970 San Diego Community Concourse, San Diego, CA (supporting Laura Nyro)

December 19, 1970 Berkeley Community Theater, Berkeley, CA (supporting Laura Nyro)

December 22-24, 1970 Fillmore East, New York City, NY (supporting Laura Nyro)

February 6, 1971 Royal Festival Hall, London, ENG (supporting Laura Nyro)

May 9, 1972 Jahrhunderthalle, Frankfurt, GER (supporting Joni Mitchell)

August 21, 1972 Southern Illinois University, Edwardsville, IL (Mississippi River Festival, supporting Yes. Rescheduled from July 26th)

August 25, 1972 Club Passim, Cambridge, MA (supported by David Blue)

August 30-September 4, 1972 Bitter End, New York City, NY

February 3-4, 1974 Tyrone Guthrie Theatre, Minneapolis, MN February 8, 1974 Ambassador Theatre, St. Louis, MO (supported by Linda Ronstadt) February 9, 1974 Memorial Hall, Kansas City, KS (supported by Linda Ronstadt) February 10, 1974 University of Missouri Trowbridge Livestock Pavilion, Columbia, MO February 13, 1974 Michigan Palace, Detroit, MI (supported by Linda Ronstadt)

October 22, 1974 Felt Forum, New York City, NY

November 21, 1976 CSU Chico Acker Gym, Chico, CA (Supported by Orleans & Valerie Carter)

November 24, 1976 Convention Center, Anaheim, CA (Supported by Orleans & Valerie Carter)

November 26, 1976 Shrine Auditorium, Los Angeles, CA (Supported by Orleans & Valerie Carter)

June 9, 1978 Spartan Stadium, San Jose, CA

June 10-11, 1978 Calaveras County Fairgrounds, Angels Camp, CA

July 14-16, 1980 Merriweather Post Pavilion, Columbia, MD

July 25-26, 1983 Merriweather Post Pavilion, Columbia, MD

July 30, 1983 Saratoga Performing Arts Centre, Saratoga Springs, NY

July 20, 1986 Harriet Island Regional Park, St. Paul, MN (Riverfest, supported by Al Stewart & The Criminals)

April 29, 1988 Music Machine, Los Angeles, CA (Benefit for Jessie Jackson, with Concrete Blonde, Phil Alvin, X, Tex & The Horseheads & Eliza Gilkyson)

November 16-17, 1990 Shrine Auditorium, Los Angeles, CA (Christic benefit Institute, with Bonnie Raitt & Bruce Springsteen)

March 5, 1995 The Palace, Hollywood, CA (A Show of Friends)

April 12, 2009 Royal Albert Hall, London, ENG

December 20, 2012 Troubadour, West Hollywood, CA (1st annual Merry Minstrel Musical Circus)

December 19, 2013 Troubadour, West Hollywood, CA (2nd annual Merry Minstrel Musical Circus)

December 20, 2013 Troubadour, West Hollywood, CA (2nd annual Merry Minstrel Musical Circus)

Jackson Browne Concerts 1960s

Jackson Browne Concerts 1970s

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Celebrating 50 Years of Concerts at the WVU Coliseum October 21, 1983

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Complete List Of Jackson Browne Albums And Discography

Feature Photo: Sterling Munksgard / Shutterstock.com

This Complete List Of Jackson Browne Albums And Songs presents the full discography of Jackson Browne studio albums. Jackson Browne was born on October 9, 1948.  Jackson Browne hails from the area of Los Angeles, California. He is one of the most loved singer songwriters of all time to come from the West Coast of the United States. This complete Jackson Browne discography also includes every single live album. All these spectacular Jackson Browne albums have been presented below in chronological order. We have also included all original release dates with each Jackson Browne album as well as all original album covers. Every Jackson Browne album listed below showcases the entire Jackson Browne album tracklisting.

JACKSON BROWNE STUDIO ALBUMS

Jackson browne (1972).

Released : January 1972

CD Track Listings:

• “Jamaica Say You Will” – 3:23
• “A Child in These Hills” – 3:57
• “Song for Adam” – 5:22
• “Doctor My Eyes” – 3:11
• “From Silver Lake” – 3:49
• “Something Fine” – 3:47
• “Under the Falling Sky” – 4:09
• “Looking Into You” – 4:19
• “Rock Me on the Water” – 4:13
• “My Opening Farewell” – 4:44

For Everyman (1973)

Released : October 1973

• “Take It Easy” – 3:39
• “Our Lady of the Well” – 3:51
• “Colors of the Sun” – 4:26
• “I Thought I Was a Child” – 3:43
• “These Days” – 4:41
• “Red Neck Friend” – 3:56
• “The Times You’ve Come” – 3:39
• “Ready or Not” – 3:33
• “Sing My Songs to Me” – 3:25
• “For Everyman” – 6:20

Late for the Sky (1974)

Released : September 13, 1974

• “Late for the Sky” – 5:36
• “Fountain of Sorrow” – 6:42
• “Farther On” – 5:17
• “The Late Show” – 5:09
• “The Road and the Sky” – 3:04
• “For a Dancer” – 4:42
• “Walking Slow” – 3:52
• “Before the Deluge” – 6:18

The Pretender (1976)

Released : November 1976

• “The Fuse” – 5:50
• “Your Bright Baby Blues” – 6:01
• “Linda Paloma” – 4:06
• “Here Come Those Tears Again” – 3:37
• “The Only Child” – 3:43
• “Daddy’s Tune” – 3:35
• “Sleep’s Dark and Silent Gate” – 2:37
• “The Pretender” – 5:53

Running on Empty (1977)

Released : December 6, 1977

• “Running on Empty” – 5:20
• “The Road” – 4:50
• “Rosie” – 3:37
• “You Love the Thunder” – 3:52
• “Cocaine” – 4:55
• “Shaky Town” – 3:36
• “Love Needs a Heart” – 3:28
• “Nothing but Time” – 3:05
• “The Load-Out” – 5:38
• “Stay” – 3:28

Hold Out (1980)

Released : June 24, 1980

• “Disco Apocalypse” – 5:08
• “Hold Out” – 5:37
• “That Girl Could Sing” – 4:34
• “Boulevard” – 3:15
• “Of Missing Persons” – 6:31
• “Call It a Loan” – 4:35
• “Hold On Hold Out” – 8:08

Lawyers in Love (1983)

Released : August 2, 1983

• “Lawyers in Love” – 4:19
• “On the Day” – 3:56
• “Cut It Away” – 4:45
• “Downtown” – 4:06
• “Tender Is the Night” – 4:50
• “Knock on Any Door” – 3:35
• “Say It Isn’t True” – 5:20
• “For a Rocker” – 4:06

Lives in the Balance (1986)

Released : February 18, 1986

• “For America” – 5:09
• “Soldier of Plenty” – 4:35
• “In the Shape of a Heart” – 5:41
• “Candy” – 4:12
• “Lawless Avenues” – 5:40
• “Lives in the Balance” – 4:13
• “Till I Go Down” – 4:18
• “Black and White” – 5:13

World in Motion (1989)

Released : June 6, 1989

• “World in Motion” – 4:26
• “Enough of the Night” – 4:55
• “Chasing You Into the Light” – 4:17
• “How Long” – 6:14
• “Anything Can Happen” – 5:07
• “When the Stone Begins to Turn” – 4:53
• “The Word Justice” – 4:22
• “My Personal Revenge” – 4:07
• “I Am a Patriot” – 4:06

I’m Alive (1993)

Released : October 26, 1993

• “I’m Alive” – 5:01
• “My Problem Is You” – 4:40
• “Everywhere I Go” – 4:36
• “I’ll Do Anything” – 4:31
• “Miles Away” – 3:52
• “Too Many Angels” – 6:04
• “Take This Rain” – 4:49
• “Two of Me, Two of You” – 2:56
• “Sky Blue and Black” – 6:06
• “All Good Things” – 4:28

Looking East (1996)

Released : February 13, 1996

• “Looking East” – 4:56
• “The Barricades of Heaven” – 5:41
• “Some Bridges” – 4:51
• “Information Wars” – 5:14
• “I’m the Cat” – 4:00
• “Culver Moon” – 5:45
• “Baby How Long” – 6:02
• “Nino” – 4:05
• “Alive in the World” – 4:55
• “It Is One” – 4:57

The Naked Ride Home (2002)

Released : September 24, 2002

• “The Naked Ride Home” – 5:58
• “The Night Inside Me” – 4:33
• “Casino Nation” – 5:00
• “For Taking the Trouble” – 4:35
• “Never Stop” – 5:38
• “Walking Town” – 6:17
• “About My Imagination” – 5:57
• “Sergio Leone” – 6:12
• “Don’t You Want to Be There” – 5:38
• “My Stunning Mystery Companion” – 4:41

Time the Conqueror (2008)

Released : September 23, 2008

• “Time the Conqueror” – 5:40
• “Off of Wonderland” – 4:16
• “The Drums of War” – 4:12
• “The Arms of Night” – 4:29
• “Where Were You” – 9:45
• “Going Down to Cuba” – 5:16
• “Giving That Heaven Away” – 5:29
• “Live Nude Cabaret” – 3:28
• “Just Say Yeah” – 4:45
• “Far from the Arms of Hunger” – 5:52

Standing in the Breach (2014)

Released : October 7, 2014

• “The Birds of St. Marks” – 4:23
• “Yeah Yeah” – 6:15
• “The Long Way Around” – 6:26
• “Leaving Winslow” – 3:53
• “If I Could Be Anywhere” – 7:08
• “You Know the Night” – 5:32
• “Walls and Doors” – 6:01
• “Which Side?” – 6:37
• “Standing in the Breach” – 5:37
• “Here” – 4:26

Downhill from Everywhere (2021)

Released : July 23, 2021

• “Still Looking for Something” – 3:09
• “My Cleveland Heart” – 3:18
• “Minutes to Downtown” – 3:21
• “A Little Soon to Say” – 5:16
• “Downhill from Everywhere” – 5:47
• “The Dreamer” – 5:39
• “Until Justice Is Real” – 5:17
• “A Human Touch” – 4:20
• “Love Is Love” – 4:15
• “A Song for Barcelona” – 6:06

Complete List Of Jackson Browne Albums And Discography article published on Classic RockHistory.com© 2024

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About the author.

Brian Kachejian

Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

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Springsteen archives & center for american music announces 2024 honorees.

February 20, 2024

The Bruce Springsteen Archives & Center for American Music has announced the honorees of its second annual American Music Honors event, to be held Wednesday, April 24 on the campus of Monmouth University in West Long Branch, N.J.

The 2024 honorees are: John Mellencamp, who together with Willie Nelson and Neil Young, created Farm Aid in 1985. The social activism reflected in Mellencamp’s songs helped catalyze Farm Aid, the organization that has addressed the struggle of American family farmers that continues to this day; Jackson Browne, a long-time social justice, environmental and educational activist who has supported everything from anti-nuclear alternative energy resources to political freedom in Central America; Mavis Staples, who in the 1960’s was on the frontlines of the civil rights movement and continues to use her music to support racial equality in America; Dion DiMucci, who’s landmark recording of “Abraham, Martin and John” became an activist anthem in the late 1960’s and beyond.

“The Bruce Springsteen Archives & Center for American Music is proud to honor these musically, culturally, and politically important artists,” said Robert Santelli, Founding Executive Director of the Springsteen Archives. “All four artists—John Mellencamp, Jackson Browne, Mavis Staples, and Dion—have contributed mightily to the American music canon and have demonstrated how the power of song can act as an agent for positive change in our country.”

American Music Honors will take place in Monmouth University’s Pollak Theatre. Stevie Van Zandt’s Disciples of Soul will serve as the event’s house band. Award presenters include Bruce Springsteen and Jon Landau and 2023 American Music Honors recipients Van Zandt and Darlene Love.

Tickets for the event will go on sale to the public on Tuesday, March 23. Ticket information is available on the Archives’ website springsteenarchives.org .

Keep The Party Going: A Tribute To Jimmy Buffett

March 11, 2024

Jackson Browne will be performing at Keep The Party Going: A Tribute To Jimmy Buffett! One night only at the Hollywood Bowl on April 11. Tickets go on sale Friday, March … Continue Reading

Jackson Browne & More Sign Open Letter Warning of Nuclear Threat

March 7, 2024

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At 70, Cyndi Lauper Has Nothing Left to Prove

She’s plotting a farewell tour. She’s starring in a documentary about her life. And she could only ever be herself.

At 70, Cyndi Lauper is charging back to action with a road show and “Let the Canary Sing,” a film that tells her life story. Credit... Thea Traff for The New York Times

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By Amanda Hess

• June 4, 2024 Updated 3:54 p.m. ET

One Friday afternoon in May, Cyndi Lauper stepped out of her Upper West Side apartment building and into the streets of New York City. She wore glitter-encrusted glasses, sneakers with rainbow soles and a stack of beaded bracelets on each arm. A rice-paper parasol swung in her hand. As she walked, she examined the crowds and remarked when glints of interest caught her eye.

“Of course, up here it’s fashion hell,” she allowed of her tony neighborhood. And yet, every few blocks she rubbernecked at another woman’s look, her famous New Yawk accent lifting and tumbling in pleasure at what she saw:

“Look at these dames, how cute are they?”

“Did you love those pants? I kind of loved those pants.”

“Look at this lady,” she said, stepping off the curb and clocking a passerby. The woman moved nimbly, tomato-red streak in her silver hair, body draped in shades of fuchsia and cherry as she pushed the gleaming metal frame of a walker. “Fabulous,” Lauper exclaimed. “Come on!”

At 70, the pop icon and social justice activist isn’t just charging back into the streets. On Monday, Lauper announced her final tour, the Girls Just Wanna Have Fun Farewell Tour, which will have her headlining arenas across North America from late October to early December. And “Let the Canary Sing,” a documentary about her life and career that premiered at the Tribeca Festival last year, is streaming on Paramount+.

Lauper has not staged a major tour — “a proper tour, that’s mine” — in over a decade. But now her window of opportunity is closing, so she’s leaping through it. “I don’t think I can perform the way I want to in a couple of years,” she said. “I want to be strong.”

And until recently, when she finally agreed to sit for the director Alison Ellwood, she could not envision committing her life story to film. “I wasn’t going to do a documentary because I’m not dead,” she said. More to the point, she did not feel particularly misunderstood. From the moment she danced across the city in the 1983 video for “Girls Just Want to Have Fun,” she felt that she had articulated precisely what she wanted to say.

“Everything I wanted them to understand was in that video,” she said of her fans. She has a lot of people who get her: The clip has been viewed on YouTube more than one billion times. Forty years later, she holds it up as a thesis, the key to decoding her artistic perspective and understanding everything that followed. After all, “You never have to wonder where a New Yorker stands,” she said. “They’ll tell you, straight up.”

CYNDI LAUPER, BORN in Brooklyn, raised in Queens, bopped around the house to the Beatles’ songs, her older sister, Elen, singing McCartney’s parts and Lauper taking Lennon’s. It was her earliest lesson in harmony and song structure. But when she left home at 17, it was with a copy of Yoko Ono’s feminist conceptual art book “Grapefruit” in her hands.

Ono taught her that “you can create art in your head, and then you can view things differently,” Lauper told me. This attitude served her well as she tried (and often failed) to work as a painter, a shoe saleswoman, a racetrack hot walker, an IHOP waitress, a gal Friday at Simon & Schuster and the singer in a cover band.

Singing other people’s music in Long Island clubs and dive bars, Lauper struggled to find her place. She tried to channel Janis Joplin, but “I was stuck inside her body, and she didn’t like it, and I didn’t like it,” she said. She tried to sound like Gene Pitney, and “it came out sounding like Ethel Merman.” After a while, “You start to feel that you’re just not good enough.”

But really, she was just no good at being anyone other than Cyndi Lauper. When she started writing and arranging songs for herself, “I told the stories that I knew about the women that I knew,” she said. “About my mom, my aunt, my grandmother.” They guided her back to the rhythms of her own life, even if, in the beginning, few were interested in listening. “My first concert was to 14 people,” she said, “and I did the encore, OK?”

The documentary’s title is a line ripped from a real-life courtroom drama: Early on, Lauper’s career got entangled in the ambitions of an ex-manager, who sued her to retain control of her music. She sank into bankruptcy trying to escape him. When the judge sided with Lauper, he banged the gavel and said: “Let the canary sing.”

Once freed, Lauper connected with Robert Hazard, who had written a track called “Girls Just Want to Have Fun.” He’d arranged it as a rock song from a man’s perspective — the girls were the ones he imagined sleeping with — and Lauper had some edits. She recast it as a gleeful public announcement, calling out a sexist double standard (“Oh mama dear, we’re not the fortunate ones”) while claiming liberation from the workplace, the home and the patriarchy. And she rearranged the notes, pitching her voice so high that it could not be ignored. “I sang that high because I was trumpeting an idea,” she said.

And then there was the video. “That video was what you call ‘inclusive’ nowadays, and that was the most important thing,” Lauper said. In addition to the Italian American pro wrestler Lou Albano, Lauper featured her mother, her lawyer, her manager, a crop of record-company secretaries, and a racially diverse group of singers and dancers. “I was sick of the segregation” of the music industry, she said. “It’s people together that create a style.”

MTV was still in its infancy in 1983, and it was fortuitous that Lauper’s debut album, “She’s So Unusual,” came out just as the network was ascending. She saw her public image as a visual art form. Her makeup artist was a painter, and her stylist was a vintage buyer.

“People sometimes get the wrong idea that it was very thrown together,” Laura Wills, the founder of the vintage shop Screaming Mimi’s, said of the singer’s style. “People just didn’t look like that.” In the early ’80s, Lauper worked for Wills, often bartering her labor for clothes. When her career took off, Wills started styling her, and the pair often constructed Lauper’s outfits as if sliding chips across a poker table, as in, “I’ll see your polka-dot socks and striped capris, and I’ll raise you a plaid top,” Wills said. “I’ll see your polka-dot socks, striped capris and plaid top, and I’ll raise you a paisley hat.”

Lauper seemed to shoot to fame as a fully formed feminist icon. She refused to tell interviewers her age (“I’m not a car,” she said), and she insisted that they recognize the politics behind her aesthetic choices. “I wore the corset to undo the power of the binding of women,” she told the press. She graced the cover of Ms. Magazine and recorded the 1986 song “True Colors,” which resonated with her in the wake of a friend’s death from AIDS.

“I know that I probably lost business because I talked about AIDS a lot,” she said, but figured “I ought to stand up like any good Italian and stick up for my family, you know?” In 2008, she founded True Colors United to help combat homelessness among L.G.B.T.Q. youth. And in 2022, she created the Girls Just Want to Have Fundamental Rights fund to support abortion access and other reproductive justice movements.

In 1985, Lauper won the best new artist Grammy after the release of “She’s So Unusual.” The album — and songs like “Time After Time” and “All Through the Night” — broke records. But something odd was happening. She looked around and saw versions of herself everywhere. “When I first became famous, I felt like the whole world just kind of went” — here Lauper made a sharp slurping noise — “and sucked everything up. The jewelry, the color, the corsets on the outside, the whole thing. And then used it. Spit it out. Next!”

Lauper was accused of being a manufactured package. “No, it was me. That’s how I dressed. That’s how I looked. That was my community,” she said. “I have a brain.”

When Lauper got a call that a movie studio was adapting her big hit into a movie, she balked at its fluffy premise. “I guess it was about a couple of girls … trying to have fun,” she said. (Sarah Jessica Parker and Helen Hunt starred.) Lauper refused permission to use her song, so it featured Hazard’s version with other vocalists instead. “For me, it sucked,” she said. “You took my style. And it had nothing to do with me at all.”

In the ’80s, Lauper was compared so closely to other female musicians that it was implied there was not space for all of them. She was pitted against other women — mainly Madonna, who released her debut album the same year. On chat shows and in schoolyards (and even on the charity single “We Are the World” ), celebrities and fans were asked to choose one. “It was like apples and oranges,” Lauper told me. Or as she put it in Newsweek in 1985: “She’s just doing her thing. My thing happens to be different.” It was a shame, Lauper said: “I would have liked to have a friend.”

Though she fought her battles mainly alone, Lauper has inspired generations of women. Among her acolytes are Nicki Minaj, who in April brought her onstage in Brooklyn to duet on the song that samples her, “Pink Friday Girls.” When an interviewer asked the 26-year-old singer-songwriter Chappell Roan, “How does it feel to be called the Gen-Z Cyndi Lauper?” she replied, “I think Cyndi Lauper is the Gen-Z Cyndi Lauper.”

Lauper made 11 more albums after her debut — among them a blues record, a country record and a dance record. In the early 2000s, she walked over to Broadway, starring in “The Threepenny Opera” and writing the music and lyrics to the musical “Kinky Boots” after Harvey Fierstein, who wrote the book, tapped her for the gig. “There’s a small group of people I consider my children; she’s one of my daughters,” the actor and writer, who turns 72 this week, said. Fierstein told me that he had suspected Lauper’s talents were underused in rock, and he wanted to see what it was like for her to write a song that she would never sing herself.

“My favorite was a recording she made on her phone, in the beauty parlor, with her head in the dryer,” he said. (Lauper was often multitasking.) Her autoharp competed with the salon noise. “It’s really hard to sell a $10 million production on a recording of an autoharp song with a dryer background,” he said. “But that’s what we did.” Lauper won the Tony for best score, the first woman to win alone.

In an industry that requires the rapacious pursuit of the new and the cynical extraction of identity, Lauper was never willing to abandon herself. She had forged the revolutionary style, sang the totemic song. She inspired millions, billions, of fans to be themselves. Why should she have to change who she was?

AS LAUPER AND I traversed the Upper West Side, we ducked into an exhibition about the abstract artist Sonia Delaunay, passed the original Screaming Mimi’s location (now a dry cleaners), and wound back to her apartment, where she invited me up.

Past the doorman, past a cheetah-print doormat and a cheetah-print curtain, two little pugs named Lulu and Ping awaited Lauper’s return. She disappeared to arrange a plate of ginger cookies, the same kind Jackson Browne always sent her on Christmas, while her husband, the actor David Thornton, told me about their meet-cute on the set of the 1991 film “Off and Running.” She played a fake mermaid, he played a murderer. Off the set, he was struck instantly by her winning sense of humor.

“She’s the Rodney Dangerfield of rock ’n’ roll,” he said. As in, she is so funny that she does not always receive the respect she deserves. “I don’t think anybody has any idea how hard she works,” he said.

To prepare for the tour, she blasts the stereo in her apartment and dances and sings, vexing the pugs. She works with a vocal coach four days a week. And she trains like it’s a sport. Her weekly exercise routine includes physical therapy, weights, stretching, physical therapy, weights, yoga, more weights, yoga, aerobics, physical therapy, weights again. She’s been chomping on enormous salads that make her feel like a horse.

“But when you’re a singer, you have to be an athlete,” she said. “You can’t [expletive] around. When you’re 20, yeah. But when you get older? No.”

As the tour approaches, she’s been daydreaming about “all the crazy stuff I tried that didn’t work” in the long arc of her career. The butterfly-winged black dress that she was meant to reveal as she stepped out of a cocoon. The bit where she was supposed to change behind a backlit screen like an old cartoon character. A kind of mechanical skirt that resembled a globe, slowly spinning her around as she sang.

She’s not exactly sure what she’ll pull off this time. Whatever changes, one thing remains the same: “Who the hell I am is who the hell I am.”

Amanda Hess is a critic at large for the Culture section of The Times, covering the intersection of internet and pop culture. More about Amanda Hess

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• (Pretty Much) Somewhat Acoustic Tour 2017  ( 34 )
• 2016 U.S. Full Band Tour  ( 34 )
• 2018 World Tour  ( 46 )
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• A Conspiracy of Hope  ( 4 )
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• James Taylor and his All-Star Band with Special Guest Jackson Browne Canada Tour 2022  ( 11 )
• Japan Tour 2017  ( 6 )
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• Vote For Change Tour  ( 7 )
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