Jackson Browne’s recent reimagining of “Doctor My Eyes” was an international affair, featuring an all-star cast of musicians from around the world channeling the song’s urgent passion and driving, uplifting spirit. While the video depicted Browne jamming on the song’s bouncy piano riff backed by old friends Russ Kunkel and Leland Sklar on congas and bass, respectively, it takes viewers around the world to Mumbai, Rio de Janeiro, Tokyo, Puerto Rico and Jamaica, where contributors performed from their homelands.
The song, part of a project publicizing social purpose organization Playing for Change, symbolizes Browne’s reach both musically and as a social activist. The musicians are caught up in the brightness of the sound, while its lyrical theme of jaded desperation leading to hope resonates as powerfully as it did when Browne’s debut album was released in 1972.
Fifty years later, Browne seems relevant as ever, using performance as a platform to deliver progressive messages and fearlessly forming his opinions into verse as he does on 2021 album Downhill from Everywhere. The title song is inspired by the journey of disposed plastic to a gigantic gyre in the Pacific Ocean, an ongoing environmental disaster that reads high on Browne’s radar of issues to maintain awareness of.
Awareness has been a foundation of Browne’s creative motivation and process since he wrote his first song at a world-weary 16 years old. “These Days” would later become German singer Nico’s signature song, but Browne had yet to meet his future girlfriend. He was born in Germany, though, where his Army journalist father was stationed until he brought the family to Southern California.
Browne grew up surrounded by books and music. He emulated his older brother’s piano-playing style and was inspired to write songs by his sister’s friends. They traveled to New York together, where Browne was hired as a songwriter by Elektra Records at age 18. Homesickness eventually prevailed and he relocated to L.A., where neighbors J.D. Souther and Glenn Frey were awed by his work ethic as he developed chord progressions and melodies on piano.
He was Apollo to Jim Morrison’s Dionysius, a dark-haired lyric poet who lived on the fault line between cynicism and optimism. He was more constructive than self-destructive like his close friend Warren Zevon, who passed in 2003, and cultivated songs throughout the ’70s that came to represent the decade including “Boulevard,” “The Pretender,” “Running on Empty” and “The Load Out/Stay.”
The latter was one of his most memorable compositions and features his longtime collaborator and musical mentor David Lindley contributing falsetto. The stringed-instrument maestro, responsible for much of the stinging slide guitar work in Browne’s song catalog, passed away in March and will surely receive shout-outs or tributes during Browne’s five-night Vegas stand.
Browne has been paying tribute to Zevon with covers worked into recent sets, opening shows with “Don’t Let Us Get Sick” from Zevon’s album Life’ll Kill Ya. It may be a defiant response to the severe illness Browne experienced earlier this year, but not out of character for an artist who’s never lived anything less than a healthy creative life.
The Venetian, 8 p.m. Oct. 6-7, 11 and 13-14, starting at $55 plus tax and fee. ticketmaster.com
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