exploration of romantic possibility in the shadow of apocalypse. No contemporary male singer/songwriter has dealt so honestly and deeply with the vulnerability of romantic idealism and the pain of adjustment from youthful narcissism to adult survival as Browne has in this album. Late for the Sky is the autobiography of his young manhood.

The album's eight loosely constructed narratives rely for much of their impact upon stunning sections of aphoristic verse, whose central images, the antinomies of water and sand, reality and dreams, sky and road, inextricably connect them. Browne's melodic style, though limited, serves his ideas brilliantly. He generally avoids the plaintive harmonies of southern California rock ballads for a starker, more eloquent musical diction derived from Protestant hymns. Likewise his open-ended poetry achieves power from the nearly religious intensity that accumulates around the central motifs; its fervor is underscored by the sparest and hardest production to be found on any Browne album yet (Late for the Sky was produced by Browne with Al Schmitt), as well as by his impassioned, oracular singing style.

On side one, Browne tells bluntly about his personal conflict between fantasy and reality in erotic relationships, struggling with his quest for idyllic bliss. The title cut explores an affair at its nadir ("Looking hard into your eyes/There was nobody I'd ever known"), concluding with an image of the sky, the album's symbol for escape, salvation and death. "Fountain Of Sorrow" develops parallel themes of sex and nothingness, fantasy and realism, as Browne, looking at the photograph of a former lover, recalls: "When you see through love's illusion, there lies the danger/And your perfect lover just looks like a perfect fool/So you go running off in search of a perfect stranger." In the chorus, highly romanticized sexuality becomes a "fountain of sorrow, fountain of light." Later in the album the water images are developed into a larger metaphor for death and rebirth.

"Farther On" and "The Late Show" complete the first part of the song cycle. Locating the sources of Browne's exacerbated romanticism "in books and films and song," "a world of illusion and fantasy," "Farther On" defines Browne's quest as a "citadel" in "a vision of paradise." Its desolate conclusion finds Browne alone and older, "with my maps and my faith in the distance, moving