Released in 1982, No Fun Aloud is the debut solo studio album by Glenn Frey. As a founding member of the Eagles, Frey had already established himself as a prominent figure in the music industry, and this album followed that legacy; albeit with a different style and a selection of songs that are, at times, considerably different from his Eagles output. Spanning various musical styles, blending rock, pop, and elements of country, No Fun Aloud showcased Frey’s ability to stand on his own as a solo artist and as far as 80s debuts go, this is one thoroughly enjoyable release.
What is a little lacklustre, however, is the album artwork. While it doesn’t qualify for inclusion in the The Worst (And Most Disturbing) Album Covers Of All Time list, it is indicative of the visually cringeworthy 80s. Seriously, take a look at the Eagles’ album artwork from the 70s, then compare them to No Fun Aloud. It’s almost comical and one can only wonder what Frey and his record label were thinking.
Thankfully, the uninspired album artwork doesn’t represent the music within. The album’s production reflects the standards of the time. Yes, some may argue that it isn’t up to the same quality as that heard via the Eagles’ works, but given the Eagles didn’t release an album in the 80s, we won’t ever truly know if their production quality would have shifted with the increased adoption of synthetic elements and emerging digital recording techniques. Hence, such comparisons are trivial. Interesting, yes, but trivial nonetheless.
While No Fun Aloud hasn’t been remastered and the edition available via Apple Music is the CD counterpart, you’ll be met with a dynamically audible presentation that has plenty of headroom thereby allowing you to turn the volume up and rock out. Modern music lovers may dislike this approach, however, as it isn’t loud and therefore can initially sound inferior by comparison, but when listening to the stream there are no digital artefacts to contend with, nor is it fatiguing. Yes, that quality can, in part, be attributed to the production of the album, but it also showcases that loudness, such as that associated with the loudness wars and modern recordings isn’t as desirable as some would make it out to be. Yes, we all love listening to music loud, but I want to control the volume and set the mood myself. Still, the result is an album that is polished, well-crafted, and perfectly complements Frey's musical styling.
I Found Somebody may not be the strongest opening track. But as a music lover who simply adores the saxophone, I get drawn in every time I listen to the album. Frey’s poetic delivery makes the song even more compelling and the infectious chorus certainly helps in that regard. However, it is Al Garth’s tenor saxophone that steals the show here and ensures that even though the song wasn’t a hit, it could have been a radio-friendly tune that could have done well had it been released in that capacity.
The One You Love is simply magnificent and I’d argue that it should have been the album’s opener. Regardless, the intermingling of Jim Horn (tenor saxophone) and Ernie Watts (saxophone) is a musical masterstroke that makes The One You Love an even stronger song than it otherwise would have been. Yes, the smooth melody and emotional depth would have remained sans the horn element, but it enhances Frey’s soulful vocals and poignant lyrics thereby making The One You Love one of the greatest ballads ever recorded.
Partytown is a fantastic rock-infused number. Granted, it is a significant sonic shift from The One You Love, but after you’ve listened to the album a few times, you no longer notice the jolt but look forward to the upbeat vibe and some killer late 50s-inspired guitar and vocal work.
I Volunteer, again, shifts the tone of the album and upon first listening you may feel it’s a distractive element, but the ebb and flow grows on you the more you listen to the album. I know, in the age of playlists, and short attention spans, we no longer focus on the album experience as we once did, but No Fun Aloud shines when you appreciate it as a single body of work, rather than a collection of tunes. That said, I Volunteer is a solid album-only song.
I've Been Born Again starts with a skit usually associated with the Hip-Hop industry and while it’s a little corny, it works rather well. Frey's vocals exude passion, via this bluesy soulful number, resulting in a compelling tune that you’ll find yourself toe-tapping and head-bopping along to. Fantastic!
Sea Cruise continues the light-hearted approach with this cover of the Huey "Piano" Smith original and while it has been covered by a who’s who of the music industry at this point, Frey performs it masterfully and in many ways it can be seen as an introduction to the Great American Songbook that he’d adopt when recording the delightful After Hours album in 2011-12.
That Girl is a beautifully dynamic tune with some of the loveliest vocals Frey has ever recorded.
All Those Lies has an Eric Clapton vibe; hence, I love it! Correlation aside, the mid-tempo groove, with some magical soft rock elements, and Frey’s smooth and introspective vocal, make this a hidden gem and a song that should have, in my opinion, been released as a single for it has hit written all over it.
She Can't Let Go is a twanging number. While some may appreciate the narrative-driven approach, and I don’t dislike it, it results in this song being an album-only tune that flows well within the album’s structure but was never destined to be a standout in Frey’s back catalogue.
Don't Give Up closes the album with a high-energy number that conveys a sense of hope. While it can be seen as a heartfelt longing for love tune, its driving rhythm and chorus vocal “Don’t Give Up” is so poignant that you’ll likely find yourself using it as inspiration for any number of life’s challenges.
No Fun Aloud is a thoroughly enjoyable debut solo album from Glenn Frey. It showcases his broader musical skill, both as a songwriter and performer, with each track offering a different sonic experience and standing as a testament to his enduring influence in the world of rock and pop music. While No Fun Aloud may not be as widely remembered as some of Frey's other works, it remains an important milestone in his solo career and a noteworthy release in the broader landscape of the 80s music scene.
