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Eagles – The Long Run (Album Review)

Eagles – The Long Run (Album Review)

For decades, The Long Run was considered the final chapter in the Eagles’ story, and in a way it is, for as exceptional as the four new songs from Hell Freezes Over are, and Long Road Out Of Eden is, The Long Run is the culmination of the classic Eagle’s body of work. While it could never compete with the success of Hotel California, it offers a more cohesive overview of their career with rock influences ranging from their self-titled debut to Hotel California’s laid-back fluidity. The Long Run, subsequently, is one of the greatest Eagle’s albums and one of the best records released in 1979.

Released in 1979, The Long Run featured Timothy B. Schmit for the first time in the Eagles’ lineup as he replaced Randy Meisner. Meisner, as a founding member of the Eagles, was synonymous with their sound but Schmit filled the role perfectly and along with the addition of Joe Walsh in 1976 is amongst my favourite lineup changes in all of recorded music history. Schmit's subtle tones brought a new level of musicality to the band and I Can’t Tell You Why is about as close to perfect as any song can get. 

Perfection was something the Eagles were known for, particularly with regards to their production values and while there isn’t a bad way to experience this album, some versions appeal to me more than others. The vinyl record (2014 reissue/cat: RRM1-508) I’m fortunate to own is spacious, detailed, smooth, and silent with a level of bass depth that isn’t overbearing but similarly feels like it isn’t quite there. It’s a small issue, and one that generally doesn’t bother me, but it sounds a little too accurate. A first-world problem, I know, but when I invest in vinyl, both from a cost and time perspective, I want to be wowed and while I thoroughly enjoy this pressing, I often wonder if another edition would better suit my expectations of a warmer reproduction. 

The (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, is fantastic and while it lacks the vinyl sound signature, it’s edgier and fuller with the same benefits heard on the vinyl release; but there’s a little less spaciousness that is particularly noticeable on songs such as The Disco Strangler with regard to the echoing vocal. The bass issue I have with the vinyl release isn’t present here as the bass is less pronounced but smoother and more analog sounding; a dichotomy considering it is most certainly a digital medium. Regardless, if I had to choose one, as much as it pains me to say it, I’d go with the Apple Music stream every time as it simply sounds right. My body moves involuntarily, I want to sing along, and the air guitar makes an appearance throughout; all aspects that are missing when I play the vinyl counterpart. 

The Long Run isn’t the greatest opener, although you immediately know what you’re going to get. Is it Don Henley’s greatest vocal performance? No, but the guitar tuning and licks are what make The Long Run such an enjoyable tune.

I Can’t Tell You Why is nothing short of a masterpiece and is, without doubt, one of the best songs the Eagles ever recorded. Schmit’s vocal is otherworldly but the entire composition of the tune is so perfect that I could listen to it on repeat indefinitely; it’s most certainly a song for inclusion on any desert island playlist. 

The live performance from Hell Freezes Over is, as I’ve suggested before, incredibly smooth with zero distortion, notable as it’s a live recording, thereby resulting in a perfect song that will see you toe-tapping to the infectious rhythm. The performance featured on Eagles Live is a lovely early interpretation from 1980 that is very similar to the studio recording but  the recording from Live From The Forum MMXVIII is different. Like, really, different! It just isn’t the same and while I acknowledge that Schmit has aged and likely cannot hit the near-falsetto vocal like he could in his prime, I find it detracting to the extent that I don’t appreciate this particular performance. 

While there have been a few covers of this classic tune, one of the best that you should check out is Diana Krall’s from Wallflower. It doesn’t match the original, but it jazzes it up. That said, I would have loved to have seen Krall invite Schmit to record the backing vocals with her, or even perform the song as a duet, for I feel it would have been amazing. 

In The City isn’t an Eagles’ original for Joe Walsh initially recorded it for The Warriors soundtrack. That particular version is a little edgier, from a rock perspective, than the Eagles’ interpretation but both are rather similar and I appreciate the Eagles’ version just a little more as it’s more melodic in both vocal harmony and overall musicality. 

The live performance from Hell Freezes Over takes the song one step further and while I would suggest that Walsh’s vocal is too forward in the mix this is arguably the best recording of In The City as it has the rocking rawness Walsh is best known for. Similar to I Can’t Tell You Why, I’d give the Live From The Forum MMXVIII recording a miss. It isn’t great. A shame considering that In The City is a killer tune and one of my all-time favourite Joe Walsh songs. 

The Disco Strangler is a solid tune but the guitar tuning can be a little grinding. Henley’s offbeat vocal works for the song but there’s no doubt in my mind that it isn’t well-suited to the album. That said, if it were on On The Border it would have been perfect. The core redeeming quality, however, is the echoing vocal at the end of the song. I love the mixing choice in that regard. 

King Of Hollywood is pure bliss and the perfect counterbalance to The Disco Strangler. While the guitar work isn’t quite Dire Straits’ level, it’s gorgeous and is one of The Eagles’ greatest tunes. 

Heartache Tonight has a great rhythm but it’s a little too muddy and concealed, especially in the introduction and chorus. Given that the album has always sounded that way I can only assume that it was an intentional creative choice and while it doesn’t destroy the song for me, it does cause minor irritation to an otherwise great song. 

Those Shoes is a killer tune and who doesn’t love the talk-box; a severely underused tool in modern music. It just gives a unique sound that, yes, we all make when we’ve got our air guitar out and we’re playing along. 

Teenage Jail is a solid album track, but it’s unlikely you’ll ever seek it out on its own. That isn’t to suggest that the song’s bad, far from it, but it simply flows better as an album track than as a standalone song. 

The Greeks Don’t Want No Freaks is a quirky song to follow Teenage Jail. It shouldn’t work, yet it does. Sometimes a fun little tune is all that’s needed and The Greeks Don’t Want No Freaks suits that purpose. 

The Sad Cafe is a beautiful closing song. Another classic Eagles’ tune that will encourage you to listen to the album again and stay within the Eagles’ greater catalogue. Due to the slower tempo, it’s also the perfect song to cease listening to the Eagles on as it permits a level of reflection, especially if you’re, as I am, into late-night listening sessions. 

Overall, The Long Run is a superb album and a perfect closing chapter to the Eagles’ 70s output. While it may be less fluid than Hotel California, it does, as previously mentioned, encompass elements from all their previous albums thereby making this a must-own for any fan.

Eagles – Hotel California (Album Review On Vinyl, HFPA Blu-ray, CD, & Apple Music)

Eagles – Hotel California (Album Review On Vinyl, HFPA Blu-ray, CD, & Apple Music)

Hotel California is a timeless classic, but does it build upon the masterpiece that is One Of These Nights or is it merely the success of the title track that has given such reverence to this 1976 release?

While the answer to this question will be highly subjective, I’ll give you my opinion based on listening to the album more times than I can recall. Before we discuss the songs that form Hotel California, however, let’s take a quick look at the versions that I’m fortunate to own for each of them is unique in what they offer to fans. 

2014 Vinyl Reissue: 

While I consider myself fortunate to own this edition, it is good, not great. Mastered by Bernie Grundman from 192/24 bit files, one would assume that the album should sound magnificent yet when comparing to the 40th Anniversary releases, as we will shortly, this 2014 vinyl reissue falls short as it is too bass-focused thereby causing a muddiness to the music. Yes, it takes comparing editions to hear this muddiness, but when listening to the 2014 vinyl reissue, and attempting to clear your mind of other influences, it is likely that you’ll note something is off. Again, the reproduction is good but if you’re after the very best pressing of this recording, this edition is unlikely to impress with its darker sonic signature that conceals elemental aspects of the music.

The packaging, however, is impressive. You’ll be presented with a gatefold design that harks back to the original release. Liner notes are detailed but missing lyrics for all songs other than Hotel California; an aspect that remains true to the original releases. The original band fold-out poster is also included, meaning that besides the barcode and up-to-date release information, this edition is about as pure as you’re going to get unless you track down, or are fortunate to own, an original pressing. 

40th Anniversary Deluxe Edition:

When one thinks of a box set release, especially the size and complexity of the 40th Anniversary Deluxe Edition set, it wouldn’t be erroneous to assume that a vinyl record should have been included. It is an omission that befuddles the music-lover within for a Deluxe Edition of anything should be an all-inclusive release. Yes, I acknowledge there are Super Deluxe Editions and that they need to leave something for a 50th Anniversary release, but as a music collector it bothers me that we are required to purchase multiple copies of the albums we know and love in order to get everything. It is a collectors nightmare and the record labels know only too well what they’re doing. 

As a result, when the 40th Anniversary came about, a standard CD, Expanded double CD edition, and this Deluxe Edition were released. Yet, to my knowledge, no vinyl reissue was released meaning that the mastering on the vinyl release is subsequently different to that on the digital reissues. I’ve no doubt for many people this will not be an issue, but if you love music as I do, you may find yourself wondering which version would be the best to own. While tastes are highly subjective, I can say without hesitation that if I were to purchase only one release, it would be the standard remastered 40th Anniversary CD. 

Given the 40th Anniversary Deluxe Edition set includes a High Fidelity Pure Audio (HFPA) Blu-ray Disc that contains the 192 kHz/24-Bit stereo mix of Hotel California, one may assume that I would prefer this edition more as the CD is a standard 44.1 kHz/16-bit by comparison and bigger is always better; right? 

Well, it is more complicated than that for the included HFPA Blu-ray Disc is essentially a reissue of the 2001 DVD-Audio release. That isn’t to suggest it is bad, for the surround sound mix is extraordinary. What I am saying, however, is that this edition is a different master to the 40th Anniversary CD. Subsequently, it is the mastering, rather than the format, that I am drawn to. 

In a similar manner, the Apple Music edition, an Apple Digital Master, is also derived from the latest remastering sessions and sounds astonishingly good. Not quite as impressive as the CD, for the CD has a more open and natural presentation, but unless you’re comparing them, as I have, you likely wouldn’t be disappointed in the streaming counterpart.  

Returning our attention to the remastered CD, the advantage it offers over the HFPA Blu-ray stereo mix is that it smooths the edges of the recording slightly. Don’t get me wrong, it isn’t a night and day difference, for if it were, we’d be talking about completely different albums. What I would say, however, is that if you dislike digital glare, then the CD offers a more laid-back presentation. 

One would rightfully question playback equipment, but this too is uniform as both the HFPA Blu-ray stereo mix and remastered CD were played through my Oppo BDP-103 utilising its Cirrus Logic CS4382A DAC. Even the Apple Music stream was played back via this approach as the Oppo Blu-ray players permit adding an Apple TV, via HDMI, thereby utilising the analogue circuitry of the unit. This uniformity certainly assists when comparing different masterings and formats thereby allowing any differences to be more noticeable than if the audio was decoded via various DAC implementations. 

Stereo editions of Hotel California aside, the 40th Anniversary Deluxe Edition set, of course, offers a DTS 5.1 surround sound mix of this classic album. Yes, it is the very same Elliot Scheiner mix from the DVD-Audio, but given that edition has been out of print for years and considerably expensive on the secondhand market, it is wonderful to see that it is once again available for those of us who are interested in the surround mixes. 

The greatest compliment I can give the surround sound mix is that if you’ve got a DTS capable system, stop reading this review and go and track down a copy for it offers a feeling that can only truly be appreciated firsthand. 

Yes, it changes many aspects of Hotel California, that you know and love, especially if you’ve only heard the stereo mix, but you’ll feel it in your bones and in your soul like never before. 

As is the case with all DTS soundtracks, there is a bass-focused aspect that one must consider. It is different to the bass aspects found on the 2014 vinyl reissue, for they muddy the sound. The 96 kHz/24-Bit DTS 5.1 surround sound mix is detailed and enveloping, meaning that while the bass is prominent, it isn’t overpowering but helps to better form a soundstage that will envelop you with sound. Of course, your experience may vary depending on how your surround sound system is configured. 

While I’ve never been fortunate enough to hear the 2001 DVD-Audio release or the respected DCC release from the 90s, I’d argue that there really isn’t a bad version of Hotel California to be found and that each version is a true representation of the original recording with slight variances that may, or may not, appeal to you.

As you can likely gather, choosing the best version is not necessarily an easy task for all editions have their own pros and cons. So, how do you choose? 

It isn’t easy and the inclusion of the surround sound mix certainly complicates things. However, as I alluded to earlier, when I think about playing Hotel California, I gravitate towards the CD that is included in the 40th Anniversary box set as it provides a sound signature that falls conveniently between the other versions I’m fortunate to own. It simply gets everything right and there are no glaring aspects of concern. It is smooth, with just the right amount of bass and treble. Plus, and I can’t stress this enough, it is widely compatible with the other CD players I own. As much as I appreciate HFPA Blu-ray releases, they are almost as inconvenient as vinyl for very few of us have multiple listening spaces for such a setup. As mentioned earlier, if you’re after a good all-rounder, you can’t go wrong with the standard 40th Anniversary CD for it is readily available, affordable, and is pretty close to the best this album has ever sounded in stereo; from my perspective, at least.  

Of course, in this three-disc collection, I’ve yet to mention the Live At The Los Angeles Forum 10/20-22/76 component. While it is an abridged release, it’s solid from start to finish and despite not being as sonically spectacular as Hell Freezes Over, it’s a great classic live recording that is worthwhile for any collector. If you’re not interested in the HFPA Blu-ray Disc, then the double CD release for the 40th Anniversary of Hotel California has you covered as this live recording is presented on the second disc. Streamers can also rejoice as there is a digital version available as well. 

That all said, there is no doubt in my mind that the 40th Anniversary Deluxe Edition is beautifully presented with the included 44-Page Book containing Rare Photos and Memorabilia, along with a 20-Page Hotel California Tour Book and Three Posters. However, I’m less than impressed with the way the discs are sitting within the box. The rubbery knobs that the discs sits on will undoubtedly be a point of failure in the future and I would have expected much more for the price. As I’ve already mentioned, the lack of a vinyl edition being included is an oversight and to be honest unless you’re after the HFPA Blu-ray Disc, I’d go with one of the CD options as there simply isn’t enough value to justify the cost. 

Hotel California is a masterpiece even if it’s an overplayed one by some people’s standards. However, I never tire of it and consider its introduction to be one of the best ever recorded in music history. The studio recording is flawless, but if you haven’t had a chance to hear the live recording from Hell Freezes Over; I implore you to give it a listen for Hotel California has never sounded better. Hotel California has a little bit of everything and that addictive rhythm, with the intermingling guitar solo is simply magical. There is little wonder Hotel California has been played ad nauseam over the years and I can only imagine what it would have been like to have been in the studio as it was being recorded. Incredible!

New Kid In Town is a great tune that sounds as if it should have been on One Of These Nights and once you’ve got past the stylistic shift, from Hotel California, New Kid In Town is a lovely song in its own right that works perfectly well within the album structure. 

Life In The Fast Lane picks up the tempo and again highlights the guitar-focus that seems to be a trademark of Hotel California. It’s rhythmically charged and while it could be suggested that just as James Dean doesn’t fit the overall style of On The Border, Life In The Fast Lane is similarly a little too rock and roll for this album. 

Wasted Time is one of Don Henley’s greatest vocal achievements. A beautiful song, with a perfect mix, and one that complements Hotel California perfectly. While the upcoming reprise seems a little out-of-place when it comes to digital releases, nothing is better than flipping the record from Side One and having the reprise to look forward to for I could easily argue that Wasted Time is the very best song ever recorded by the Eagles. It blows my mind every time I listen to it. 

Wasted Time (Reprise) is a lovely instrumental counterpart to the core song and while Hotel California wouldn’t be the same without it, I do wish that they would have remixed/edited the album for release digitally, thereby omitting the reprise, as flow and continuity isn’t as important as it was for the original vinyl release.

Victim Of Love takes things up a notch and despite being considerably different to Wasted Time, Victim Of Love is perfectly tracked. While Henley once again is the lead vocalist, his drumming on this particular track is a standout for me as it provides a perfect backbeat rhythm that the rest of the music is built upon. While I’ve pondered if Hotel California is greater than its lead track, songs like Victim Of Love and Wasted Time prove that Hotel California is a masterful achievement. 

Pretty Maids All In A Row continues that masterful style and Joe Walsh’s unique vocal, especially in the opening verse, offers an interesting stylistic shift. I don’t know about you, dear reader, but while Walsh is well-respected in his own right, I’ve often felt that he hasn’t received the recognition he deserved, particularly in the Eagles, for he is one of the greatest musicians of our time. 

Try And Love Again offers yet another vocal perspective to the Eagles style and Randy Meisner knocks it out of the park. While his departure allowed Timothy B. Schmit to join the Eagles, Meisner certainly went out on a high with this song having also penned it.

The Last Resort is the perfect closer and afterwards, at times, I’ll sit and let the music that I’ve just listened to permeate my soul. Yet at other times The Last Resort will compel me to listen to Hotel California again; it is that good!

Hotel California most certainly deserves the recognition it receives and while I’d still suggest that One Of These Nights is their greatest achievement, there are few albums that are as tight as Hotel California. 

Live At The Los Angeles Forum 10/20-22/76: 

Take It Easy is a great toe-tapper and one of the best live editions that I’ve heard. That guitar solo, while short, works superbly well in enhancing the song from its origins. 

Take It To The Limit was previously released on Eagles Live and I remain convinced that this performance bests the original studio recording. If nothing else, Meisner’s vocal is smoother and less shrill than the studio recording; an aspect that I appreciate. 

New Kid In Town, for this particular live performance, is superior to the studio recording. It is a little more laid back in its presentation, particularly in the harmonies, and that subsequently makes it a little more enjoyable and less jarring on the senses. 

James Dean still sounds out-of-place in the Eagles’ catalogue, from my perspective, and while there is nothing wrong with this recording, it doesn’t break new ground either. That said, I do prefer this live recording over the studio release. 

Good Day In Hell is an interesting choice for a live performance as I consider it album filler. Nevertheless, it’s a solid performance that works really well within this collection and it’s another song that I feel is better than the studio recording. 

Witchy Woman has such a grungy guitar intro; I love it! While first released on their self-titled debut some four years earlier, this free-flowing performance is exceptional.  

Funk #49 is classic Joe Walsh, from his time in the James Gang. It’s a great song and a fantastic cover. In some ways, I wish it was an Eagles’ original, but at least we’re fortunate to have this live recording. 

One Of These Nights is styled somewhat differently from the original studio release; I like it! 

Hotel California is arguably the first live performance of the well-over 1,000 times the Eagles’ have performed this classic song and it’s really good. It isn’t the best, not by any means, for that award goes to the Hell Freezes Over performance. It is nice, however, to hear earlier renditions to appreciate how it would have been presented at the time, especially in regard to the guitar tuning as it offers a different interpretation. 

Already Gone is a solid closer with an addictive rhythm and twang…hold on a sec, I said that very same thing when reviewing Already Gone as the opener for On The Border. And, yes, the woo-hoo-hoo vocal elements remain distracting.  

While Live At The Los Angeles Forum 10/20-22/76 is clearly truncated, and it would have been wonderful to have a more complete recording to enjoy, it has been put together extremely well whereby you’re left wanting more; always a good thing! 

Overall, you really can’t go wrong with Hotel California but as there will undoubtedly be a 50th anniversary release of this album, it is my hope that the shortcomings will be rectified. We will, of course, have to wait another few years to see how the Eagles and their record label will convince us that we need yet another edition of one of the most beloved albums in our collection. Until then, the 40th Anniversary editions shall suffice.

Eagles – One Of These Nights (Album Review On Vinyl & Apple Music)

Eagles – One Of These Nights (Album Review On Vinyl & Apple Music)

Released in 1975, One Of These Nights was the fourth studio release from the Eagles and their greatest achievement in the era before Hotel California’s release. One Of These Nights would become the Eagles’ first number one record, and with not a B-side to be found, one can understand the appeal of what can only be classed as a masterpiece. Yes, it would forever reside in the shadow of Hotel California, released a year later, but in many ways, as much as I adore the latter album, I feel One Of These Nights is the stronger all-round album experience. 

The edition that I’m fortunate enough to own is the 2014 vinyl re-issue. Sonically, it is stunning and while it is far more convenient to listen on loudspeakers, I have to say that this is one album that you should definitely listen to via headphones for the soundstage is well presented with a level of depth that will impress, especially when you get to one of the greatest instrumental pieces ever recorded, Journey Of The Sorcerer. It is important to note that I’ve never heard an original pressing and therefore cannot compare the editions, but I find there is absolutely nothing lacking in the re-issue and it is so smooth that I could listen to it for hours.

The record itself is pressed silently with no inner groove distortion and is presented in a replica sleeve that confuses me each time I take this record out to play it as the record slot is located at the top of the album, rather than on the right-hand side of the cover art. Surprisingly, I like this approach as I never fear that the record is about to slide out of the sleeve. Nevertheless, the inner sleeve is beautifully presented and while some may lament the exclusion of song lyrics, I love that the typeface is large, thereby making it easier for my ageing eyes to read. 

The other edition that I’ve heard, and that I share with you below, is the Apple Digital Master on Apple Music. It too sounds remarkably good but has a little muddiness appearing in the low-end of Too Many hands. The vinyl counterpart doesn’t exhibit this dull thud, instead presenting depth to Don Henley's bass drum along with clarity and separation of Randy Meisner’s bass track. It isn’t necessarily off-putting, but depending on your EQ settings, you may wish to make adjustments when playing this album, especially if you don’t like a bass-focused sound.

Side 1:

One Of These Nights has an absolutely killer musical introduction. What an incredible way to start an album! I adore the guitar solo midway through the song as it isn’t overreaching, but serves its purpose while blending perfectly with the backing acoustics. The intertwining vocals are also exceptional but if there is any criticism to be had, it would have to be that I wish they would have sung the vocal portion of the song in a slightly, very slightly, lower register. 

Too Many Hands is a killer track. The drawl guitar introduction blows my mind every time I hear it and Too Many Hands has a rhythm that works perfectly with the Eagle’s style. This is one song that I would have loved to have seen them perform on Hell Freezes Over, even though Meisner wasn’t with the band at that stage.

Hollywood Waltz reduces the tempo and is arguably more drawl than Too Many Hands, but is an incredible ballad. No, it may not be the star of the show, but the register Hollywood Waltz is sung in would have been perfect for One Of These Nights. Nevertheless, this is one song where you’ll find yourself closing your eyes, listening to the expansive soundstage, and being captivated by a song that while never a hit, would be sorely missed if it were not included on One Of These Nights.

Journey Of The Sorcerer is absolutely amazing and closes out the first side of the album perfectly. This is one song that I feel you need to stream, or listen to via CD, as you can easily put it on repeat and listen to it for hours on end; shame it sounds so good on vinyl! Regardless of how you choose to appreciate Journey Of The Sorcerer, I have a feeling that you too will be blown away by what can only be described as one of the Eagles’ greatest recordings. 

Side 2:

Lyin’ Eyes has incredible rhythm and you’ll be toe-tapping and head-bopping from the first note. It’s such a beautiful song with a soundstage that simply has to be heard to be believed. The Eagles were the masters of good sound and Lyin’ Eyes proves that. 

Take It To The Limit is a great song but I find Meisner’s vocal to be too distant in the mix and subsequently find it disappointing as he sounds somewhat removed from the harmony and musical accompaniment. While I’ve often said I would like to hear a remixing of this song, I have to acknowledge that it is a classic and changing it now would likely be disastrous. 

Visions is a great rock and roll track but I’m not entirely sure it flows well from Take It To The Limit as the senses are momentarily jolted before settling into the song. That said, I’m not sure where else on the album it could have been placed and, again, One Of These Nights wouldn’t be the same album without it.

After The Thrill Is Gone is such a beautiful song. I’d love to say more about it, but I’m going to close my eyes and enjoy this masterful performance; I suggest you do the same as it is really that good! 

I Wish You Peace is a stereo panning nightmare, as the song opens, when listening on headphones, but when listening on loudspeakers, it fills the room and showcases the breadth of the soundstage. I Wish You Peace is a lovely song to close the album on and it encourages me to not only play One Of These Nights again but spend the rest of the day playing the Eagles back to back. 

Overall, One Of These Nights is a stunning release from start to finish and is one of my favourite Eagles albums and dare I say superior to my beloved Hotel California.

Eagles – On The Border (Album Review On Vinyl & Apple Music)

Eagles – On The Border (Album Review On Vinyl & Apple Music)

Released in 1974, On The Border was the Eagles third studio album and unlike Desperado, offered a more mainstream rock sound; even if a song like Midnight Flyer would have been best suited on Desperado. This correlation, however, creates a delicate balance for On The Border sees influences from their first two albums while further evolving the Eagle’s signature sound.

While it is an advancement, On The Border is my least played Eagles’ album, yet if you asked me why, I don’t think I could give you a conclusive answer. James Dean has always felt a little out-of-place in the Eagle’s catalogue and I’m not sure if this song has acted as a deterrent but I’d be lying if I didn’t say that there have been times when I’ve started Side Two on Ol’ 55. Look, James Dean isn’t a bad song, but when you listen to the album as a whole, it’s tonally different enough that the mellower tunes get overshadowed by it. Of course, it could also be that the vinyl release, unlike others from the Eagles’ back catalogue of reissues, isn’t the greatest. 

Eagles’ albums are generally pristine with regard to their sonic quality and while the 2014 vinyl reissue isn’t as bad as others in my collection, the Apple Music stream, an Apple Digital Master, is smoother and fuller with a more analogue sound that is more laid back in its delivery. It’s almost certain that the vinyl re-issue was sourced from a digital master and subsequently, this could explain its brittle nature. Yes, the vinyl format has inherent distortion that usually results in a warmer tonality, but I also strongly believe that the mastering matters far more than the format and this could certainly explain why the Apple Music stream is superior to the vinyl reissue; as it was derived from a higher quality master.

To give you a little more context, My Man loses the bass and drum emphasis on the vinyl reissue when compared to the Apple Music stream, yet Ol’ 55 sounds a little better on the vinyl reissue. It really is a bit of a mixed bag and while I generally don’t give numeric ratings for sonic quality, I’d place the vinyl reissue as a 3 out 5 and the Apple Music stream as a 4.5 out of 5. If I could get the Apple Digital Master on vinyl, I’d be one happy fan. And, yes, I acknowledge the ludicrous nature of that statement. 

Perhaps the best way to explain what I’m hearing is that I find myself distracted when listening to the vinyl reissue. If my phone is nearby, I reach for it. Yet, I’ll happily sit and listen to the stream as it simply isn’t fatiguing as the glare, which is often a digital byproduct, isn’t present in the treble range on the Apple Music stream. This vinyl re-issue is also rather loud, another sign of a digitally sourced original, but your experience may, of course, vary as music tastes, interpretations, and equipment are extremely subjective. My advice, however, would be that if you’re interested in picking up the vinyl release, take a listen to the stream first and consider what advantages the vinyl edition would offer you. 

If you do decide to pick up the vinyl reissue, you’ll be met with a replica of the original release, including the double-sided poster. It’s important to note that the particular reissue, the European pressing, I own does not include a textured sleeve. The US reissue, however, is purported to have the textured sleeve if that is of importance to you. 

SIDE ONE

Already Gone is a solid opener with an addictive rhythm and twang. It isn’t the strongest song on the album, and I find the woo-hoo-hoo vocal elements are distracting, but the guitar work throughout makes Already Gone an enjoyable song.  

You Never Cry Like A Lover slows the tempo down and is a masterful tune. The soundstage depth and air surrounding each musical element is an experience in and of itself as it will surround you in a sonic presentation that will captivate you, especially in the chorus with the accompanying guitar solo that reminds me fondly of America's style. 

Midnight Flyer would have been perfect for Desperado, but it isn’t out-of-place on On The Border. A fun tune!

My Man is a beautiful vocal-focused ballad. It’s one of the best songs on On The Border and has never really received the recognition it deserved. 

On The Border has a killer rock intro that I adore. The tempo shifts a little when Don Henley’s vocal comes into the mix, but as the song progressively builds it becomes an incredible blues-based rock and roller. 

SIDE TWO

James Dean as a song on its own isn’t fundamentally flawed, but I’ve never felt that it was suited to the Eagles or On The Border. 

Ol’ 55 is stunning. Turn the volume up gently, close your eyes, and sing along if that brings you joy for Ol’ 55 is one of the best songs the Eagles ever recorded.

Is It True is another song that has never received the accolades it deserved, for it’s wonderful. Yes, it may not set the world on fire, but the more I listen to Is It True, the more I enjoy it. 

Good Day In Hell is a great song for the album but isn’t a song that I’d normally seek out outside of the album format. It isn’t that it’s bad, but I tend to have a love/hate relationship with Good Day In Hell as the musical aspects are compelling but I’m not sold on the vocal presentation as I find it to be a little drawl.

The Best Of My Love is a music and lyrical masterpiece that is the perfect closer for the album as it encourages me to play On The Border again and stay within the Eagles’ extensive catalogue of music. 

On The Border is a ripper of an album and one that I can play on repeat several times in a row. Yes, it’s disappointing that the vinyl reissue isn’t of the same calibre as their other releases, but the Apple Music stream is so compelling that it’s likely to remain in my recently played list for the coming days and weeks. It is with that in mind that we must ask ourselves that, if an album that has plenty of songs that we enjoy, is not played often, is it the music or the mastering that causes us not to spin the record as much as we would like? I’d suggest, for me at least, it’s the latter. 

Eagles – Desperado (Album Review On Vinyl & Apple Music)

Eagles – Desperado (Album Review On Vinyl & Apple Music)

A year after their astonishingly good Self-Titled debut, the Eagles returned with Desperado; an album arguably leaning more towards a country-styling, than their debut, as they focused on the old west in American culture. Considering Desperado as a concept album, one can't help but see a correlation between Desperado and Elton John's similarly themed 1970 released Tumbleweed Connection. Perhaps the Eagles copied that concept, but if that was ever an element, it has never been discussed to my knowledge. Either way, as a fan of the old west, when the theme is done well, as it is in this case, it can be extraordinarily rewarding for the listener. 

Also rewarding is the 2014 vinyl reissue that I’m fortunate to own. Sonically, it is a beautiful reproduction that is dynamically pleasing with an incredible soundstage that is as wide as it is deep. I love it when the speakers disappear, and I become immersed in the music. Part of the immersion can also be attributed to the album artwork that is striking in its presentation and this particular reissue has a textual cover, reportedly the same as the original 1973 vinyl release. While the red text, on the near-black background, looks a little washed out and therefore more difficult to read, it is a major improvement over the Self-Titled debut whereby the text on the inner sleeve was basically unreadable. 

While this re-issue was marketed as replicating the original artwork, the album label is different from the original releases I’ve seen. Where they had a plain white background, this edition features a cloudy background. It isn’t really an issue, but I do appreciate accuracy should a record be considered a replica. Nevertheless, this particular release is mastered and pressed perfectly and therefore I can wholeheartedly recommend it to any fan of the Eagles. 

For those of you not interested in collecting music on physical formats, the Apple Music stream, an Apple Digital Master, is exquisite in its own right and you really won’t long for a better reproduction; unless, of course, you compare the releases as I have and in that instance, this vinyl reissue offers a more captivating experience. 

SIDE ONE

Doolin-Dalton is incredibly compelling. That harmonica just reaches into my soul every time I listen to this masterpiece. It’s also important to note that it is less harsh on the vinyl version when compared directly to any of the digital counterparts.

Twenty-One is too ‘country’ for my liking. The banjo is an acquired taste and while I don't dislike it, I feel it is played too fast for this song and subsequently, it’s as though I’m listening to two different songs when Twenty-One starts playing.

Out Of Control is a solid rock song that I feel would have sounded better on On The Border, just as James Dean is. If you didn't know, James Dean was recorded for Desperado but held back at the time as it didn’t match the album perfectly.

Tequila Sunrise is a beautifully relaxing song that gets better the more often I hear it. I don't know as I could ever tire of this song as it uses every part of the soundstage to ensure you're enveloped in sound. Amazing!

Desperado, despite not being released as a single, has become a fan favourite and is one of the Eagle's very best recordings. Vocally it is a little rough around the edges, but that gives the song character and I couldn't imagine it with any more spit and polish.

SIDE TWO

Certain Kind Of Fool is fantastic with the perfect tempo, guitar strum, and vocal delivery. Certain Kind Of Fool is a hidden gem that casual fans would likely miss but is undoubtedly one of the best songs on the album.

Doolin’ Dalton (Instrumental) is a distraction and while it flows well into Outlaw Man, Desperado would have been fine without this deviation. Interestingly, this instrumental track has never been listed on the back of the record sleeve. It is written on the record label, however. Other than a typo that has remained consistent throughout the years, I can’t help but wonder why this may be the case.

Outlaw Man is a killer song with a spectacular soundstage and while positioned on the B-side of the album, it’s an A-side in my opinion. I love it! On a side note, this song would have been perfectly suited to Fleetwood Mac’s Rumours era.

Saturday Night is a lovely ballad. Perfect harmonics and just an all-around great song. As good as some of the tracks on Side One are, it is the second side that makes Desperado a must-own album. Astonishingly good!

Bitter Creek is one of my all-time favourite Eagles songs. You may not have heard it before as it is unlikely to be played live and doesn’t appear on any of the Eagles’ career perspective releases, but there is something very special here. The simplicity of that guitar strum and intermingling vocal, interspersed with the harmonies, is nothing short of amazing.

Doolin-Dalton (Reprise) is enjoyable but I would have been extremely happy if Bitter Creek was the final song on the album. I’ve never been much of a fan of the reprise, as I would generally prefer to hear the original track again, however, I do enjoy the electric guitar tracking instead of the harmonica as it creates a unique experience that works remarkably well.

Similarly, Desperado (Reprise) builds upon the original song without disrupting the magic that made the original so special. It’s a perfect way to close the album, ensuring I’ll listen again and stay within the Eagles’ catalogue.

Desperado is an album of hidden gems, combined with a few hits and a couple of misses. However, it all comes together in a coherent experience that is thoroughly enjoyable and worthy of the Eagles.

Eagles – Self-Titled (Album Review On Vinyl & Apple Music)

Eagles – Self-Titled (Album Review On Vinyl & Apple Music)

Some of the most interesting albums are debuts as they can either make or break an artist. Regardless of the outcome, it’s always interesting to see how an artist evolves, especially from a retrospective viewpoint. That said, I don’t believe I’d be wrong in suggesting that the Eagles had already found their sound on this Self-Titled debut and went about refining their talents on each subsequent release.

Album covers in the 70s were probably as unique as they have ever been, with artists and record labels seeing what would work and what wouldn’t on the large vinyl canvas. The Eagles’ debut is no exception as the cover would not only encompass the bands country meets rock musical style perfectly but would fold out to a larger poster that one could hang or admire while listening to the album. Over the years, the Eagles’ Self-Titled release has been reissued numerous times and the edition I’m fortunate enough to own is the 2015 vinyl re-issue with the original album artwork. 

Yes, it looks impressive, but as the record doesn’t sit in a dedicated enclosure, one has to be careful not to pick the record up, out of its outer sleeve, and watch as the record slips from one’s hand across the room. Okay, so perhaps that’s an exaggeration, but if you’re new to vinyl, these unique designs can be a challenge when dealing with the larger format. 

The inner sleeve, while not used to house the record, is plain and somewhat lacklustre if I’m to be honest. The red text on the natural background is incredibly difficult to read and subsequently wasn't well thought out in my opinion. The label itself is plain but elegant and I must admit that I love looking at record labels. I even lust over Compact Discs and in a bygone era, it wasn’t uncommon for me to appreciate the designs of the Compact Cassette. I'm not sure why it’s such a fascination, but I find it a thoroughly enjoyable part of the record collecting process.

Of course, as impressive as the record looks, it would be pointless if the audio quality wasn't up to par. Well, I think we can all agree as to just how sonically stunning the Eagles are, and this debut is no exception. The record is as black as the ace of spades, perfectly flat, and has no noticeable inner groove distortion or surface noise. While purists may lament that a significant majority of reissues are being sourced from high-resolution digital files, rather than the original master tapes, the pressing of this 2015 reissue is flawless with a full analogue sound that simply has to be heard to be believed. 

Compared to the Apple Music stream, an Apple Digital Master, the vinyl record is far superior and subsequently, you won’t see me part with this vinyl record anytime soon. Yes, it is that good and for fans of the band, I highly recommend this particular reissue. That isn’t to say, of course, that the album can’t be enjoyed via Apple Music, or another streaming service, it most certainly can, but if you have the opportunity to own this album on vinyl, you really should pick it up.

SIDE ONE

Take It Easy is perfect for a country drive. When I hear this Eagles standard, I can only imagine the excitement of fans when they put the record on for the first time in 1972. It must have blown their minds for it still astonishes me to this day as to how developed the musicality of the Eagles is on this debut. In many respects, it's good that Jackson Browne was unable to finish the song and required Glenn Frey’s involvement. I simply couldn’t imagine the Eagles debut without Take It Easy. Jackson Browne did, however, record a rendition for his 1973 album, For Everyman, and while it’s a lovely interpretation, that doesn’t stray far from the Eagles’ original, Browne’s interpretation failed to set the world on fire as the Eagles’ version did.

Witchy Woman is a killer track that really showcases just how well the vocal harmonies of the Eagles’ members flow together. Witchy Women is, in many respects, the perfect classic rock song that encompasses many musical eras and styles. Seriously, I could be here all day just listing them, but let’s just enjoy listening to this amazing tune, shall we?

Chug All Night is a slow starter but develops into a solid song that is thoroughly enjoyable. While it may not be a fan favourite, the album wouldn’t be the same without the frantic beat and low volume harmonies that are off-the-chart good. A great rock song!

Most Of Us Are Sad is sensational! The drum and bass track blow my mind, as does the guitar strumming and vocal harmonies. Music doesn't get much better than this.

Nightingale was almost not included on the album as producer Glyn Johns felt it was substandard. One could hardly argue with him as it is filler, a B-side at best, but the record label, in this case, won and it’s of course included. In reality, it isn’t fundamentally a bad song, it just isn't of the same calibre as the other songs on the album. 

SIDE TWO

Train Leaves Here This Morning is a lovely country-focused tune that has a beautiful soundstage and depth that envelops you in sound.

Take The Devil is one of the best songs on the album, and in the Eagles catalogue, that very few know about as it doesn't make an appearance in live performances or on career perspective releases. The rhythm is seriously addictive, and the musicality of the entire recording is uncompromising. 

Earlybird has a fun little entrance, but it can be equally infuriating if you're not in the mood for those chirpy bird sounds throughout. Nevertheless, while it may be a B-side, it's a solid song that fits well with the style of the album.

Peaceful Easy Feeling is a lovely song but the guitar twang mid-song is a little too high pitched for my liking and I subsequently find it distracting. A shame considering it is an otherwise exceptional song with yet another beautiful vocal presentation. 

Tryin' is a solid song to close the album with. Nothing to write home about, but a perfect B-side if there ever was one. Tryin' certainly makes me want to listen to the album again and stay within the Eagles’ extensive catalogue of music.

The debut Self-Titled Eagles album is astonishingly good from start to finish and shows a band with a signature sound that normally takes others years to develop. It really is one of their greatest albums and even if you're a casual fan, you'll find something to love on this Self-Titled debut.

Eagles – Hell Freezes Over (Album Review)

Eagles – Hell Freezes Over (Album Review)

The Eagles may have taken a 14-year vacation, but when they returned to the stage, one of their greatest releases would ensue. Predominately a live recording, for the 1994 MTV special, Hell Freezes Over also contained four new songs that nicely fill Side A of the double LP. While some may lament Hell Freezes Over not being presented as a complete album, I actually feel the EP-sized approach to the new recordings was ideal and as much as I adore the Eagles, their 2007 studio effort, Long Road Out Of Eden, was less than stellar when compared to their incredible back catalogue. Nevertheless, more Eagles is always a good thing and if you haven’t checked out Hell Freezes Over, join me as I take a look at the music, performance, and the 25th Anniversary vinyl re-issue. 

For years, Hell Freezes Over was a missing holy grail; my collection just wasn’t the same without it. Yes, I could have picked up the CD release, or the accompanying DVD, but I always felt that I wanted to own it in its purest form. I considered the K2HD CD, the XRCD CD, and the near impossible to get at a decent price, and certainly not brand new, DTS 5.1 surround sound CD. Reviews were mixed and the prices that some of these audiophile releases go for is simply too high when reviews aren’t universally glowing, although the DTS CD is generally well regarded.

If you’re specifically interested in the surround sound mix of Hell Freezes Over, check out Mike’s exceptional review below and if you haven’t already, make sure you subscribe to his YouTube channel, Life in Surround.

Nevertheless, I was eager to get hold of a copy on vinyl but it had been out of print for years and while I acknowledge that I could have gotten a secondhand copy, I prefer brand new copies as I want to make them my own and ultimately pass them down to my son. I almost purchased the massive career-perspective 2018 vinyl box set, Legacy, just to get Hell Freezes Over, but that is one of the ugliest releases I’ve ever come across; the box artwork in particular. Hence, when in 2019 Hell Freezes Over was reissued separately, with the original artwork, it immediately went on my Wishlist and I’m incredibly grateful to my family for gifting this masterpiece to me for Father’s Day. 

The quality of the vinyl re-issue has blown my mind. It is amongst the very best sounding records in my collection and is lovely to hold in the hand. The artwork is meticulous in quality and presentation. You’ll most certainly be holding this record as you listen intently. Both records are presented in high quality printed inner sleeves and rather than a gatefold, the album is a slipcover design. Yes, I love gatefolds, but the slipcase design is far easier when getting records in and out of the sleeves. I know some collectors who remove the record from the sleeve, placing the inner sleeve and record on the outside of the album cover. It certainly makes it easier to access the album in question, but I worry that it will ultimately damage the sleeve with the pressure of the other albums on the shelf. Hence, it isn’t something I do, but I can certainly see the benefit. 

The pressing itself is flawless. The records are about as silent as vinyl can be and the dynamics are full, thereby presenting a soundstage that will completely envelop you. Yes, this record was recorded, mixed, and mastered with kid gloves, but that doesn’t necessarily mean the vinyl pressing is going to be of equal quality. You’ll also get that warm analog sound that is often associated with vinyl. The bottom line is that it just sounds right.

Side A

Get Over It has a killer guitar intro and while the song is a little campy, I love it! You’ll be head-bopping and toe-tapping throughout. 

Love Will Keep Us Alive is the ballad-styled song that we’ve all come to adore from the Eagles. Timothy B. Schmit yet again proves just how masterful he is as a vocalist. I could quite happily listen to all his vocal recordings for an eternity. Yes, dear reader, I may have a man-crush for Schmit, but can you blame me. Interestingly, Love Will Keep Us Alive wasn’t written by the Eagles but the writers, Pete Vale, Jim Capaldi, and Paul Carrack, wrote a song that suited the Eagles perfectly and is, in my opinion, one of their best vocal ballads. 

The Girl From Yesterday is a lovely country-styled tune that is a welcome addition to the album but isn’t anything to write home about. 

Learn To Be Still is a thoroughly enjoyable song and the more I hear it, the more I appreciate it. It is as though there are layers of musicality that ensure that I never tire of this song.

Side B

Tequila Sunrise is the first live song on the album and Frey’s introduction is great. It’ a beautiful song that is thoroughly relaxing and this is a stunning live performance. 

Hotel California has never sounded better. I don’t know about you, dear reader, but I class this rendition to be the greatest I’ve ever heard. Because the vinyl edition is so smooth, there is absolutely no audible distortion and every musical element is present in the soundstage. I dare you to find a better live recording, by any artist. Sensational!

Wasted Time was the perfect choice to follow Hotel California as they are musically similar. It is one of my all-time favourite Eagles’ songs and while the composition of the song is very similar to the album version, that doesn’t matter for it is simply incredible. It is also Don Henley at his very best. 

Pretty Maids In A Row is a lovely song to close out Side B of this vinyl release. The backing harmonious vocal is thoroughly enjoyable and while I have a love/hate relationship with Joe Walsh’s vocal, he nails this performance. That isn’t to say that I dislike Walsh’s vocal style, just that I sometimes find it to be a little too jarring. 

Side C

I Can’t Tell You Why is an incredibly smooth tune and Schmit’s vocal delivery is simply magical, as is the musicality of this entire record. You’ll likely want to turn this song up because, again, you’ll hear absolutely no distortion as you toe-tap and head-bop rhythmically throughout the song. I Can’t Tell You Why is most certainly one of the Eagles’ greatest hits and it is also one of the best songs on Hell Freezes Over. 

New York Minute was originally a Don Henley solo effort, being first released on The End Of Innocence. It’s a great tune and works incredibly well for the Eagles, making me wonder how the song would have sounded had it been an original Eagles composition. Nevertheless, it is a welcome addition to Hell Freezes Over as it’s one of Henley’s best solo recordings. 

The Last Resort is a solid song from Hotel California but I’ve always had mixed emotions when listening to The Last Resort. Don’t get me wrong, it’s great, but something is missing. I’ve often wondered if it is simply too long, but I thoroughly enjoy the musicality. Perhaps it is Henley’s somewhat dry vocal on this particular tune that leaves me feeling a little disjointed. Either way, this performance is solid and doesn’t detract from the album but given their extensive catalogue of music, I may have selected a different song to perform on this occasion. 

Side D

Take It Easy is a little jarring, as a result of the guitar tuning, on Hell Freezes Over. Unfortunately, I have to turn the volume down to enjoy it; a shame considering just how good it is. 

In The City is bloody brilliant and is one of my all-time favourite Walsh-sung songs. 

Life In The Fast Lane will get you moving; I know I can’t sit still when listening to it, it is that good!

Desperado is beautiful and is arguably a perfect closer for Hell Freezes Over, encouraging me to listen to the album again and remain within the Eagle’s catalog of music. 

Overall, Hell Freezes Over is one of the greatest Eagles releases. I consider it my go-to album as it’s not only a live album with four new tracks but a compilation that doesn’t feature a bad song. It has a little of everything and the 25th Anniversary vinyl re-issue is nothing short of pure perfection; you won’t be disappointed. Let’s just hope that they keep this edition in print, I’m going to eventually need to get another copy as I play this album frequently.