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.