Don Henley Albums (4)
What The Critics Say
Don Henley essentially sat out his '90s recording contract, waiting until he could sign to another label that would allow him greater artistic freedom and royalties. He finally signed to Warner and released his fourth solo album, Inside Job, in the spring of 2000. Considering his long absence from recording, it shouldn't come as a total surprise that the album sounds as if it could have been cut in 1990 or even 1986 (check out the obnoxious synth solo on the opening track). That is not entirely a bad thing, however. It would have been rather embarrassing if Henley was trying to run with the young boys, and he sounds very comfortable settling into a role that is something less than an old master and something more than a crotchety old-timer. It falls somewhere between that, since his simmering anger -- always apparent but raised to the surface on his solo records -- still can be heard, which makes him seem a little cranky on occasion, when he gets carried away with his temper. For the most part, though, he sounds relaxed, comfortable, and reflective on Inside Job, more so than he ever has. The heart of the record is in the slower numbers, where he honestly lays out his feelings about his new love and marriage. Whenever he sticks to personal relationships, and thereby gentler music, Inside Job stays winning. It's brought down when he steps up to the podium to rail against the modern world, but this isn't quite enough to sink the record. Inside Job lacks the melodic craftsmanship that made Building the Perfect Beast a blockbuster, and it isn't as focused as The End of the Innocence, but it is a solid comeback record from an artist who spent a little too long out of the spotlight. ~ Stephen Thomas Erlewine, All Music Guide
'The End of the Innocence'
Release Date 6/20/1989
Tracks 10
Label Geffen
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What The Critics Say
Don Henley took some time before completing his highly anticipated third album, The End of the Innocence. Although he manages to duplicate much of the magic of his previous album, Henley has backed off of the synthesizers and expanded his musical palette. He uses background vocals to great effect, whether it's the tragic ballad "New York Minute" (with vocal group Take 6) or the angry rocker "I Will Not Go Quietly" (with Axl Rose of Guns N' Roses). His collaboration with Bruce Hornsby on the opening title track show a mature Henley singing about disillusionment over a beautiful piano riff that gives the song a timeless air of nostalgia. While he still tackles political issues and writes about small-town life in America, Henley also mixes in romantic ballads, including the closer "Heart of the Matter." In this epic song, Henley explores the emotional complexity of relationships and coming to terms with oneself during the aftermath. Throughout the album, he manages to balance being cynical yet hopeful, and his great melodies allow his poignant lyrics to penetrate. This album is highly recommended for those who like their pop music with a message. ~ Vik Iyengar, All Music Guide
'Building the Perfect Beast'
Release Date 1/1/1985
Tracks 11
Label Geffen
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What The Critics Say
After experimenting with synthesizers and a pop sound on his solo debut, Don Henley hits the mark on his sophomore release, Building the Perfect Beast. This album established Henley as an artist in his own right after many successful years with the Eagles, as it spawned numerous hits. While the songs seem crafted for pop radio, it's hard to fault him for choosing arrangements that would get his messages to the masses. Unlike most pop in the 1980s, however, Henley had deep intellectual themes layered beneath the synthesizer sounds and crisp production. In the opening song "Boys of Summer," he talks about trying to recapture the past while knowing that things will never be the same. Henley has a gift for writing about the heart and soul of America and for mixing his love for the country and small-town life ("Sunset Grill") with cynicism about government ("All She Wants to Do Is Dance") and modernization ("Month of Sundays"). Although the politics and the sound of the album make the decade of release easy to place, Henley's earnest delivery and universal messages give many of the tracks a timeless feel, which is no small feat. This is Henley's most consistent album, and it is the place to start for those wanting to sample his solo work. ~ Vik Iyengar, All Music Guide
'I Can't Stand Still'
Release Date 1/1/1982
Tracks 11
Label Warner Bros.
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What The Critics Say
Don Henley's first solo album may still have had the ghost of the Eagles lingering in the corners, but for the most part it showcases his stalwart partnership with producer and songwriter Danny Kortchmar. Lyrically, Henley's songs are a tad weak, but for an inaugural album from a man who had spent most of his career surrounded by multi-talented musicians and writers, on the whole it fairs quite well. His material deals with the hardships of love, the fickleness of the media, and the declining state of education, all induced with a friendly pop sound. The title track, a trouble-in-paradise love song, has Henley pouring his heart out with sugary angst, but is helped along with some avid keyboard work. "Dirty Laundry" is Henley's attack on the shallowness of the network newsperson that peaked at number three on Billboard's Top 40. Its bouncy chorus and contagious organ riffs proved that his role as a musician could conform to any style. His social commentary comes into fruition with "Johnny Can't Read," loosely based on the increasing amount of high-school dropouts at the time and helped bolster Henley's reputation as a musician with a concern for pressing issues. Numerous musicians help him out on this album as well, including former Eagles members Timothy B. Schmidt, Joe Walsh, and J.D. Souther; drummer Jeff Porcaro and guitarist Steve Lukather, both from Toto; and even Warren Zevon. Don Henley's adept combination of lyrical wit and thought-provoking staidness begins to materialize on I Can't Stand Still, paving the way for an extremely accomplished solo career. ~ Mike DeGagne, All Music Guide
