Joe Walsh Albums (10)
What The Critics Say
There's nothing sadder than seeing a talented artist come up with a real bummer, but that's just what this record is. Joe Walsh heads to Memphis to record but comes up way short of anything rockish. Perhaps this is one of those contractual obligation albums you hear so much about. In any event, the back picture of Walsh blowing a big bubble kind of says it all. ~ James Chrispell, All Music Guide
'Songs for a Dying Planet'
Release Date 1/1/1992
Tracks 12
Label Epic
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What The Critics Say
This collection of nostalgia, decent balladry, and quirky anthems probably reinforced any notions of Joe Walsh's creative decline. The singer/guitarist had (up to the time of this 1991 release) strung together an incredible career as a soloist and member of several first-rate rock acts, but time seemed to finally be catching up to him. That's not to say Ordinary Average Guy is a bad record. It's a fine record, but hardly up to Walsh's own menacing standard with regard to the musician's legendary guitar groove and wit. Generally, fans might think of Walsh in contrast to his crooning Eagles cohorts as harder rocking, edgier, but on this release, the hard-partying guitarist seems more comfortable showing a softer side. Ballads like "I'm Acting Different" and "Where I Grew Up" feel more earnest and truthful when compared to campy clunkers like "Alphabetical Order" and limp commentaries like "Look at Us Now." Throughout the more upbeat material, oddly placed synth washes and sparse drum patterns make for a bumpy, uninteresting sonic ride. Released just a couple years before Walsh put an end to his "30 year party," this reflective, sometimes half-hearted effort bellies a weariness that's both sad and difficult to appreciate as this master goes through the motions. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Joe Walsh just hasn't been able to produce a complete album of great material, and The Confessor is no exception. Side one is drek, with such titles as "I Broke My Leg" and "Bubbles." Turn the record over, and we find one of Walsh's masterpieces. The title tune is great! Over seven minutes of pure Joe Walsh rock with cryptic lyrics and a socko arrangement. Side two also includes a cover of Michael Stanley's "Rosewood Bitters" which Walsh played on long ago. Worthwhile for the title track alone. ~ James Chrispell, All Music Guide
'You Bought It: You Name It'
Release Date 1/1/1983
Tracks 10
Label Full Moon
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What The Critics Say
Joe Walsh attempts and nearly makes the free throw that wins the game. Great songs like "I Can Play That Rock & Roll" and "Space Age Whiz Kids" show he hasn't lost his edge. But the big claim to fame on this record is his "I.L.B.T.s" or "I Love Big Tits." Rather retro in feel, like the title, it harkens back to a wackier time. Good, but flawed. ~ James Chrispell, All Music Guide
'There Goes the Neighborhood'
Release Date 1/1/1981
Tracks 8
Label Asylum
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What The Critics Say
Joe Walsh's long and varied career has had its ups and downs, to say the least. Here, you see Walsh in good old rock form. The opening track, "Things," pretty much defines it all: drum beat intro, a simple riff kicks in, a few synths, and then Walsh's lead -- it's this simple formula that gives the album its charm. This is early '80s rock in its most entertaining and fun form. Walsh's lead guitar is, as always, breathtaking. The rock legend's trademark sound is prominently featured throughout the album, and undoubtedly here he performs some of his finest solos. The only qualm that one can pick is that the whole album is in a much-similar vein. This is classic rock, though: once you start, you want more. There Goes the Neighborhood is by far one of Joe Walsh's greatest works, particularly from this era. Indeed, after the three-year absence in solo releases, Walsh proved himself ready and able to adapt to the sound of the time with shocking ability. ~ Ben Davies, All Music Guide
'You Can't Argue with a Sick Mind'
Release Date 1/1/1975
Tracks 6
Label ABC
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What The Critics Say
Recorded live just before Joe joined up with the Eagles full-time, You Can't Argue... contains six of Joe's better-known songs. Things start off with his last hit with the James Gang, "Walk Away," and then makes its way through "Meadows" and eighteen minutes of "Rocky Mountain Way." The crowd loved it. Follow all that with "Time Out," then do "Help Me Thru the Night" acoustically with future bandmates Henley, Frey, and Felder helping out, and close things up with a profound and majestic "Turn to Stone," and you've got one heck of a Joe Walsh concert souvenir. ~ James Chrispell, All Music Guide
What The Critics Say
Walsh's catalog by this point was two albums strong and of a consistently high quality. Despite a change of staff for So What -- a wide range of musicians are used, including the Eagles' Don Henley -- the sound is very similar to previous releases. A number of classic Joe Walsh tracks are featured including a more polished version of "Turn to Stone", originally featured on Walsh's debut album Barnstorm in a somewhat more riotous style. "Help Me Thru The Night", Joe Walsh's mellowest song to date, is helped along by some fine lead and backing vocals from the band. So What sees Joe Walsh in top gear as a guitarist. Most of the nine tracks feature solos of unquestionable quality in his usual rock style. The classic rock genre that the man so well defined with his earlier albums is present here throughout, and it is pulled off with the usual unparalleled Joe Walsh ability. ~ Ben Davies, All Music Guide
What The Critics Say
Barnstorm, Joe Walsh's first solo album after leaving the James Gang, garnered him fame not only as a guitarist but also as a songwriter. While it's true that Walsh established himself as a late-'60s/early-'70s guitar hero on the Gang's more boogie-oriented rock numbers, it's Walsh's love of lushly textured production and spacy, open-ended songs featuring both acoustic and electric guitars that is showcased here on this wildly adventurous and forgotten unqualified masterpiece. Recorded at the Caribou Ranch in Nederland, CO, Barnstorm reflects the big sky and wide open spaces. Accompanied by bassist Kenny Passarelli and drummer Joe Vitale, Walsh freely indulges himself with fat guitars and keyboards, beautiful choruses, country tinges, and pastoral pop hooks, as evidenced by the glorious opener, "Here We Go." This segues, via the sound of a spooky lonesome wind, into the hauntingly beautiful psychedelic country tune "Midnight Visitor," with elegantly woven acoustic guitars, fat carnival organ sounds, and -- of course -- the sound of the wind before it slips out the back door. And so it goes with the nearly Baroque psychedelic suite of "One and One," which slides seamlessly into "Giant Bohemoth" (sic) and the rollicking "Mother Says." Everywhere on the album's front half, reverie and American mythological archetypes and history weave together, displacing the listener from the here and now. The openly pastoral country-tinged rock of the album's second half signifies Walsh's considerable gifts as a songwriter who uses his guitar as a dreamy, mercurial narrative device, as signified by the masterpiece "Birdcall Morning" -- one of the greatest rock & roll love songs of the early '70s. It is actually mirrored by the sadness and organic bluesy quality of "Home" and the unabashed pop/rock romanticism of "I'll Tell the World," complete with glorious four-part backing harmonies and a crunching guitar crescendo. Speaking of crunch, Barnstorm was also the first place that Walsh's classic "Turn to Stone" nugget ever appeared. In its original version, its guitars have far more edge, sinew, and raw power than on its subsequent re-recording. Rather than let it end there, Walsh tips the scales one more time back to the mysterious in the acoustic guitar and harmonica moment "Comin' Down." It's another love song, which evokes the notion of the past as a way of creating a hopeful present. And it just whispers to a close, leaving the listener literally stunned at what has just transpired in the space of 35 minutes. ~ Thom Jurek, All Music Guide
