In Kurt Vonnegut’s Slaughterhouse-Five, Billy Pilgrim is transported to the planet Tralfamadore. And what a lyric, about love and memory and dreams and loss and time, but most of all about a place where the inevitable losses we’re fated to suffer haven’t happened yet, where those losses will never happen, where everything remains the way we want it to be, forever. Their trademark (and always underrated) vocal harmonies are as gorgeous as usual, and Don Henley sings with conviction. But just as you can feel the whole history of the Beatles as they play together on side two of Abbey Road, you can feel at least some of the Eagles’ history on “The Sad Café.” The two years it took to make The Long Run may have been an ordeal for the band, but you wouldn’t know it by “The Sad Café.” All temporary personal nonsense aside, the Eagles must have loved playing together at some point, and it’s the love of playing that you hear. “The Sad Café ” is very un-Eagle-ish in many ways, from the ghostly electric piano chords that start it to the rich David Sanborn sax that takes it out. That was even before I heard the last track, which blew me away, and still does. Before it was finished, I knew I’d be going out to buy it in the next day or two. (Radio stations commonly did that with new releases back then, although record companies were beginning to get skittish about home taping.) I was listening from my dorm room, and I remember giving the album my undivided attention. That night, we tracked the whole album start to finish, only interrupting it to flip it. We didn’t know then that history would show “The Disco Strangler” to be one of the least-memorable tracks on the album, but it was great to have the Eagles back on the radio anyhow, especially on our air. (Understandable, at the end of that disco-drenched year.) So I slapped the album on the turntable, gave “The Disco Strangler” an appropriate introduction, and rolled it. The word we got from our program director, who worked weekends at an album-rock station in Milwaukee, was that “The Disco Strangler” was the cut to push. We’d all heard the lead single, “Heartache Tonight,” but we were anxious to hear what the rest of The Long Run sounded like. I was on the air the day the album came in the afternoon mail.
In the fall of 1979, I was a young radio man at college. I remember the day The Long Run came out, and the first time I heard another of the songs that sounds like October to me. It’s the first album of new songs by the band since The Long Run in 1979. But if you're an Eagles fan, this just doesn't matter, as the band have made a record faithful to their roots- still the same old fantastic harmonies, some good guitar work (it's Joe Walsh, people- you can't go wrong!) and a title track that can proudly be shelved alongside some of the other truly great Eagles songs of yesteryear.The new Eagles album, The Long Road Out of Eden, was officially released yesterday. A lot of the songwriting is either tacky or just plain obvious here, as well. It probably satisfies most fans but won't win over too many new converts.īad news first, I guess- the record could have easily been one disc and the bad songs here are really, really bad. Had focused more on quality than quantity, this record could have been great overall but instead is a decent album
EAGLES LONG ROAD OUT OF EDEN ALBUM COVER SONGS 300 X 300 FULL
There is good music here, it just isn't sustained throughout the full hour and a half. Songs like "Guilty of the Crime", "Last Good Time in Town", and "Somebody" shouldn't haveĮver been recorded. The main problem with "Eden" is that there's a lot of unnecessary filler and a lot of "Waiting in the Weeds" is another standout track beautifully Twangy chorus and sounds a lot like "Take it Easy". "How Long" is classic Eagles, with a catchy "Long Road Out of Eden" is a good album with a couple great songs. Long Road out of Eden holds itself a couple gems with some mediocre filler, but for a fan of easy listening its certainly not a bad choice. No amazing record, only decent.Įagles can still soar, sure. Not a bad album, but not ground breaking. As I listened to "What Do I Do With My Heart", something hits me.
Thought the band was DEAD till I found the album sitting in the 'new releases' section of a record store. Not because my parents were hammering them into my head ever since I can remember, but because so many of their songs set a real standard for country rock in their time.
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