The Long Run - Eagles (Rock) (The) (CD)

The Long Run was released in 1979, and the back of the album said that it was "the last studio album by the Eagles". That statement proved to be a bit premature when the Eagles released Hell Freezes Over, a sort of reunion album, after everyone got tired of diddling with their solo careers. However, The Long Run would have been a fabulous "swan song" had the Eagles chosen never to record together again. The songs on the album explore a variety of styles, and the influences of the particular players and singers on each song is profound.

The musicians and their contributions are as follows:

Don Henley, drums, vocals
Timothy B. Schmit, bass guitar, vocals
Glenn Frey, guitar, synthesizer, vocals
Joe Walsh, guitar, vocals
Don Felder, guitar, organ, vocals

The songs on the album, and my description of each, follows.

1. The Long Run--The title track, of course. A syncopated drum solo starts it off, and immediately the song gets into a laid-back groove. Don Henley handles the lead vocals in his inimitable style, and Glenn Frey plays a jazzy organ part. Joe Walsh really sets the song off with some wonderful slide guitar ornamentation. His solo is really cool.

2. I Can't Tell You Why--This one was written by Timothy B. Schmit, and I think it's the most beautiful ballad that the Eagles ever did. Heck, I think it's one of the most beautiful ballads of all time, when you get right down to it. Schmit's lead vocals are delicate and at the high end of the range, and are downright gorgeous. Glenn Frey plays two amazing guitar solos that fit right in with the mood of the song.

3. In The City--This song is all Joe Walsh--he co-wrote it, sings it and plays his patented slide guitar for all it's worth. The backing vocals by the rest of the band lend the perfect touch to this rocker.

4. The Disco Strangler--A distinctive guitar lick opens this one. The song sounds a little rhythmically confused, with the drums, guitar, bass and vocals all seemingly disjointed, but it all finally fits together. Don Henley provides the lead vocals in this song about meeting the wrong person in a nightclub.

5. King Of Hollywood--A fade-in starts this song which addresses the seamy side of Hollywood and the movie industry-- the "casting couch" stories that the movies are famous for. Don Henley and Glenn Frey share the lead vocals on this one, and Glenn Frey, Don Felder and Joe Walsh each take a turn on the lead guitar. The harmony guitars are particularly effective.

6. Heartache Tonight--This one is just a good ole rockin' fun song. The tune showcases just how well these guys harmonized and sang together. Glenn Frey handles the lead vocal, and Joe Walsh plays some dazzling slide guitar on this tune. A bit of trivia--Bob Seger and J. D. Souther co-wrote this song, along with Don Henley and Glenn Frey.

7. Those Shoes--Don Henley gets the credit for a great vocal performance on this one. Musically, this song features talk box guitars played by Joe Walsh and and Don Felder, and a stunning guitar solo by Walsh. Stuttering bass and drums start this somewhat dark song out, and the talk box guitars add to the mood.

8. Teenage Jail--Glenn Frey and Don Henley share lead vocals on this tune, and Frey contributes a good synthesizer solo. Don Felder adds an intense guitar solo in this song about "teen angst", long before it was a popular subject.

9. The Greeks Don't Want No Freaks--The ultimate party song, it takes a big swipe at fraternity and sorority life. Don Henley provides the lead vocals, with backing vocal ably provided by "The Monstertones", featuring Jimmy Buffett. The song is really pretty humorous, and accurately depicts some of the scenes I witnessed at these parties back in my salad days. The tune is a little sloppy, but that was intentional, I'm sure, considering the subject.

10. The Sad Cafe--The first time I ever heard this song it sounded vaguely familiar, and to this day I don't know why. The melody is like an old friend, and it somehow evokes a feeling of nostalgia. Don Henley proves why he's a great singer, and the guitar solo by Don Felder is tasteful. The musical centerpiece of the song is the saxophone, played by David Sanborn. It lends just the right effect.

From the first song to the last, I think this was the best album the Eagles ever recorded. It was obvious that they intended it to be their last when they recorded it. As I said earlier, we know now that it wasn't, but it would have been a credible piece of work upon which to end their career as a band. This album adequately shows the strengths of this band, and you can see the personal touch that each member added to the songs.