Best known as a co-founder of the Eagles, Don Henley has carved out a solo career that complements his success with the legendary band. While his solo work may not have matched the Eagles' astronomical success, albums like The End Of The Innocence feature career-defining songs that encapsulate the sound of the late 80s.
Recorded between 1987 and 1989, The End Of The Innocence is Henley’s third solo album and one of his finest. Though not every track is stellar, the album’s high points are truly exceptional and are most certainly ensconced in the sounds of the era. Of course, for an album to be enjoyable, all songs need not be hit-worthy. Instead, the songs need to flow and exist cohesively and in this case, The End Of The Innocence is an exceptional album; one of the best from 1989.
While the album’s artwork is reminiscent of the era, the production is timeless. Add to that a brilliant level of musicianship, and a mix that allows each musical element room to breathe, and you have an exceptional sonic experience that is only enhanced by the Apple Digital Master, available via the lossless Apple Music stream. While the Apple Digital Master process is a series of best mastering practices, it isn’t always on par with, or superior to other editions. That said, while I don’t have another copy of the album to compare it to, what I can say is that I’m not actively seeking a better copy, via another format, for the stream is simply magnificent and satisfies my needs as it pertains to this album for it is warm, smooth, and enveloping with plenty of detail. Don’t take my word for it, of course, check it out below as you peruse my thoughts regarding each of the album’s 10 songs.
The End Of The Innocence is a magnificent title track and the perfect opener for the album. The piano focus and backbeat rhythm are distinctive but never detract from Henley’s vocals as the mix is textbook perfect and is, subsequently, one of the best songs Henley has ever recorded.
How Bad Do You Want It? picks up the tempo with an upbeat jazzy feel. While the flow from the opening track can be a little jolty, there’s an argument to be made that How Bad Do You Want It? would have been an ideal album opener as between the driving beat, lively horns, and Henley's raspy vocals, How Bad Do You Want It? is one of the more energetic, and purely 80s, songs on the album.
I Will Not Go Quietly has a heavy rock sound that further traverses the album’s varied musical styles. While some may lament the sonic shifts, none are so alien as to remove one’s attention from the Don Henley experience. Interestingly, however, Axl Rose (Guns N’ Roses) appears as a backing vocalist, although I’m not certain I agree with his inclusion. Rose has one of the most recognisable and strongest vocals in the music industry, but to hear him so recessed in the mix makes his inclusion almost trivial. Of course, with such a different vocal style, any additional amplification of Rose’s vocal would have likely detracted from Henley’s performance; hence my suggestion that it wasn’t an ideal coupling.
The Last Worthless Evening slows the tempo, with a country-styled song, yet the transition from I Will Not Go Quietly flows extremely well. While The Last Worthless Evening was never going to set the charts on fire, even though it was released as a single in 1989, it’s a lovely tune nonetheless.
New York Minute is, as I’ve mentioned before, a great song and while I do wish it was an Eagles’ original, it is here and Henley knocked this song out of the park. Exceptional!
Shangri-La has a killer tempo that will see you head-bopping and toe-tapping along. It isn’t one of Henley’s greatest songs, but it reaches far enough into my soul that I find it thoroughly enjoyable and sometimes that is all that is required of an album-only tune.
Little Tin God flows perfectly from Shangri-La as the styles are somewhat similar, but if there is a song that I feel would have been better had it been omitted from the album, it would be this one. While some may appreciate the reggae feel, I feel it doesn't suit Henley's style. Still, The End Of The Innocence wouldn’t be the same without Little Tin God.
Gimmie What You Got has a funky groove, catchy chorus, and lively arrangement that makes it a banging tune which compels me to turn the volume up each time it comes on. It’s a great album-only tune and if you can sit still while listening to this song, you’ve got more self-control than I do.
If Dirt Were Dollars is a great song with a killer bluesy rock arrangement to complement Henley’s raw vocal energy.
The Heart Of The Matter is a lovely song to close the album on, but it does become an earworm; a thoroughly enjoyable one, but an earworm nonetheless. Still, it’s the perfect song that allows for contemplation of the music you’ve just heard while simultaneously encouraging you to play the record again.
In an era where individual songs often overshadow albums, The End Of The Innocence stands out as not only a timeless work but one that is cohesive and memorable. Yes, it is most certainly an album of the 80s, but its production is so strong that it can still be appreciated by modern audiences as Don Henley's talent as a musician knows few peers. For those with an interest in Henley, the Eagles, or classic rock, The End Of The Innocence is an essential listen.