Eagles – Hell Freezes Over (Album Review)

The Eagles may have taken a 14-year vacation, but when they returned to the stage, one of their greatest releases would ensue. Predominately a live recording, for the 1994 MTV special, Hell Freezes Over also contained four new songs that nicely fill Side A of the double LP. While some may lament Hell Freezes Over not being presented as a complete album, I actually feel the EP-sized approach to the new recordings was ideal and as much as I adore the Eagles, their 2007 studio effort, Long Road Out Of Eden, was less than stellar when compared to their incredible back catalogue. Nevertheless, more Eagles is always a good thing and if you haven’t checked out Hell Freezes Over, join me as I take a look at the music, performance, and the 25th Anniversary vinyl re-issue. 

For years, Hell Freezes Over was a missing holy grail; my collection just wasn’t the same without it. Yes, I could have picked up the CD release, or the accompanying DVD, but I always felt that I wanted to own it in its purest form. I considered the K2HD CD, the XRCD CD, and the near impossible to get at a decent price, and certainly not brand new, DTS 5.1 surround sound CD. Reviews were mixed and the prices that some of these audiophile releases go for is simply too high when reviews aren’t universally glowing, although the DTS CD is generally well regarded.

If you’re specifically interested in the surround sound mix of Hell Freezes Over, check out Mike’s exceptional review below and if you haven’t already, make sure you subscribe to his YouTube channel, Life in Surround.

Nevertheless, I was eager to get hold of a copy on vinyl but it had been out of print for years and while I acknowledge that I could have gotten a secondhand copy, I prefer brand new copies as I want to make them my own and ultimately pass them down to my son. I almost purchased the massive career-perspective 2018 vinyl box set, Legacy, just to get Hell Freezes Over, but that is one of the ugliest releases I’ve ever come across; the box artwork in particular. Hence, when in 2019 Hell Freezes Over was reissued separately, with the original artwork, it immediately went on my Wishlist and I’m incredibly grateful to my family for gifting this masterpiece to me for Father’s Day. 

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The quality of the vinyl re-issue has blown my mind. It is amongst the very best sounding records in my collection and is lovely to hold in the hand. The artwork is meticulous in quality and presentation. You’ll most certainly be holding this record as you listen intently. Both records are presented in high quality printed inner sleeves and rather than a gatefold, the album is a slipcover design. Yes, I love gatefolds, but the slipcase design is far easier when getting records in and out of the sleeves. I know some collectors who remove the record from the sleeve, placing the inner sleeve and record on the outside of the album cover. It certainly makes it easier to access the album in question, but I worry that it will ultimately damage the sleeve with the pressure of the other albums on the shelf. Hence, it isn’t something I do, but I can certainly see the benefit. 

The pressing itself is flawless. The records are about as silent as vinyl can be and the dynamics are full, thereby presenting a soundstage that will completely envelop you. Yes, this record was recorded, mixed, and mastered with kid gloves, but that doesn’t necessarily mean the vinyl pressing is going to be of equal quality. You’ll also get that warm analog sound that is often associated with vinyl. The bottom line is that it just sounds right.

Side A

Get Over It has a killer guitar intro and while the song is a little campy, I love it! You’ll be head-bopping and toe-tapping throughout. 

Love Will Keep Us Alive is the ballad-styled song that we’ve all come to adore from the Eagles. Timothy B. Schmit yet again proves just how masterful he is as a vocalist. I could quite happily listen to all his vocal recordings for an eternity. Yes, dear reader, I may have a man-crush for Schmit, but can you blame me. Interestingly, Love Will Keep Us Alive wasn’t written by the Eagles but the writers, Pete Vale, Jim Capaldi, and Paul Carrack, wrote a song that suited the Eagles perfectly and is, in my opinion, one of their best vocal ballads. 

The Girl From Yesterday is a lovely country-styled tune that is a welcome addition to the album but isn’t anything to write home about. 

Learn To Be Still is a thoroughly enjoyable song and the more I hear it, the more I appreciate it. It is as though there are layers of musicality that ensure that I never tire of this song.

Side B

Tequila Sunrise is the first live song on the album and Frey’s introduction is great. It’ a beautiful song that is thoroughly relaxing and this is a stunning live performance. 

Hotel California has never sounded better. I don’t know about you, dear reader, but I class this rendition to be the greatest I’ve ever heard. Because the vinyl edition is so smooth, there is absolutely no audible distortion and every musical element is present in the soundstage. I dare you to find a better live recording, by any artist. Sensational!

Wasted Time was the perfect choice to follow Hotel California as they are musically similar. It is one of my all-time favourite Eagles’ songs and while the composition of the song is very similar to the album version, that doesn’t matter for it is simply incredible. It is also Don Henley at his very best. 

Pretty Maids In A Row is a lovely song to close out Side B of this vinyl release. The backing harmonious vocal is thoroughly enjoyable and while I have a love/hate relationship with Joe Walsh’s vocal, he nails this performance. That isn’t to say that I dislike Walsh’s vocal style, just that I sometimes find it to be a little too jarring. 

Side C

I Can’t Tell You Why is an incredibly smooth tune and Schmit’s vocal delivery is simply magical, as is the musicality of this entire record. You’ll likely want to turn this song up because, again, you’ll hear absolutely no distortion as you toe-tap and head-bop rhythmically throughout the song. I Can’t Tell You Why is most certainly one of the Eagles’ greatest hits and it is also one of the best songs on Hell Freezes Over. 

New York Minute was originally a Don Henley solo effort, being first released on The End Of Innocence. It’s a great tune and works incredibly well for the Eagles, making me wonder how the song would have sounded had it been an original Eagles composition. Nevertheless, it is a welcome addition to Hell Freezes Over as it’s one of Henley’s best solo recordings. 

The Last Resort is a solid song from Hotel California but I’ve always had mixed emotions when listening to The Last Resort. Don’t get me wrong, it’s great, but something is missing. I’ve often wondered if it is simply too long, but I thoroughly enjoy the musicality. Perhaps it is Henley’s somewhat dry vocal on this particular tune that leaves me feeling a little disjointed. Either way, this performance is solid and doesn’t detract from the album but given their extensive catalogue of music, I may have selected a different song to perform on this occasion. 

Side D

Take It Easy is a little jarring, as a result of the guitar tuning, on Hell Freezes Over. Unfortunately, I have to turn the volume down to enjoy it; a shame considering just how good it is. 

In The City is bloody brilliant and is one of my all-time favourite Walsh-sung songs. 

Life In The Fast Lane will get you moving; I know I can’t sit still when listening to it, it is that good!

Desperado is beautiful and is arguably a perfect closer for Hell Freezes Over, encouraging me to listen to the album again and remain within the Eagle’s catalog of music. 

Overall, Hell Freezes Over is one of the greatest Eagles releases. I consider it my go-to album as it’s not only a live album with four new tracks but a compilation that doesn’t feature a bad song. It has a little of everything and the 25th Anniversary vinyl re-issue is nothing short of pure perfection; you won’t be disappointed. Let’s just hope that they keep this edition in print, I’m going to eventually need to get another copy as I play this album frequently. 

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The Alan Parsons Project – The Turn of a Friendly Card

It is such a long time ago that my memory is blurred on the fact, but I am pretty sure that The Turn of a Friendly Card (ToaFC) was the first music I owned.

My sister had a number of Alan Parsons Project albums on vinyl and I heard them in the house when I was a teenager. The sound must have captured my fancy because I soon owned ToaFC on cassette which I would play on my Sony Walkman. It is interesting to note that such an early discovery would really stand the test of time, as The Alan Parsons Project remains my second favourite act/artist of all time, after Jean Michel Jarre. I own a copy of every readily available album, including follow-up works by Parsons after the Project was dissolved.

ToaFC is the band’s fifth album, released in 1980, and like all preceding and indeed all following Project works is a concept album. In this case the concept is the temptations of gambling. Parsons and Eric Woolfson, the partnership that underpinned the Project, both lived in Monte Carlo within walking distance of the big casinos. Personally, as someone who often just doesn’t hear lyrics, I can forget that the theme is there most of the time and I don’t think that takes away from the listening experience.

The opening track, May Be A Price To Pay, has the typical sound of a Project work, but the track is otherwise a relatively standard “vocals and instruments” performance. The Project’s sound has an electronic timbre but typically they had a full complement of traditional instruments. The electronic sound likely came from the electronic keyboard and electric guitars, but there are also acoustic guitars and pianos, clavinets and harpsichords at times.

"May Be A Price To Pay – Live at Rock of Ages Festival 2013". This recent live version of May Be A Price To Pay shows that the more mainstream tracks are more easily replicable outside of the studio and with new band members and vocalists.

An interesting feature of Project works is that there is no “lead vocalist” in the band. May Be a Price To Pay is sung by “Elmer Gantry” (Dave Terry of Elmer Gantry’s Velvet Opera), one of four lead vocalists on this album alone, with at least a dozen over their entire catalogue. The key protagonists, Parsons and Woolfson, preferred to choose the right vocalist for the track. While Woolfson did sing on many of their songs (including some of their most successful), Parsons only sang lead once, on their debut album Tales of Mystery and Imagination, and even that was through a vocoder. (After dissolution of the Project and with live touring, Parsons has taken on a much greater role with vocals.)

While May Be a Price To Pay is very much a “standard” song with a distinctive Project feel to it, Games People Play is overtly more of a Project sound. Sung by frequent lead Lenny Zakatek, the song may sound almost normal in places, but slips into very electronic breaks and in fact has a consistent 4-note keyboard phrase from start to finish, clearly marking it as a work of the Project. It was released as a single and made number 16 on the Billboard Top 40, making it their 4th most successful.

Next is one of two tracks on the album sung by Woolfson. Time was his first for the Project and also features Parsons on backing vocals. It was their second most successful single, making it to number 15 on the Billboard Top 40, and it only takes a few moments of listening to understand why. A very simple, slow ballad, it is sung with soft, almost dreamy vocals and yet at times they soar to neck-hair tingling heights. It is one of my favourite Parsons tracks of all. It has been said of Woolfson (and ratified by himself) that he was not the most technically adept singer, but this track must surely be one he was proud of.

Alan Parsons Project – Time (Live 2014 Mainz). Because the band did no live performances until after Woolfson split from them in 1990, live performance videos authentic to the albums are very hard to come by. This Alan Parsons Live Project performance of Time from 2014 is a reasonable facsimile of the original.

Just when you were relaxed and chilled out by Time, along comes Lenny Zakatek again and, despite a soft start, I Don’t Wanna Go Home ramps up quickly to moderate pace with punchy vocals and equally punchy instrumentation, once again with that clear Project sound.

In the days of my cassette tape, this was the time to turn the tape over or, on more modern equipment, wait for the auto reverse to kick in.

This next track holds the honour of being the first one I absolutely fell in love with. For a time it was by far and away my favourite track, though it was not to last in that slot for long once I discovered Jarre’s works. (One day I will write about what Oxygene (Part II) does for me.)

The Gold Bug is an instrumental number that begins with Parsons whistling, rather well. He also contributes finger clicking to the percussion track. The basic makeup of this track is the unadulterated Project sound including electronic keyboards. It is lead for a time by an alto-saxophone that, like many great saxophone parts, soars to impressive heights. There are also a lot of backing vocals as instruments, to great effect. As I listen again while writing this, I can understand why this clicked with me so much in those early days. It is a stirring track.

The remainder of side 2 is taken up with the five parts of the title work, The Turn of a Friendly Card, wherein we hear the chorus line “the game never ends when your whole world depends on the turn of a friendly card,” with the title phrase spun out into far more than just a sung lyric.

The Turn of a Friendly Card, Part 1 opens with a flute which then leads to the beautiful vocals of Chris Rainbow. It’s a pretty laid back track opening with piano backing and closing with acoustic guitar. It is the shortest on the album, at a mere 2:43, but sets the tone, especially with the final line, “as he enters inside the cathedral,” punctuated by a loud gong. The cathedral, I assume, being a reference to the casino.

Rainbow then brings us the most overtly themed song of the album. After an instrumental opening to the basic melody, we get the opening line. “Snake eyes. Seven, Eleven. Don’t let me down boys.” Snake Eyes fits much the same musical model as I Don’t Wanna Go Home but briefly adds some background soundscape of a casino to support its message.

The Ace of Swords adds a harpsichord to the instrumentation before taking on a strong beat with another Project-identifiable instrumental. Once again, this track does not reinforce the album theme for me excepting, of course, the title, but is nevertheless an enjoyable listen and leads nicely into the lovely, balladic Nothing Left to Lose.

In this track, Woolfson reprises the same vocal style as Time making this another beautiful track, though this time backed with additional, layered vocals. I recently purchased my third copy of ToaFC – another CD – in order to get the Digital Remaster version of the album. This version contains bonus tracks including a raw version of the over-dubbed vocals for this track by Chris Rainbow. It really is magical to listen to without the strong presence of instruments.

The sadder tone of the song neatly fits the theme and begins to close the story with “nothing left to lose” and including the final line that just leaves off one word. “‘Cause you’ve got nothing left.”

Finally, Chris Rainbow returns for The Turn of a Friendly Card, Part 2 which is very much a continuation to Part 1 but with far more emotion pumped into it and ending on a long instrumental. The level of “the game is over” I get from this track is typical of final tracks on Project albums. I’m no audio engineer, but I’m sure there’s something that goes into this work that marks it as a final track. Disappointingly, the song completes with a fade out.

I couldn’t tell you which is my favourite Project album of all, but ToaFC would surely be a contender. It holds a special place in my collection, having been one of my first. There is no track out of place, no track which I feel lets the album down, and I never tire of listening from end to end, while also enjoying the singles in their own right.

I think my favourite Project tracks are from the earlier Pyramid and the later Eye in the Sky, but neither of those albums achieve the overall coherence of ToaFC.

Allister Jenks is a freelance music reviewer and podcaster. You can find him on Twitter at @zkarj

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