Best known as the co-founder of the Eagles, Don Henley is a master musician with a solo career that arguably rivals his success with the Eagles. No, his solo outings would never quite reach the sales heights of the Eagles, but albums such as The End Of The Innocence leave music-lovers with some exceptional career-defining songs and an album that most certainly is the definition of the sound of the late 80s; as I remember it, at least.
Recorded between 1987 and 1989, The End Of The Innocence is Henley’s third solo record and one of his best. Although, there are a couple of misses here which can’t be overlooked. Look, not every song is going to be stellar, by any artist, and those that I subjectively dislike, you may like, and vice versa. It is what makes music such a wonderful art form for our interpretation is really all that matters.
While I recall owning the cassette in the 90s, I’m pleased to say that the Apple Music stream, an Apple Digital Master, offers a thoroughly enjoyable musical experience. There isn’t any element that is out of place and the mix ensures every aspect of the music is perfectly positioned in the soundstage. As much as I’d love to pick up a copy on vinyl, a reissue has yet to be made and longtime readers will likely note my aversion to secondhand records. It is a personal choice, and I know I’m missing out on some beautiful pressings, but I want to create my own memories rather than adopt someone else’s. Nevertheless, the stream is incredibly good and certainly doesn’t leave me longing for more.
The End Of The Innocence is one song that I could listen to indefinitely. The piano focus offers a perfect backbeat rhythm to the song and Henley’s vocal is magnificently placed within the mix thereby allowing the musical aspects to be on par with his brilliant vocal performance. All-in-all, The End Of The Innocence is one of those songs that I class as one of the best songs ever written and recorded and it is an exceptional opener and title track.
How Bad Do You Want It? picks up the tempo, with an upbeat jazzy feel that doesn’t flow as well from The End Of The Innocence as I’d ideally like. It isn’t bad as an album track, but it is one of the poorer recordings on this particular album.
I Will Not Go Quietly has a heavy rock sound and while one could suggest that The End Of The Innocence, thus far, is an evolving beast, traversing musical styles rather quickly, I Will Not Go Quietly is a great track that flows well within the album context. Interestingly, Axl Rose is featured here on backing vocals and I’m not sure if I agree with this decision. Rose has, of course, one of the most recognisable and strongest vocals in music, but to hear him so recessed in the mix makes his inclusion almost trivial. I would have loved to hear his vocal element pushed a few decibels higher during the chorus, similar in style to a duet, as I feel it would have made the song far stronger. Nevertheless, I Will Not Go Quietly is a great song.
The Last Worthless Evening slows the tempo, with a country-tuned song, yet the transition from I Will Not Go Quietly works extremely well. The Last Worthless Evening was, arguably, never going to set the charts on fire, even though it was released as a single in 1989, but it is a lovely tune that is worthy of Henley’s legacy.
New York Minute is, as I’ve mentioned before, a great tune 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 get you head-bopping and toe-tapping from the first note. It arguably isn’t one of Henley’s greatest songs, but it reaches into my soul and I find myself thoroughly enjoying it.
Little Tin God flows perfectly from Shangri-La as the styles are somewhat similar, particularly in the opening moments of Little Tin God, but Little Tin God is one of those songs that I just don’t feel is worthy of inclusion on the album. It isn’t fundamentally bad, but it is far from great. While it has a reggae feel to it, that some may like, I don’t feel it is a style that Henley is adept at.
Gimmie What You Got is a banging tune that I simply want to turn up to 11. I dare you to sit still while listening to Gimmie What You Got; I can’t!
If Dirt Were Dollars is another of Henley’s solo tunes that I would have loved to hear recorded by the Eagles as I can imagine Timothy B. Schmitt on harmony in this one. A great tune!
The Heart Of The Matter is a lovely song to close the album on. It becomes an earworm, if you choose not to play the album again, but it’s one of those songs that you likely won’t tire of; I know I don’t.
There is little doubt in my mind that The End Of The Innocence is an album; a wonderful experience in our modern era where the individual song has once again become paramount. Yes, we’ve had to go back a few decades to locate a cohesive piece of work but The End Of The Innocence is not only one of Henley’s best recordings, but one of the best albums of the 80s. It’s a shame that it has never received the recognition that I believe it deserves, but perhaps what is old is new again can apply and those of you with a passing interest in Henley, the Eagles, or classic rock, will be able to appreciate The End Of The Innocence as a timeless classic.