d
THE EAGLES
RATING: 7
PLAY THESE: TAKE IT EASY, NIGHTINGALE, PEACEFUL EASY FEELING
SKIP THESE: MOST OF US ARE SAD, TRAIN LEAVES HERE THIS MORNING
The Eagles. It's pretty hard to know exactly what to make of these guys. Correction - make that very hard. On one hand, it's easy to point out The Eagles' flaws, whether it's their occasionally bland, sterile sound, their somewhat hookless songs, or the mere presence of Don Henley, egotistical, butthead of all buttheads. Then again, I have a lot of nice childhood memories tied up with their music, and only a fool would dismiss their wonderful harmonies and professional playing, not to mention their ability to knock the a couple of brilliant tunes on each album. For the most part, I do like this band, but there are times when...well, I just can't stand the sight of Don Henley's shit-eating smirk, or his frizzy, drug-induced mid-70's afro.
But in spite of my intense Don Henley hatred, the group's self-titled debut album is a decent enough start, and one might even convincingly argue that the band has never improved upon it. I for one have always preferred the band's slightly ragged, country-flavored early sound over the sterile FM rock of the later material, and the fact that each of the band members contributes songs gives The Eagles a nice balanced sound that the later, Don Henley-dominated incarnation of the band lacks.
Just in case your curious, the original lineup includes Glenn Frey (guitar), Bernie Leadon (guitar), Randy Meisner (bass), and Don Henley (drums). Everyone in the band sings, although it is clear from the start that Frey has the best voice, so it's our good fortune that it is his voice that dominates the album (enjoy it while it lasts, because Henley will gradually come to take over the band).
The big hit single 'Take It Easy' is far and away the best song, an up-tempo Glenn Frey-Jackson Browne collaboration that has a nice laid back sound going for it. Oh, and the banjo solo is a pretty cool touch too. Frey's other shining moment is 'Peaceful Easy Feeling,' a California country rock classic written by professional songwriter Jack Tempchin, who would contribute great material to future Eagles and Glenn Frey solo albums.
As for Don Henley's selections, 'Witchy Woman' is a demonic little Apache-rock number, set to a war drum beat and featuring some cool, rather evil-sounding harmonies (as an aside, who sings that high part in the bridge? Whoever it is makes Michael Jackson sound manly in comparison). The only other Henley number, 'Nightingale,' is a highlight, an energetic rock song written by Jackson Browne, with a catchy chorus and one of Henley's finest raspy vocal deliveries.
The album's energy really dips in the middle though, with Bernie Leadon's 'Train Here leaves This Morning' taking the dubious prize for the album's dullest moment (although Frey's limp country ballad 'Most Of Us Are Sad' is almost as yawn inducing). Randy Meisner's songs are pretty decent, although the only one that leaves a lasting impression is his evil-sounding 'Take The Devil,' which, like 'Witchy Woman' has strong Native Indian musical/spiritual overtones.
In conclusion, this is one of the few Eagles albums worth owning. Unlike most of their records, which have been aptly summarized on compilations, The Eagles generally stands up on its own as a complete product with a cohesive sound, with fairly consistent songwriting. Too bad Leadon and Meisner never get invited on the never-ending Eagles reunion tours, because this is the best lineup the band ever had. A high seven out of ten, almost an eight.
RATING: 7
PLAY THESE: DOOLIN-DALTON, DESPERADO, TEQUILA SUNRISE
SKIP THESE: A CERTAIN KIND OF FOOL, BITTER CREEK, DOOLIN-DALTON/ DESPERADO (REPRISE)
Much to the relief of James Taylor fans around the world, The Eagles narrowly avoid the dreaded sophomore slump with Desperado, although I suppose the fact that it doesn't improve upon its predecessor says a lot too. It's supposed to be a "concept album,' with a vaguely wild west, cowboys and Indians kind of theme, but if there's an actual storyline, I sure as heck can't find it. Regardless, the album sounds to me like collection of disparate tracks rather than an album, so I can't for the life of me figure out what the actual point is, other than an excuse for Don Henley to take over control of the band. Rock-oriented tunes like 'Out of Control' do prove that, contrary to popular opinion, these guys can actually play rock, but unfortunately the song sticks out like a sore thumb in the midst of these country-flavored songs.
Nevertheless, there are some very good songs here. Henley and Frey have started writing together, and they're off to a galloping start. Album opener 'Doolin Dalton' sounds like the paternal grandfather of Bon Jovi's 'Wanted Dead or Alive,' with it's twangy acoustic guitar-harmonica thing goin' on, and when the drums kick in, its pure country rock bliss. Of course, we all know that the orchestral-country-rock ballad and the ultimate Eagles single that never was "Desperado' is one of the best-written songs of the 20th Century, and it goes without saying that 'Tequila Sunrise' is almost as tasteful as the drink that goes by the same name.
The Randy Meisner-sung 'A Certain Kind of Fool' is also a nice surprise, and strident, almost Who-like track that is only let down by Henley's pedestrian drumming. In addition, Bernie Leadon's upbeat 'Twenty One' is a hillbilly's paradise of banjos and bluegrass rhythms that adds an air of authenticity to the proceedings, even if it sounds a tad out of place amongst the Frey-Henley originals.
The second half of the album, however, is a major letdown. The lazy cover of folkie David Blue's 'Saturday Night' doesn't even have a pulse much less a hook (although the mandolin playing is nice), and the reprise of 'Doolin-Dalton/ Desperado' at the album's close is nothing but pure, unfettered filler (not to mention the minute long instrumental version of 'Doolin-Dalton' in the middle of the album!). In the end, it's not bad, but it might be a better idea to grab the best songs on an Eagles compilation and forget about the rest.
RATING: 7
PLAY THESE: ALREADY GONE, GOOD DAY IN HELL, 'OL 55
SKIP THESE: MIDNIGHT FLYER, JAMES DEAN, ON THE BORDER
The Eagles go rock 'n roll! You're a badass, Mr. Don Henley, attacking those drums with the ill-tempered violence of mid-period Phil Collins! Too bad your boring, limp-wrist drumming make your new musical direction just about as convincing as the band's "we're all buddies again" shtick on their latest never-ending farewell tour. To cut to the chase, On The Border proves beyond a shadow of a doubt that The Eagles were never a true rock 'n roll band in the traditional sense of the word. They had some hard rock elements in the music, but overall they were a soft rock, country flavored band at heart.
But that didn't stop them from trying to be a rock band. Attempting to create a more "rock" oriented record, The Eagles hired producer Bill Szymczyk to toughen up their sound, and even added a second guitarist in the Don Felder in an attempt to become the best dual guitar southern rock group this side of the Allman Brothers Band. Admittedly, the gimmick works wonders on the punchy 'Already Gone,' a fantastic song with raucous Glenn Frey vocals, great harmonies, and an aggressive guitar solo, although I suppose it should also be pointed out that it's not an original Eagles composition, but rather another Jack Tempchin tune. The melodic Glenn Frey-Don Henley original 'Good Day In Hell' also rocks reasonably hard by Eagles standards, once again aided by nice harmonies and some crunchy guitar riffs courtesy of Felder, who seems to be the only natural rock 'n roller in the group.
Less convincing, however, is the painfully generic and utterly moronic pub rock tune 'James Dean,' a stodgy Frey-Henley collaboration that crashes and burns much less memorably than the late 50's icon the song celebrates, as well as the clumsy title track, which unsuccessfully merges rock, country, and (gulp!) proto-disco Henley beats. It sounds like the kind of faux r & b crap Don Henley would explore as a solo artist - just think 'Dirty Laundry,' and that's all you need to know.
The rest of the album, however, sounds like the country-flavored Eagles of yore - twangy ballads and hicksville bluegrass. The schmaltzy Henley-sung hit single 'The Best Of My Love' may be a bit on the dull side, but ''Ol 55' is a great country power ballad along the lines of 'Doolin' Dalton' that rocks harder than most of the so-called "rock" songs on the album. It is not an Eagles original, but in a fact a Tom Waits tune, which makes the best two songs on the album covers. The rest of the tunes are filler, albeit of the non-offensive variety.
Once again, The Eagles seem incapable of creating a full album's worth of truly gripping material. I hate to hand out yet another seven out of ten, but what else can I do? It's too good to be a six, but not interesting enough to get an eight. Blah.
RATING: 7
PLAY THESE: ONE OF THESE NIGHTS, LYIN' EYES, AFTER THE THRILL IS GONE
SKIP THESE: TOO MANY HANDS, THE HOLLYWOOD WALTZ, JOURNEY OF THE SORCERER
Here we go again. Another ho-hum Eagles album. It has its moments, to be sure, but there's not a lot of interesting things happening here. There has been little - if any - musical growth since the last album, and it seems as though in some respects this might even be the least distinctive Eagles record of them all. Whoopee.
Nevertheless, classic tracks like Henley's disco-southern rock combo 'One of These Nights' and Glenn Frey's Grammy Award winning country narrative 'Lyin' Eyes' are so good that it's hard to dismiss the record, and there are several lesser-known tunes that are relatively easy on the ears as well. Of all of the Eagles many attempts to fuse country with R & B, the title track is easily their best effort, with Henley's sly vocal delivery, dense harmonies, and a funky bass line making it an undeniable classic. It's very much of its time, but thirty years on it still stands up as a great tune. 'Lyin' Eyes' is even better, a six minute gripping tale of heartache, loneliness, and cheatin' hearts set to a country shuffle that represents The Eagles at their best. This, my friends, is the best Eagles song ever recorded. Almost as good is the hit-that-could-have-been 'After The Thrill Is Gone' a classic Frey-Henley duet that represents the band's best attempt to create a country power ballad. Unlike much of their material, it is played with passion and conviction, and the vocal interplay between Frey and Henley is near perfect.
Other highlights include Randy Meisner's gospel-like MOR number 'Take It To The Limit,' which was another huge hit, as well as 'Visions,' which is a bluegrass flavored Felder/ Henley composition of considerable catchiness. In addition, the album closing Bernie Leadon swansong 'I Wish You Peace' is a nice jazz lounge tune, and is one of the rare moments where the band steps out of its country-rock comfort zone and actually succeeds. The only thing that drags this album down is the filler, which clogs up the first half of the album to the extent that it seems as though it will never come back to life, but things do improve in the second half.
The final verdict? Unless you love The Eagles a lot, don't bother. Pick up the best songs on a compilation instead. But if you can't get enough of the group's music, then you will almost certainly find pleasure in the album's minor gems, which are worth seeking out.
THEIR
GREATEST HITS 1970-1975 (1976)
RATING: 10
PLAY THESE: TAKE IT EASY, DESPERADO, LYIN' EYES
SKIP THESE: NONE
Any band contemplating compiling a greatest hits album are advised to give The Eagles' Their Greatest Hits 1970-1975 a listen. This compilation somehow manages to give the impression that The Eagles are a great band, despite the fact that they have never released a solid album. Granted, each record has two or three great songs, but there is always enough padding on your average Eagles record to stuff a forty pound turkey. But somehow, some way, the band managed to compile a greatest hits album consisting of ten tracks that makes these guys look like the best band that ever was, or ever will be.
The first thing that sticks out is the criteria the band used for selecting these songs, Although the title clearly states that this is a "greatest hits" album, not all of these songs were ever released as singles, let alone became hits. Instead, there are several solid album cuts included, such as 'Desperado' or 'Witchy Woman,' and as such it is clear that the idea was to put only the best songs on the record rather than stick to the "singles only" approach that fails on so many compilations. The other thing that really stands out about this collection is the track sequencing, which thankfully strays from the conventional chronological approach. Unlike most greatest hits collections, which tend to sound scattershot and arbitrary, this one sounds like you are listening to an actual album, as a opposed to a collection of distinct tracks. Everything sounds very cohesive, with each track leading logically into the other in almost perfect fashion.
Sure, there are a few great songs absent ('Doolin' Dalton' and 'After The Thrill Is Gone'), but they aren't missed at all, largely because everything included sounds like it was meant to be here. There is a perfect mix between ballads and rockers, and the fact that all but one of the tunes were either written (or at least sung) by the Henley/Frey songwriting team makes the album sound more cohesive than the group's more democratically-flavored albums. Randy Meisner does contribute his signature tune 'Take It To The Limit,' but other than that, the other band members are conspicuous by their absence, leaving no doubt that Henley and Frey are running the show. However, with high quality of the duo's songs like 'Lyin' Eyes,' 'Tequila Sunrise' and 'Take It Easy' it's hard to get too upset about the unequal distribution of wealth in the band. In the end, this album is an essential purchase not only for Eagles fans, but for anyone who likes a little bit of country with their rock 'n roll.
RATING: 7
PLAY THESE: HOTEL CALIFORNIA
SKIP THESE: NEW KID IN TOWN, THE LAST RESORT
Few albums polarize rock fans more than Hotel California, The Eagles' 1976 multi-platinum selling album. While some regard it as one of the best records of the 1970's, an almost equal number view it as soulless, generic corporate rock at its worst, and album so banal that it just might be the musical epitome of evil. For my part, I think this negative perception has been aided by people's over-familiarity with the music, as most of the songs have been played to death by classic rock radio. To test this theory, I have avoided classic rock radio for the past two years like the plague, and have let Hotel California collect dust on my CD rack. And you know what? This album ain't that bad. Yes, it is full of Don Henley banalities and contrived energy, but most of the songs are very well crafted, and it sounds as though the group has even grown artistically since the last album.
Former James Gang guitarist Joe Walsh has replaced the departed Don Leadon, and although I don't think this album represents his best work, his classic blues-rock approach better compliments the new rhythm and blues direction the band first explored on One Of These Nights. The band rocks out a little bit more, and although its pretty forced at times, it is generally more convincing than in the past.
The album is also notable in that Don Henley has now gained complete control over the songwriting and lead vocals, to the point that this almost sounds more like a Henley solo album than a group effort. Even Henley's songwriting partner, Glenn Frey, gets the short end of the stick, singing lead on one measly song, the insipid Jimmy Buffet pastiche 'New Kid In Town.' Man, does that song ever make me want to vomit. It's too bad, because I really like Glenn Frey. I guess that in his infinite wisdom, Fuhrer Don only saved the best songs for himself, allowing Glenn to take the blame for this crappy team effort. You're a class act, Mr. Henley! [Also contributing songs are Randy Meisner ('Try and Love Again') and Joe Walsh ('Pretty Maids All In A Row'), but apart from these few songs all of the rest of the tracks are Don Henley creations].
The most notable Henley song, of course, is 'Hotel California,' which is quite possibly the quintessential rock song of the decade. If you hate it you need to go to your nearest hospital and get your hearing checked, and while you're at it please get a full body X-ray - you may not have a musical bone in your body. Propelled by Henley's syncopated, quasi-reggae drums and a super-melodic dual guitar solo, Henley spins a nihilistic tale of self-destructive rock star behavior that not only mirrors the music scene in the 70's, but also makes a statement about American culture that still resonates thirty years on. The message is slightly ambiguous, and I'm know that there are many different interpretations out there (including the conservative evangelical view, which sees Hotel California as a depraved metaphor for hell), so I'll spare you my analysis of the lyrics and let you decide for yourself.
The other Henley highlights are the aforementioned 'Life In The Fast Lane, which describes rock star decadence in far less veiled terms than 'Hotel California,' as well as the piano-based, orchestral ballad 'Wasted Time,' which is sort of Henley's attempt to write a Paul McCartney ballad. It's pretty good, although perhaps a bit on the schmaltzy side. The listless rocker 'Victim of Love,' however, strays dangerously close to Foreigner - in other words, it's a very generic classic rock tune (although the menacing slide guitar bit is quite cool). If you like that kind of stuff, this song's for you, but please be forewarned....Also a bit iffy is Henley's album closing 'The Last Resort,' which seems like a half-hearted apology from the American white man to the American Indian. Whatever the meaning, the song is boring orchestral balladry at its worst, and is probably the worst possible ending for this otherwise good album.
The final assessment? If not for 'Hotel California' this would be a pretty undistinguished set of tunes, but because of the strength of the title track, as well as the overall consistency in sound, it is probably the Eagles' most solid album. Not good enough to earn an eight, mind you, but it's close enough to make me debate it for a millisecond or two. Enjoy the mediocrity while it lasts though - the next album is a real stinker.
RATING: 4
PLAY THESE: THE LONG RUN, HEARTACHE TONIGHT
SKIP THESE: I CAN'T TELL YOU WHY, DISCO STRANGLER, THE GREEKS DON'T WANT NO FREAKS
The Eagles were so popular in 1979 that they could have gift-wrapped a piece of cat sh*t in an album sleeve and still had a multi-platinum seller, and that is evidently what happened with their 1979 album, The Long Run. Possessing all the warmth and charm of an insane asylum, The Long Run is The Eagles' second-biggest selling studio album, eclipsed in popularity only by the equally sterile Hotel California. But while Hotel California at least had three or four excellent songs to its credit, The Long Run has absolutely none, and as such can only offer the listener a series of disturbing glimpses into Don Henley's cold, vacant soul.
Everyone knows the story behind the recording of the album: the rambling, three-year long sessions, the decadent million dollar budget, the fatal inter-group squabbling...the list goes on. The fact that this pile of excrement could have sold four million copies back in 1979 is truly mind-boggling. This album has few - if any - redeeming features, and even these rare highlights are so devoid of energy that it's hard to believe that fans were still clamoring for an Eagles reunion into the 1990's and beyond.
You would think that the addition of new bassist Timothy B. Schmidt might have given the group a much-needed shot in the arm (Randy Meisner was fired/quit after the last record), but when one hears the opening strains of his debut disco/soft rock ballad 'I Can't Tell You Why,' it becomes clear that things are going downhill - and fast. I can't think of a single song in the history of popular music that makes me want to puke as much as this musical travesty. Were these guys not EMBARRASSED to be associated with this song? Even worse, why was this song such a huge hit? What kind of a person would like this sort of music? It stinks. I'm not a violent guy, but every time I see or hear this cheesy musical monstrosity I want to grab Timothy B. Schmidt by his long Crystal Gayle wannabe hair and give him couple of hard, solid punches to the head. Why does he always get invited to the reunion tours? I mean, the guy only appears on a single Eagles album - the worst record, no less - and he still gets a call from Henley before Randy Meisner, whose hard work and good tunes paved the way for this clown.
Timothy B. Schmidt aside, the other major thing that bothers me about The Long Run is the poor songwriting. Apart from the semi-disco Henley-sung title track, nothing here comes close to qualifying as a classic song, although I suppose one could make a legitimate case for the Top 10 hit 'Heartache Tonight.' It is indeed a catchy barroom rock number, and is very well-written, but the lethargic recording is so lacking in energy and enthusiasm one might be forgiven for thinking Frey had a gun pointed at his head during the sessions.
Other decent moments? The cool talk-box guitar sound on 'Those Shoes' is good enough fun, even if the song itself is generic, and I guess Joe Walsh's 'In The City' is a pretty catchy song, although it should be pointed out that the track was originally issued as Walsh solo tune, which means it technically isn't even an Eagles song. I guess the guys were pretty low on tunes, and had to recycle some of the oldies to fill up an album's worth of material.
But apart from these few enjoyable moments, the rest of the album is TERRIBLE. I mean, who else but Don Henley can sing a three chord comedy song like 'The Greeks Don't Want No Freaks' without the slightest trace of humor, or take a whopping THREE YEARS to come up with a song as banal as 'Teenage Jail?' The answer, of course, is no-one, which is why this album is so detestable. Recommendable only to rabid Eagles fans, as well as to anyone who doubts the negative long-term effects of excessive cocaine use - this album should serve as a deterrent for anyone contemplating a Class A narcotics habit.
RATING: 6
PLAY THESE: HEARTACHE TONIGHT, LIFE'S BEEN GOOD, SEVEN BRIDGES ROAD
SKIP THESE: I CAN'T TELL YOU WHY, NEW KID IN TOWN
Apart from the polite applause at the end of every song, and the occasional bit of on-stage banter, there is little evidence to suggest that Eagles Live is in fact a live album. Comprised of performances recorded during the final tour just before the band broke up in 1980 (as well as a couple of 1976 recordings), the album is basically just another Eagles "best of" collection. Indeed, the band seems so intent on reproducing their studio recordings that there seems to be little reason for this "live" album's existence. I mean, if I'm an average Eagles fan and want to hear Hotel California in its entirety, why would I shell out an additional $25 for a double album that may be "live" but still sounds just like said studio album? Why wouldn't I just buy Hotel California?
The other thing that really bugs me is the fact that the band's early period tunes are almost completely ignored. They must of been aware of this fact too, otherwise they wouldn't have included several recordings from their 1976 tour (such as Randy Meisner's 'Take It To The Limit'), but the fact that such key Eagles songs like 'Lyin' Eyes,' 'One of These Nights,' and 'Already Gone' are missing is a pretty big problem.
Nevertheless, the album is still more than listenable overall, and there are even a few pleasant surprises to be found. One of these is the group's rendition of 'Seven Bridges Road,' which features what are probably the group's best-ever harmonies. In addition, the appearance of two Joe Walsh solo tunes ('Life's Been Good' and 'All Night Long') is also a nice surprise, offering a bit of comic relief after an onslaught of ultra-serious Henley performances. In terms of the other positives, there are also a few performances that eclipse their studio-recorded counterparts in terms of energy, the most notable being 'Heartache Tonight,' which Glenn Frey actually sings like he means it this time around. 'The Long Run' is also surprisingly good, with its - gasp! - slightly different arrangement and extended outro making it better than the original version.
The final verdict? Get it if you love the Eagles, but if you're a casual fan, you'd be better off with either Hell Freezes Over or one of the numerous "best of" collections currently on the market.
EAGLES
GREATEST HITS VOLUME 2 (1982)
RATING: 6
PLAY THESE: SEVEN BRIDGE ROAD, AFTER THE THRILL IS GONE, HOTEL CALIFORNIA
SKIP THESE: I CAN'T TELL YOU WHY, NEW KID IN TOWN, THE SAD CAFE
Released in 1982, Greatest Hits Volume 2 contains material from the last two Eagles studio albums, as well as an outtake ('Seven Bridges Road') and a tune that should have been on the first greatest hits album but wasn't ('After The Thrill Has Gone'). I don't think I need to explain why this is a bad idea. Most readers will already recall that The Long Run is an awful album, which of course means that the only remaining songs up for consideration on this compilation are originally from - yup, you guessed it - Hotel California. So basically, what we have here is a re-issue of Hotel California with a low budget album sleeve, and a couple of "bonus" cuts thrown in for good measure. Still interested?
RATING: 8
PLAY THESE: GET OVER IT, THE GIRL FROM YESTERDAY, HOTEL CALIFORNIA
SKIP THESE: I CAN'T TELL YOU WHY, THE LAST RESORT
Hell Freezes Over! That's a good one, Henley! No really, it is funny. You see, back in the 80's when Henley and Frey hated each other's guts, and the chances of The Eagles getting back together were about the same as Timothy B. Schmidt having a successful solo career, the phrase "when hell freezes over" was the standard reply to media inquiries as to when the reunion would happen. So when The Eagles were finally reunited in 1994, Henley cheekily decided to call the album Hell Freezes Over. Get it?
Henley's new light-hearted approach is also evident in the "new" Eagles song in fifteen years, the anti-political correctness song 'Get Over It.' The song takes aim at the "victimization" trend in American culture, whereby individuals refuse to take any responsibility for any of their own problems, and instead wallow in Oprah self-pity books, or Dr. Phil re-runs. So when Henley screams "get over it" in the chorus, one cannot help but punch one's hand in the air and sing along. Sure, it's still typical Henley buttheadedness, but some of those lines are pretty funny ("you say you're daddy's too thin and you're mama's too fat, get over it!").
The other new songs - and there are only four of them - are also pretty good as well, with Glenn Frey's 'The Girl From Yesterday' taking the prize for the best song. But even Schmidt's poppy 'Love Will Keep Us Alive' is pretty nice too, and although cheesy, it does help to make amends for that crime against humanity otherwise known as 'I Can't Tell You Why' (which, unfortunately, is also included as a live performance). The only clunker is Henley's 'Learn To Be Still,' a lousy, generic ballad that sounds like it was written in fifteen minutes, but knowing The Eagles' work habits it probably took them six years to finish it off.
The rest of the songs are live performances from the reunion tour, and almost all of them are quite good. 'Hotel California' is given an acoustic, rumba-flavored remake, replete with some freaking unbelievable guitar work from Don Felder (who, incidentally, was recently fired by Henley). As a matter of fact, I think I prefer this version to the original - it's got a better groove, that's for certain. There's even a very good version of Henley's solo tune 'New York Minute,' which I had previously regarded as the musical equivalent of a suppository, but this performance is surprisingly good. The only problem with the album is the fact that the band once again focuses almost exclusively on its late 1970's material, and as such the early period is unjustly ignored. Even still, the album is a keeper, with strong new material and some great live performances. Apart from the 1970-1975 greatest hits album, this is probably the strongest Eagles album out on the market.