Joe Walsh - Analog Man Review

Analog Man kicks off with proclamations about how the new-fangled digital world vexes the aging rocker. The irony is that, as Walsh is singing about how he’s “still analog” and lamenting the fact that “some ten-year-old smart ass” has to guide him through trouble-shooting his computer issues, the album was recorded in the digital medium. Luckily, the sound doesn’t suffer for the irony, and the record shows off a much more polished effort than we’ve ever seen from Walsh, Eagles work aside. The serious message about the nature of the “digital world” and its effects on youth are the first of many surprisingly serious points made on the clown prince of rock’s big return to form.

Producer Jeff Lynne’s fingerprints are all over Analog Man, and his production aesthetic on a track like “Wrecking Ball” (not to be confused with The Boss) hints at Lynne’s past work, specifically his success with Tom Petty’s 1989 classic solo effort, Full Moon Fever. While we may not have expected Walsh to join the Nashville via Liverpool sect, Mr. Walsh’s alleged nickname “Lumpy Wilbury” feels quite appropriate after a few spins of Analog Man....full text A first outing in 20 years by the sometime Eagle, goodtimey master of the slugging riff and the sardonic aside.

Jeff Lynne co-produces, Tommy Lee James co-writes, brother-in-law Ringo does a turn on the drums. And yes, it sounds like you imagine: slightly artificial, pop-inflected chunk-rock, with dustbin-lid drums, loads of guitars and even a hint of voice box/Auto-Tune. Meanwhile, Joe utters his plea for understanding. This is a personal album, you understand. ...full text If the wait for Joe Walsh‘s ‘Analog Man’ seems long, that’s because a couple of years after he released ‘Songs For A Dying Planet’ in 1992, the unthinkable happened.

Hell froze over and Walsh found himself participating in a full blown reunion of the Eagles, a union that remains intact ever since, with the band celebrating its 40th anniversary this year.

One could be forgiven for thinking that Walsh might never release another solo platter. Especially since there were other obstacles in the way; in addition to frequent touring with the Eagles, Walsh also decided that it was time to clean up and live an alcohol-free lifestyle for the first time after decades of being one of most colorful personalities in rock and roll. Having long since moved past those sophomoric hijinks, it was time to clean up the rest of his life as well....full text Inspired by the British blues-guitar heroes of the 60’s, Walsh developed an arresting approach to lead guitar, bending into and out of notes in a relaxed fashion that better qualified him for the nickname “Slow Hand” than Eric Clapton. Walsh’s vocals were unusual, featuring a high nasal vibrato that successfully navigated the line between irritating and endearing. His songwriting was equally idiosyncratic. While earlier songs focused on romantic misfires with occasional flights into whimsy or nostalgia, Walsh began regularly lampooning himself after joining The Eagles. His tongue-in-cheek ode to rock and roll self-indulgence, “Life’s Been Good to Me So Far” became his biggest hit, poking fun at the corporate rock star mentality from within at the same time punk rock was assailing it from without. Walsh tackled social issues in songs like “Turn to Stone” with Barnstorm and “In the City,” a song from The Warriors motion picture soundtrack which also appeared on The Eagles’ The Long Run. Forays into keyboard-driven soft rock following The Eagles’ break-up obscured his personality somewhat, but 1991’s “Ordinary Average Guy” showed Walsh’s wry sense of humor was still intact. “I may be eccentric,” he seemed to say to his audience, “but I’m a lot like you.”...full text