HOUSEKEEPING NOTE

Before we get into today’s column, you may have noticed that it’s Friday and you didn’t see this on the usual Tuesday. That was on purpose. That’s because this is the last column…for now!

I have to rearrange my priorities now that I’m receiving feedback from beta readers for my rock & roll novel. I’ve been querying for the last 2.5 months while they did that and now it’s time to get back to writing and rewriting. The time I’m going to use doing that is what I would use to research and write this weekly column. SO. It’s not ‘goodbye’ forever, Henley fans. It’s ‘see ya later’… for now.

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Background

Released in 1989, "The Heart Of The Matter" is a poignant ballad by Don Henley. The song, which appears on Henley's third solo studio album The End of the Innocence, delves into themes of forgiveness, healing, and the complexities of human relationships. The track showcases Henley's introspective lyricism and has resonated with listeners for decades.

Lyrical Analysis

• Forgiveness and Redemption: The lyrics center around the concept of forgiveness, exploring how letting go of past grievances is essential for personal growth and healing.

• Emotional Complexity: Henley captures the multifaceted nature of emotions involved in relationships, acknowledging both the pain and the possibility of moving forward.

• Nostalgia and Reflection: The song reflects on past memories and relationships, highlighting the bittersweet nature of reminiscing about what once was.

• Universal Themes: While deeply personal, the lyrics speak to universal experiences of love, loss, and the journey towards acceptance.

Read the full lyrics here!

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Musical Composition

• Melodic Structure: The song features a soothing, melodic structure that complements its reflective lyrics, creating a harmonious blend of music and message.

• Instrumental Arrangement: With a combination of acoustic guitar, subtle synthesizers, and gentle percussion, the arrangement underscores the song's introspective tone.

• Vocal Delivery: Henley's vocal performance is both powerful and tender, conveying a sense of vulnerability and sincerity that enhances the song's emotional impact.

Reception

"The Heart Of The Matter" received critical acclaim for its lyrical depth and Henley's emotive vocal delivery. It performed well on the charts, reaching the Top 40 on the Billboard Hot 100 and becoming a staple on adult contemporary radio.

Over the years, the song has remained a beloved classic, frequently covered by other artists and featured in various media, further cementing its place in pop culture. Fans consistently praise the song for its emotional resonance and timeless message, often citing it as one of Henley's most impactful solo works.

Song Credits

• Personnel:

  • Don Henley — lead vocals

  • Mike Campbell — keyboards, guitars

  • Larry Klein — bass

  • Stan Lynch — drums, percussion

  • Carmen Twillie — backing vocals

  • Julia Waters — backing vocals

  • Maxine Waters — backing vocals

• Written by:

  • Don Henley

  • Mike Campbell

  • J.D. Souther

• Produced by:

  • Don Henley

  • Mike Campbell

  • Danny Kortchmar

• Release Date: February 1990

• Label: Geffen

• Length: 5:21

My Take

I remember going through a nasty breakup in my early 20s and constantly listening to “The Heart Of The Matter.” At first, it was because I was bewildered. See, the song is terrific. No doubt about it. But the chorus was killing me: But I think it's about / Forgiveness, forgiveness / Even if, even if / You don't love me.

Forgiveness? Really?

Someone broke my heart and Henley is trying to tell me to forgive for not being loved anymore. It stung so hard that I could barely breathe. Those who know me know I’ve battled depression and this moment was the clinical peak.

I’d listen to the song over and over. Not because I was trying to torture myself. But because I was trying to understand why I needed to forgive for the hurt to stop.

Eventually, the pain subsided and the answer became clear. The bridge of the song stood out like the light at the end of a tunnel:

There are people in your life
Who've come and gone
They let you down
You know they hurt your pride
You better put it all behind you, baby
Cause life goes on
You keep carryin' that anger
It'll eat you up inside, baby

I was carrying so much anger that I was causing a lot of the hurtful feelings I was experiencing. It was hard — I have a lot of pride — but I had to take the higher road if I wanted to live the life I envisioned for myself. A life of happiness.

It took years to get to a healthy place. It wasn’t like I just flipped a switch and was okay again. But this song was monumental in pointing me in the right direction.

It’s reflections like these that solidify why Don Henley has meant so much to me. His lyrics and music have been there for me, in good times, bad times, and everything in between. He’s part of the soundtrack of my life and I think that’s the ultimate compliment an artist can get.

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Background

"Taking You Home" was released in 2000 as part of Don Henley’s album Inside Job. This track marked Henley's return to solo work after a lengthy hiatus during which he was primarily involved with the Eagles and various other projects. The song reflects Henley's matured perspective on life, relationships, and family, showcasing his growth both as a musician and a person.

Lyrical Analysis

• The lyrics convey a deep sense of commitment and love, illustrating Henley's dedication to his family.

• Themes of redemption and personal growth are evident, with Henley reflecting on past mistakes and the journey to make amends.

• The chorus emphasizes a sense of security and safety, with the phrase "taking you home" symbolizing a return to comfort and stability.

• Henley's use of vivid imagery paints a picture of intimacy and close relationships.

• The lyrics also explore the idea of home not just as a place, but as an emotional state where one feels truly loved and accepted.

Read the full lyrics here!

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Musical Composition

• The song features a mid-tempo arrangement, blending elements of rock, pop, and country.

• Henley's distinctive voice is complemented by rich harmonies and layered backing vocals.

• Instrumentation includes a mix of acoustic and electric guitars, providing a warm, inviting sound.

• The rhythm section, with steady drums and bass, creates a solid foundation that enhances the song's soothing quality.

• Subtle use of keyboards and strings adds depth, giving the song an uplifting, yet reflective atmosphere.

Reception

"Taking You Home" was well-received by both fans and critics, who praised its heartfelt lyrics and Henley's vocal performance. It became a significant part of Henley's solo repertoire, earning airplay on adult contemporary radio and resonating with listeners who appreciated its sincere and introspective nature.

"Taking You Home" is Henley’s only song to reach number one on the Adult Contemporary chart as a solo artist. It held the top spot for four weeks and also climbed to number fity-eight on the Billboard Hot 100.

The song was featured in the closing scenes of the "Such Sweet Sorrow" episode of ER's sixth season, where Carol Hathaway (Julianna Margulies) and Doug Ross (George Clooney) reunite after a year apart.

In 2017, it was also used in the season three finale of Hallmark Channel's Good Witch, during the engagement of Cassie Nightingale (Catherine Bell) and Dr. Sam Radford (James Denton).

Song Credits

• Personnel:

  • Don Henley — lead vocals

  • Mike Campbell — guitar

  • Stan Lynch — drums

  • Scott Plunkett — keyboards

• Written by:

  • Don Henley

  • Stuart Brawley

  • Stan Lynch

• Produced by:

  • Don Henley

  • Stan Lynch

  • Mark Goldenberg

• Release Date: May 23, 2000

• Label: Warner Bros. Records

• Length: 5:01

My Take

It’s the Henley Heartbreakers once again! I shouldn’t be surprised at this point but it’s still a bit shocking to see Mike Campbell and Stan Lynch pop up so often during Henley’s solo career. Now I’m wondering why they never formed some type of “super band” together, especially after the deaths of Glenn Frey and Tom Petty. We can dream, can’t we! Although we’ll have to wait until at least next year with the Eagles’ recent Vegas residency announcement!

This is a truly beautiful song. It’s probably my favorite melody of any of Henley’s solo tunes. It oozes romanticism and something about Teenage Colin resonated with that. Part of it was being fresh material. As I noted earlier, this was Henley’s first release since 1989.

I remember being excited about it because my parents were excited about it. They got the Inside Job Live DVD and I would come home after school and watch it daily. Usually, I’d get all sweaty and do a workout. I was a weird kid, what can I say. But it was one of the first times I could picture myself being on center stage. Under the lights. That’s what would get the adrenaline pumping for a workout, not necessarily the somber sound of “Taking You Home.”

Henley gets to soaring heights with his vocals in this one and that was always fun to sing along to. In the moment, I imagined I was as good as Don, but in reality, I was probably as good as Tom Cruise’s character Jerry Maguire when he belts Petty’s “Free Fallin’” in the car during one scene of the the movie with the main character’s same name.

Whatever.

For a long time, “Taking You Home” was my favorite Henley solo song. It remains firmly in my top five — the highest rated song from the Inside Job album.

It’s, as usual, quintessential Don Henley. Poignant lyrics, amazing vocals, and a magnetic backing instrumental. There’s a good chance, if you are a casual Henley fan, that you’ve missed this song. If that’s the case, click below and listen to it right now. Even if you’ve already heard it, click it anyway and get lost in the magic that is Don Henley’s music!

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Next week, we’ll be talking about forgiveness in “The Heart of the Matter” 🎶

Until then, let me know in the comments what you think of “Taking You Home” and share any stories, insights, and thoughts you have!

Lastly, if you have feedback on the structure of this column, drop that below too! I want this recurring column to resonate with you as much as Henley’s music does with me!!

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We are having a giveaway contest from now until the end of June! Any new paid subscribers will be entered into a drawing for a Shiloh CD — the first stereo recording release of the band Don Henley was in before the Eagles! So smash that button below to get started and put yourself in the running to win!

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Background

"The Last Worthless Evening" by Don Henley combines poignant lyrics with a sophisticated musical arrangement, creating a song that is reflective and emotionally compelling. Released in 1989 and co-written by Henley and collaborator John Corey, the song was part of an album that received critical acclaim and commercial success, solidifying Henley's reputation as a solo artist.

"The Last Worthless Evening" reflects on the themes of heartbreak, introspection, and hope for renewal. The song blends Henley's lyrical style with a polished musical arrangement typical of the late 1980s rock scene. The song's reflective tone and emotional depth make it a standout track, showcasing Henley's ability to connect with listeners on a personal level.

Lyrical Analysis

• Heartbreak and Healing: The lyrics delve into the pain of past relationships and the cautious optimism of starting over.

  • "I know you broke up with him / And your heart's still on the shelf"

• Narrative Perspective: The song is written from the first-person point of view, creating an intimate conversation between Henley and the listener.

  • "This is the last worthless evening / That you'll have to spend"

• Metaphorical Language: Henley illustrates the song's emotions and situation, enhancing the lyrics' poetic quality.

• Emotional Resonance: The lyrics evoke a deep sense of empathy, capturing the complexity of moving on from a broken relationship.

Read the full lyrics here!

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Musical Composition

Musically, "The Last Worthless Evening" is a blend of soft rock and adult contemporary styles.

• Instrumentation: Features a mix of electric and acoustic guitars, piano, and a steady drum beat.

• Melody and Harmony: The song has a memorable melody with harmonious backing vocals.

• Structure: Follows a traditional verse-chorus structure, with a bridge that adds contrast and depth.

• Production: The production is clean and polished, typical of late 1980s rock.

• Tempo and Dynamics: Medium tempo, with dynamic shifts that emphasize the emotional weight of the lyrics.

Reception

The single went to #21 on the U.S. Billboard Hot 100 chart after its release in 1989. It also reached #5 on the U.S. Billboard Hot Adult Contemporary Tracks and #4 on the U.S. Billboard Mainstream Rock Tracks.

Song Credits

• Personnel:

  • Don Henley — lead vocals, drums

  • John Corey — keyboard, guitars

  • Mike Campbell — additional guitars

  • Bob Glaub — bass

  • Stan Lynch — percussion

• Written by:

  • Don Henley

  • John Corey

  • Stan Lynch

• Produced by:

  • Don Henley

  • Mike Campbell

  • John Corey

• Release Date: October 3, 1989

• Label: Geffen

• Length: 6:03

My Take

According to my parents, “The Last Worthless Evening” is the first song I liked. It tracks—no pun intended—given that the album was released in 1989, the same year I was born. So it likely got lots of airplay around the house and in the vehicle.

I know two things to be true about this tune:

1. Because this is my first favorite song, it’s always held a special place in my heart. It evokes nostalgic and sad feelings. I remember my childhood when this song played. I see my parents, at roughly the same stage of life I am in. It’s just such a weird fact of life that overlap like this can happen. You can have the lived experience and then also live in the shoes of others. That’s the power of music. Of course, I’ll never be able to go back to the specific childhood moments in my head. That gets me down, to know we can never fully replicate what once was. But I’m also grateful to have the memories this song gives me. I only want to go back because they are happy memories. Memories of times less chaotic and stressful — at least for me!

2. Henley is, perhaps, at his vocal best in this song. The range he hits is spectacular in a single song. The lyrics are vivid, and the music's rhythm is a terrific blending making this an easy-listening tune.

It’s also amazing the number of collaborations Henley had with Tom Petty’s band, the Heartbreakers. We’ve already covered “The Boys of Summer” and know how important Mike Campbell is to that song’s origin story. He pops up again here, as does longtime and original Heartbreaker drummer, Stan Lynch.

It’s interesting because I don’t think the Eagles and the Heartbreakers have similar sounds. Tom’s band, to me, was always more hard-rockin’. Maybe what Henley and Glenn Frey aspired to be and somewhat accomplished at the end of the 1970s.

But you can see how Petty’s music shifts during the 1980s to be more aligned with that of Henley’s. Their albums from 1989 sound much more similar than anything during the decade before. For Petty’s Full Moon Fever, the album is notable for Jeff Lynne's heavy influence, resulting in a cleaner take on the Heartbreakers' roots rock style from previous albums. Although Petty’s album was ultimately more commercially successful, it’s still interesting how the sounds from both artists became so similar at this point.

🎶 Listen on Spotify

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Next week, pack your bags because I’m “Taking You Home” 🎶

Until then, let me know in the comments what you think of “The Last Worthless Evening” and share any stories, insights, and thoughts you have!

Lastly, if you have feedback on the structure of this column, drop that below too! I want this recurring column to resonate with you as much as Henley’s music does with me!!

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If you’d like to do a Guest Feature, all you have to do is send me a message or comment below!

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Dan Kirouac pens our Guest Feature piece this week about one of his favorite Don Henley songs, “The Last Worthless Evening.” Dan and I — like Lisa before — met and are part of the many terrific Don Henley fan groups on Facebook. He’s got a great story and is a huge Don Henley fan. Give this a good read!

By Dan Kirouac

MASSACHUSETS —

Don Henley really inspires me as a musician. Lyrically, he doesn't let anything sub-par get out there; he's always striving to say something in the most interesting and thought-provoking way possible. I write that way too, just editing and re-writing like nobody's business: I put songs down for days, or weeks, or a couple times, even months, and return to it to tweak a whole verse or just a handful of words. I love his lyrical standards!

From a drumming perspective, he's a bands' dream — not showy or flashy, but focusing on staying "in the pocket" as they say, with his slightly behind-the-beat approach.  He knows the lyrics, guitars, and the vocal harmonies are at the core of the Eagles' appeal, so he stays out of the way and lets those shine. When he DOES do a fill (as in "just can't kill the beast", and the tasty little fill that follows), it's memorable and becomes an "air-drum" classic.  He's precise and consistent, and he can be as simple as a metronome as in “I Can't Tell You Why,” or deliver more complex parts as in “One Of These Nights” or “Those Shoes.”

“The Last Worthless Evening,” off of The End Of The Innocence album, seemed to be a lost classic within the first year it was out. At least around here, in the northeast USA, it really fell away from airplay quickly in favor of “The End Of The Innocence” and “The Heart Of The Matter.” I loved both of those, by the way, but for whatever reason "Worthless Evening" struck a chord with me.

The music is a steady chugging held together with the drums and rhythm guitars. Nothing fancy, but enough to lull you in and not overshadow the story. There is an equal mix of guitars and synthesizer, as well as backing vocals in the middle: the "time, time ticking...ticking", sung as if it were the ticking clock itself.

The video really helps the song paint the picture. The dancing people at a late-1980s (presumably southern California) party, highlight more themes of overindulgence and superficial pleasures—common in the writing of Hotel California and The Long Run albums. I'd be remiss if I didn't point out that the young blonde in the video is nothing short of STUNNING, and at least visually conveys the character of someone who is put together well on the outside, but is struggling with as much anxiety inside as any of us trying to sort things out—note her facial gestures—probably a good actress, whoever she is.

The singer (and I use the term "singer" instead of "Henley", because I don't know if this song is autobiographical or not—Henley can write just as convincingly as a third-party observer as much as if it were a personal situation to him) alternates between assessing his own shortcomings and a desire for personal growth and that of observing the same longings he sees in another. It's one, maybe two midlife crises sandwiched within the same song.

The song is so captivating, it's easy to overlook that it falls just shy of SIX MINUTES! Feels like he still left us wanting it to go on a little longer.

If you do watch the video on YouTube, note many of the comments. People who connect with Don Henley seem to be more brilliant with their thoughts and writings than the usual drivel you see posted about other artists. It's refreshing.

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1. The Don Henley SHILOH CD giveaway continues through the end of June! All you need to do is sign up for a paid subscription to be entered!

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2. The Guest Feature will occur as often as possible. This is the second edition — the first standalone — since I began this series. We have interest from a lot of folks to do these in the future, but it’s all timing and availability for actually getting it done.

3. If you’d like to do a Guest Feature, all you have to do is send me a message or comment below!

   Leave a comment

   That’s it!

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Lisa Svegre pens our Guest Feature piece this week about her favorite Don Henley song, “Talking to the Moon.” Lisa and I met and are part of the many terrific Don Henley fan groups on Facebook. She’s a huge fan, and super knowledgeable, and I’m honored to give her the spotlight.

By Lisa Svegre

NORWAY —

I became an Eagles fan at the age of ten and fell in love with Don Henley’s voice and the brilliant dynamics in his singing when I heard "The Last Resort" for the first time and was left in tears.

My fandom for Henley began that day. I’ve been following him and the Eagles ever since. Living far north in Norway, I didn’t have any hopes that I’d ever see him or them live.

But good things come to those who wait. In 2019, my daughter, my brother, and I finally got to see them after 42 years of waiting.

Better late than never.

It was just as magical and emotional as I thought it would be. If I hadn’t had the pictures and videos from the concert, I’d probably have felt it was all a dream.

Which was in a way—a dream come true.

“This is a song about small-town Texas,” Henley has said about this song. His Texan roots shine through as he describes the heat, the dust, “the trucks a-passin’ by,” then hearing their mournful sigh from the front porch swing. It’s like he’s painting a picture for the listener (at least for me personally).

The arrangement of the song is really great. I especially like the accordion solo and how he [Bruce Hornsby] changes the tone from major to minor in the part starting with “And the wind across the plains,” and then back to major at “So goodbye, rodeo….”

Eventually, Henley increases the volume from “Talking to the Moon.” It’s so overwhelming, going from soothing to powerful, giving it all as he expresses his pain and sorrow about missing his Lady Love.

The song is breathtaking and an emotional rollercoaster for me personally. I never listen to it without having a box of Kleenex nearby.

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We are having a giveaway contest from now until the end of June! Any new paid subscribers will be entered into a drawing for a Shiloh CD — the first stereo recording release of the band Don Henley was in before the Eagles! So smash that button below to get started and put yourself in the running to win!

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Background

“Talking to the Moon” is a track from Don Henley's critically acclaimed debut solo album, I Can't Stand Still, released in 1982. Henley’s transition from the Eagles’ signature country-rock sound to a more personal and introspective style is evident in this album.

“Talking to the Moon” is a poignant ballad, showcasing Henley's lyrical depth. Henley's distinctive voice, combined with the melancholic melody, creates a hauntingly beautiful experience for listeners.

Lyrical Analysis

“Talking to the Moon” is a reflective and evocative ballad that covers themes of solitude, longing, and introspection.

Henley sets the scene with vivid imagery of a parched Texas landscape, evoking a sense of desolation and heat. The dry, cracking leaves symbolize not only the physical drought but also an emotional barrenness.

This second verse introduces the idea of destiny and the belief that love will eventually find its way. Henley feels connected with his absent loved one, believing they are both searching for the same sense of belonging and fulfillment.

In the chorus, Henley personifies the moon as a confidant, a silent witness to his loneliness and heartache. “Talking to the moon” signifies an attempt to find solace and understanding in the face of emotional pain.

The bridge paints a serene but haunting picture of the night, mirroring the stillness and quiet of Henley's inner turmoil. The contrast between the calm exterior and the intense internal heartache emphasizes the depth of his emotions. Despite the pain, his love remains steadfast, showcasing his enduring commitment.

Read the full lyrics here!

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Musical Composition

• Instrumentation: The song primarily features piano, acoustic guitar, and strings. The instrumentation is deliberately sparse, allowing Henley’s vocals and lyrics to remain the focal point.

• Harmony and Melody: The melody is simple yet reminiscent, relying on minor chords to convey a sense of melancholy. The harmonic structure supports the emotional narrative, with subtle shifts between minor and major chords to reflect the interplay of hope and heartache.

• Rhythm and Tempo: The tempo is slow, reinforcing the contemplative nature of the song. The rhythm is steady, with minimal percussion, allowing the lyrics to guide the listener’s emotional journey.

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Reception

Though not released as a single, "Talking to the Moon" has remained a favorite among Henley fans for its heartfelt lyrics and melody.

Song Credits

• Personnel:

  • Don Henley — lead vocals

  • Danny Kortchmar — electric guitar

  • Benmont Tench — keyboards and acoustic piano

  • Garth Hudson — synthesizers

  • Steve Porcaro — drums synthesizers

  • Steve Lukather — acoustic guitar

  • Kenny Edwards — bass

• Written by:

  • Don Henley

  • J.D. Souther

• Produced by:

  • Don Henley

  • Danny Kortchmar

  • Greg Ladanyi

• Release Date: August 1982

• Label: Asylum

• Length: 4:40

  ---

My Take

Life is funny. You can go forever loving an artist, yet somehow never discover true classics until years go by. That’s my story with “Talking to the Moon.”

But I think I know why. My parents had all of Henley’s solo albums. At least, I thought they did. Remember, I grew up before the internet truly took off. So it was more literally you only knew what you knew. Until my late 20s, I had no idea I Can’t Stand Still even existed. Dad, if you’re reading this, I’ve never asked why you didn’t have it!

Not only did we not own it, the album was never mentioned. Maybe this is because the only commercial hit was “Dirty Laundry.” But what’s even more fascinating is that I knew of that song! It was always on TK99 in Syracuse, NY; their classic rock channel. But — and this is from a guy who loves albums — I never asked where that song came from. It’s like it was its own separate entity from anything else Henley-related.

Then, one day I was browsing Spotify and I stumbled upon this Henley album cover I’ve never seen before. WOW! New music! I think to myself. Now I’m wondering when Henely released this album while assuming it was a recent release. Nevertheless, I was stunned to find the album was released in 1982.

WHAT?!

After my bewilderment, I went into the album. Initially, I liked “You Better Hang Up” the best. Probably still do for nostalgic reasons. Then I got into “Johnny Can’t Read.” Then a few years went by, I rediscovered the album, and fell for “Lilah.”

It wasn’t until around 2022 that my youngest daughter Stella pointed out the MOON in “Talking to the Moon” because, alas, it was and remains one of her favorite things to find each day. It was then that I began to listen to the song more regularly. Eventually, I fell in love with it because of the meaningful tie it had for my daughter and because it was such an incredibly beautiful ballad.

The lyrics are memorable, the imagery is strong, and Henley sounds terrific. My favorite thing to do with this song is listen to the live version from Henley’s Inside Job DVD. His voice sounds so strong, so sure, and so confident at that moment. He may have been at his apex as a singer.

The way Henley sounds and the way I hear him in that version of “Talking to the Moon” is how I’ll choose to remember this song forever.

🎶 Listen on Spotify

Next week, it’ll be “The Last Worthless Evening” that you’ll have to stand! 🎶

Until then, let me know in the comments what you think of “Talking to the Moon” and share any stories, insights, and thoughts you have!

Lastly, if you have feedback on the structure of this column, drop that below too! I want this recurring column to resonate with you as much as Henley’s music does with me!!

Subscribe now

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We are having a giveaway contest from now until the end of June! Any new paid subscribers will be entered into a drawing for a Shiloh CD — the first stereo recording release of the band Don Henley was in before the Eagles! So smash that button below to get started and put yourself in the running to win!

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“Dirty Laundry” is a hit piece — no pun intended.

After its release, it quickly became a hot song, with the lyrics describing mass media sensationalism in American culture.

Why was Don Henley so bent out of shape? Let’s dig in and find out!

Background

"Dirty Laundry" was released as the lead single from Henley’s debut solo album I Can't Stand Still in 1982. Henley wrote the song in collaboration with his pal Danny Kortchmar. It was born out of Henley's frustration with mass media sensationalism and the ethical lapses he observed.

At the time, Henley was increasingly disillusioned with how news outlets prioritized entertainment and scandal over factual reporting, a sentiment that resonated with many listeners. "Dirty Laundry" became a commercial success, earning a Grammy nomination and solidifying Henley's reputation as a solo artist with a critical edge.

Lyrical Analysis

The lyrics of "Dirty Laundry" offer a scathing critique of the media, particularly targeting the sensationalist practices of television news. Henley uses vivid imagery and sharp metaphors to depict the media as vultures preying on human suffering and scandal. The song opens with the line "I make my living off the evening news," immediately setting the stage for a critique of the news industry's priorities.

In the verses, Henley highlights the superficial and exploitative nature of news reporting. Lines like "We got the bubble-headed bleach-blonde who comes on at five" criticize the focus on appearance and ratings over substantive journalism.

The chorus symbolizes the exposure of private matters for public consumption. Henley sings, "Kick 'em when they're up, kick 'em when they're down," reflecting the media's opportunistic tendencies.

Henley's use of direct and unapologetic language conveys his disdain for the lack of journalistic integrity. Phrases like "You don't really need to find out what's going on" suggest that the news aims not to inform but to entertain. The song’s bridge introduces a sarcastic tone with lines like "We can do the innuendo, we can dance and sing," mocking the trivialization of serious news stories.

Overall, "Dirty Laundry" serves as both a pointed social commentary and a call for higher ethical standards in reporting. The song's critical message remains relevant in 2024.

Read the full lyrics here!

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Musical Composition

"Dirty Laundry" features a distinctive blend of rock, new wave, and electronic music elements, characterized by its driving beat and synthesizer riff. The song opens with a crisp drum pattern played by Jeff Porcaro of Toto(!), which is soon joined by a pulsing bass line, providing a solid groove that anchors the track.

The synthesizer riff is catchy and repetitive. Throughout the track, layered synths add a sound indicative of the early 1980s musical landscape.

Henley's vocal delivery is sharp and cynical, aptly suited to the song's critical lyrics. His voice carries a sense of urgency and frustration, which enhances the song's confrontational message.

The overall production, handled by Henley and Greg Ladanyi, is polished and punchy.

Reception

“Dirty Laundry” went to #1 on the Billboard Top Album Tracks chart shortly after its release in October 1982. It also spent three weeks at #3 on the Billboard Hot 100 in 1983, eventually becoming a certified Gold single by the Recording Industry Association of America.

Fun Facts

The EAGLES 🦅 got back together for this song!

Well, kind of. Joe Walsh rips off the first guitar solo while Timothy B. Schmidt plays a steady bass and contributes his beautiful backing vocals.

They had a majority! Nevertheless, it would be another twelve years before all five Eagles from the 1980 lineup reunited.

Although an official music video was never made, Global News created a parody video in 1985. This video, attributed to the "News Brothers" (a group of Global News reporters), featured the song.

Finally, The "bubbleheaded bleach blonde" mentioned in the song was rumored to refer to Christine Lund, formally of KABC-TV in Los Angeles, but Henley has firmly denied this.

Song Credits

• Personnel:

  • Don Henley — lead vocals, backing vocals

  • Steve Porcaro — keyboards, special keyboard effects

  • Roger Linn — Linn LM-1 (credited with “special effects”)

  • Danny Kortchmar — rhythm guitar, backing vocals

  • Joe Walsh — first guitar solo

  • Steve Lukather — second guitar solo

  • Timothy B. Schmidt — bass, backing vocals

  • Jeff Porcaro — drums

  • George Gruel — backing vocals

• Written by:

  • Don Henley

  • Danny Kortchmar

• Produced by:

  • Don Henley

  • Bruce Hornsby

  • Greg Ladanyi

• Release Date: October 12, 1982

• Label: Asylum

• Length: 5:36

My Take

I go back and forth with this song. Lately, it’s been more back than forth because I’m fully appreciating the rest of the I Can’t Stand Still’s album.

Obviously, “Dirty Laundry” was written to be a commercial success. That’s fine. The lyrics that expose the media for unearthing untasteful things about people when they’re no longer around make sense to me. Especially when it’s “crap” to make media conglomerates* “king.” If it’s information that can actually be helpful or constructive, go for it. But that’s not usually the case. Negativity and tabloids sell.

*SUCCESSION, anyone?

So while I resonate with the lyrics — normally the most important aspect of a song for me — it’s really the music that seesaws my emotions. It’s a little too ‘80s sounding. I love Joe Walsh and it’s cool that he was part of this song, but his influence on the overall sound is pretty insignificant. That leaves the final product pretty mid-sounding.

In all, this song served the purpose of its time, both for meaning and sound. There ain’t nothing wrong with that; it’s just not a favorite of mine!

🎶 Listen on Spotify

Next week, we’ll head into space and cover “Talking to the Moon.”

Until then, let me know in the comments what you think of “Dirty Laundry” and share any stories, insights, and thoughts you have!

Lastly, if you have feedback on the structure of this column, drop that below too! I want this recurring column to resonate with you as much as Henley’s music does with me!!

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We are having a giveaway contest from now until the end of June! Any new paid subscribers will be entered into a drawing for a Shiloh CD — the first stereo recording release of the band Don Henley was in before the Eagles! So smash that button below to get started and put yourself in the running to win!

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“The End of the Innocence” comes from the album with the same title, which happens to be the first Don Henley solo work I remember hearing. There is a special nostalgia associated with that. I vividly recall holding the CD case and reading the lyrics on the liner notes. I picture the album sitting in my Dad’s old dark green Nissan. Most importantly, I remember being blown away by Henley’s vocals.

This song has had a lot of different meanings for me throughout the years. But before we get to that, let’s dive deep into how the song came to be!

Background

“The End of the Innocence” is Henley's third studio album's first single and title track. It’s also the name of said album.

Looking to repeat his success collaborating with another artist — and possibly still looking to fill the void left by Glenn Frey when the Eagles broke up — Henley called Bruce Horsnby “in 1987 right around then.”

The two instantly became close when one day Horsby showed Henley a piece of music he had previously written but hadn’t gotten much further with. After Henley listened to the cassette recording, he wrote the lyrics and had himself another hit song, just like he had done with Mike Campbell’s demo of what eventually became “The Boys of Summer.”

Lyrics Analysis

"The End of the Innocence" by Don Henley is a reflective song covering themes of lost innocence, disillusionment, and the bittersweet nature of growing up. It captures a sense of nostalgia and longing for simpler, more idealistic times, mixed with the harsh realities of adulthood and the socio-political climate of the late twentieth century.

Key Themes and Interpretations:

1. Loss of Innocence:

   • The song emphasizes a yearning for the purity and simplicity of youth, which inevitably fades while confronting the complexities and challenges of adult life.

     • Lyrics like "Remember when the days were long / And rolled beneath a deep blue sky" evoke a sense of nostalgia for childhood and a time when life seemed more carefree and full of promise.

2. Political and Social Commentary:

   • Henley subtly (or not) critiques the political landscape of the time, referencing the disillusionment many felt during President Ronald Reagan’s administration in the United States.

     • "They’re beating plowshares into swords / For this tired old man that we elected king" suggests a critical view of the leadership and policies that have led to conflict and a loss of idealism.

3. Personal Reflection and Growth:

   • The song also touches on personal growth and the painful but necessary maturing process.

     • The chorus, "The end of the innocence," can be understood as both a personal and a collective acknowledgment of the loss of naivety and the acceptance of life's more sobering realities.

Read the full lyrics here!

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Musical Composition:

The music is reflective and melancholic. The song opens with a melodic piano introduction, complementing the soft percussion and orchestral elements.

1. Piano Intro:

   • The piano melody is played by Bruce Hornsby, setting a contemplative tone for the track.

2. Instrumentation:

   • The song also features keyboards, synthesizers, subtle orchestral elements, acoustic and electric guitars, bass, and drums.

3. Rhythm and Tempo:

   • The tempo is moderate, steady, and unhurried, allowing the listener to focus on the lyrics and the emotive quality of the music.

4. Melody and Chord Progressions:

   • The melody is memorable and haunting, underscoring the reflective nature of the lyrics.

   • The chord progressions move between major and minor chords.

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Reception

“The End of the Innocence” peaked at number eight on the US Billboard Hot 100, becoming Henley’s fifth solo top-ten hit. It also became his fourth number-one single on the Album Rock Tracks chart, receiving Grammy nominations for Record of the Year and Song of the Year.

Song Credits

• Personnel:

  • Don Henley — vocals

  • Bruce Hornsby — acoustic piano, additional keyboards

  • Jai Winding — keyboard bass

  • Michael Fisher — percussion

  • Wayne Shorter — soprano sax solo

• Written by:

  • Don Henley

  • Bruce Hornsby

• Produced by:

  • Don Henley

  • Bruce Hornsby

• Release Date: June 6, 1989

• Label: Geffen

• Length: 5:16

Fun Facts

“The End of the Innocence” music video earned Henley an MTV Video Music Award for Best Male Video in 1990. We are two for two in songs in that category so far. Not bad for a guy who didn’t like to do them!

My Take

I love “The End of Innocence.” I think it’s brilliantly written and sung by Henley. It’s his quintessential type of song. That’s why I continue to love the song. Because as you’ll see below, the rest of the song’s meaning doesn’t elicit the best feelings.

The opening lyric “Remember when the days were long / And rolled beneath a deep blue sky” strikes harder today, being in my mid-30s and having two toddlers. As a kid, there were times when I watched the clouds and time didn’t seem to go by so quickly. When I do it with my kids, I enjoy it, but it doesn’t evoke the same emotion. The days are no longer long, even if I’m lucky to see the Carolina Blue sky regularly.

I wasn’t alive for Reagan’s term as President of the U.S. (I missed him by roughly three weeks!) but the criticism seems to have held up well, not just for that administration, but for some that followed. And I also wonder why — more than thirty years later — we keep electing “tired old men” for political leadership positions. I’m not just talking about the current presidential candidates. In general, there continue to be so many folks who represent our country based on tenure, not accomplishments. I’d like to see that change in my lifetime.

Finally, this song hit particularly hard after the Jerry Sandusky scandal at Penn State, where I went to school. I remember feeling the proverbial glass shattering for a town that prided itself on being good and clean people. Instead, we found out there were a lot of dirty people who got away with nasty things for too long. It took a horrendous event like that to put in safer protocols for children in that area. That will forever be a sad memory that cannot be erased.

🎶 Listen on Spotify

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Next week, I’ll uncover all the “Dirty Laundry.”

Until then, let me know in the comments what you think of “The End of the Innocence” and share any stories, insights, and thoughts you have!

Lastly, if you have feedback on the structure of this column, drop that below too! I want this recurring column to resonate with you as much as Henley’s music does with me!!

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A quick reminder about the giveaway contest from now until the end of June! Any new paid subscribers will be entered into a drawing for a Don Henley memorabilia item. I am furiously researching and seeking to obtain the item and I’ll let you know what it is ASAP. But you can be sure it’ll be worth the $35 it takes to sign up for an annual subscription. So smash that button below to get started and put yourself in the running to win!

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What’s “most popular” is often as objective as it is subjective, but in the case of Don Henley’s solo career, it seems pretty, pretty, pretty* obvious that “The Boys of Summer” is his most popular song. The song is #1** for Henley on Spotify with 541,912,673 streams and counting. It’s also his highest-charting song, peaking at #5 on the U.S. Billboard Hot 100.

From Henley’s 1984 album Building the Perfect Beast, let’s dive into what’s made “The Boys of Summer” so iconic.

*Did you get the Larry David Curb reference?

**“The End Of The Innocence,” sits a diiiistant second on the list, with 80,381,000 streams.

Background

“The Boys of Summer” gets its track title from Roger Kahn's 1972 book* on the Brooklyn Dodgers, which itself was inspired by a Dylan Thomas poem** (1939). Kahn’s book covers the heartache of the Dodgers spurning Brooklyn for Los Angeles.

*I’ve never read Kahn’s book which is a bit surprising given how big of a baseball fan I am. I’ll add it to my neverending list of books to read!

** Henley is famously well-read and was an English major in college. It’s not surprising he’s able to be this well-versed in literature.

Infamously, the music was written by Mike Campbell, lead guitarist and confidante of Tom Petty and their band, the Heartbreakers. Campbell used a Roger Linn drum machine to come up with the song’s rhythm before recording the demo to a 4-track machine. Then Campbell decided to show the song to Petty.* Petty turned it down as they recorded Southern Accents, stating that he didn’t believe the sound fit the album concept.

*The story goes that Petty and Campbell went into a vehicle to listen to a tape mix of “Don’t Come Around Here No More” when “The Boys of Summer” came on the radio. This happened after Petty had turned down the song and it had become a hit for Henley. I love this story for two reasons: 1). because it highlights how much Petty cared about the fan experience, something he consistently wrote about in his music. They wanted to hear how the mix would sound on a radio not just in the studio. And 2). Petty admitted to Campbell that “The Boys of Summer” turned out to be a pretty rad song!

There are differing accounts for how Campbell and Henley linked up and wrote the song. Luckily for us Henley aficionados, it did happen.

The Heartbreakers were working with producer Jimmy Iovine, a friend of one Mr. Don Henley. When Campbell debuted the unnamed demo in the studio, Iovine, who was there, suggested showing it to Henley. Despite never having met, Henley and Campbell had their first phone call the next day. Campbell played the demo for Henley over the speaker, and Henley, impressed, promptly wrote the lyrics and expressed eagerness to record the song.

But as recollected from The Moment with Brian Koppelman, Campbell says Henley just sat at the other end of a big table “like a judge” listening in silence with his eyes closed. This implies they met in person for the unveiling of the demo. Campbell says he left having no idea if Henley liked the song or not. When he got home, he got a call from Henley, who said “I just wrote the best song of my life to your music.”

Which version is the true story? I’ll let you be the judge!

Lyrics Analysis

Henley wasn’t blowing smoke! “The Boys of Summer” is a terrifically written song.

To most, the song is simply about looking back on past relationships and wanting to return to what you had. In 1987, Henley opened up to Rolling Stone, revealing that the song revolves around aging and introspection—a common theme in his lyrics.

Interestingly, Henley uses the “boys of summer” as a metaphor for the guys that an ex-girlfriend is dating. They seem to be just summer flings, while the protagonist sees himself as someone who could be with her forever.

The opening lines, "Nobody on the roads, nobody on the beach," paint a picture of the California coast transitioning from summer to fall. As the weather cools down, the area becomes noticeably quieter. Followed by the depressing lyric “The summer’s out of reach.”

The second verse illustrates the subject's struggle with being left behind while his ex has moved on. Despite this, he still clings to hope, as seen in the lines: “But babe, I'm gonna get you back, I'm gonna show you what I'm made of.”

Regarding the third verse, Don Henley shared with NME in 1985:

I was driving down the San Diego Freeway and got passed by a $21,000 Cadillac Seville, the status symbol of the Right-wing upper-middle-class American bourgeoisie – all the guys with the blue blazers with the crests and the grey pants – and there was this Grateful Dead ‘Deadhead’ bumper sticker on it!

Despite Henley and the protagonist’s optimism at the beginning, by the end, they realize they must move on: “Those days are gone forever, I should just let them go.”

See the full lyrics here!

Reader Story!

In each column, I would like to feature a reader of CERNIG and get their insights and stories on the song we are covering. If you’d like to be featured in the future, send an email or comment below.

This week’s Reader Feature is from my Mom! I’ve forever known that “The Boys of Summer” is her favorite Henley song — one of her favorite songs, period. But I never knew why! It’s one of those things that you learn when you’re younger that just becomes fact and you don’t feel the need to do additional research. Until you write a column about said song!

Here’s what Mom said when I asked her about “The Boys of Summer”

Everytime I hear “The Boys of Summer,” I am reminded of when Dad and I lived in SoCal. Driving the freeway system with that song cranking and still not believing that I moved across the country and left my sheltered Scranton life.

I’ve never blared the song on the California freeway but I get the sentiment, and I think a lot of us have had a similar experience. In fact, my wife and I have continued the adventurous spirit my parents instilled. We moved down to North Carolina in 2018 and never looked back. Plus, the rest of the family eventually joined us down here, too! But to think — I could’ve been a California baby! Mom and Dad moved back to Scranton before they had me and that’s a story for another day 🙂

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Musical Composition

While Henley and Campbell wanted to recreate the demo as close to the original as possible, they changed the key for Henley’s voice. In an interview with Songfacts, Campbell said, “We actually cut it in one key, did the whole record with overdubs and everything, and then he decided to change the key like a half step up or something, we had to do the whole record again, but it turned out pretty good.”

The song was recorded in the key of F-sharp major and had a tempo beat of 88 beats per minute.

Henley’s vocals during the song span a typically wide range, from F-sharp to A-sharp.

Reception

“The Boys of Summer” is Henley’s highest-charting hit of his solo career. It peaked at #5 on the Billboard Hot 100 but went to #1 on the Billboard Top Rock Tracks chart for five weeks. The song was also charted highest in the U.K., reaching #12.

Henley took home a Grammy for Best Male Rock Vocal Performance in 1986.

Song Credits

• Personnel:

  • Don Henley – vocals

  • Mike Campbell – synthesizers, guitars, programming, percussion

  • Danny Kortchmar – synthesizers, guitars

  • Steve Porcaro – synthesizers

  • Larry Klein – bass

• Written by:

  • Don Henley

  • Mike Campbell

• Produced by:

  • Mike Campbell

  • Greg Ladanyi

  • Danny Kortchmar

  • Don Henley

• Release Date: October 26, 1984

• Label: Geffen

• Length: 4:48

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Fun Facts

Henley has said on multiple occasions that he did not enjoy the MTV aspect of his solo career. He considered himself primarily a singer and songwriter. So it’s a bit ironic that the video for “The Boys of Summer” won the 1985 MTV Video Music Awards, just the second year the awards were held. Henley’s song won Video of the Year, Best Director, Best Art Direction, and Best Cinematography. Happily, for MTV and the crowd, Henley showed up* to accept these awards.

*Securing Henley's attendance at an awards show was a challenge. For instance, when the Eagles snagged the Album of the Year Grammy for Hotel California, Henley and the rest of the band opted out of attending the ceremony.

In 2003, The Ataris did a pop-punk cover of the song. It became their highest-charting single, much to the band's and Henley's surprise and disappointment.

My Take

“The Boys of Summer” is a terrific song! It’s not my favorite from Henley, but it has everything I want. Clever lyrics. Showing off his impressive vocal range. Catchy musical composition with an awesome guitar lick from Mike Campbell.

I will always bop along to this song whenever it comes on. I also like the idea of the song being about how summer isn’t always what we hype it up to be, and that, like all things, it will inevitably end.

I’ll admit, I get the feels whenever this song plays in late August or September. The change in environment is so stark. It’s quieter, people are back to school and work, and the innocence of a summer day is gone until next year.

Recently, I was watching Henley's 2001 Inside Job DVD and was so impressed by the strength of his vocals in this song. Having attended several Eagles concerts since 2018, "The Boys of Summer" has become a regular part of their setlist. While Henley still sounds impressive, particularly considering his age, he doesn't quite deliver the same energy as before. This is noticeable in the way the Eagles perform the song, with strong backing vocals enhancing the chorus, "I can see you, your brown skin shining in the sun.

I tell you all this to say that I find it astonishing he still sounds as good as he does, but wowieeee — I’m amazed at how magnificent he sounded in his prime! The studio version hits well enough most times, but if you can find the ultra-rare Henley live version (sigh, another story for another day) then you’ll have a great day — I guarantee it!

🎶 Listen on Spotify

📺 Watch on YouTube

Next week, I’ll cover “The End Of The Innocence” in all its purity!

Until then, let me know in the comments what you think of “The Boys of Summer” and share any stories, insights, and thoughts you have!

Lastly, if you have feedback on the structure of this column, drop that below too! I want this recurring column to resonate with you as much as Henley’s music does with me!!

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For those old enough to remember, navigating legacies is like trying to untangle headphone wires—complicated, frustrating, and sometimes surprisingly rewarding.

Some legacies endure, like Rosa Parks or John Lennon. Some were labeled as negative legacies but got better with time, like President Jimmy Carter. Some infamously crash near the end, like Joe Paterno’s.

Some people don’t care about their legacy. Linda Ronstadt was willing to be bold and brave by stepping outside her musical comfort zone. Everyone from agents, to her label, to close friends, worried that Ronstadt was self-sabotaging her career each time she switched genres, or languages altogether. But she persevered because she was authentic.

Some people say they don’t care about their legacy. But that’s just a facade; they deeply care and see it as tied to their identity. Think Donald Trump.

Some people care about their legacy but do things that diminish it. Think Pete Rose.

Some people have legacies that aren’t truly understood.

This is where I come in.

Hello!

No, this is not a column on my legacy. You can stop there Carly Simon, I’m not that vain!

But I am starting a new project!

I know, I know. I have lots of projects, most of which are half-baked at best. But this one is a dousy.

• This idea has been pitched to an NYT best-selling author of ten books… and they gave me the green light.

• This idea has a short-term and long-term structure already built.

• This idea is highly personal to me, so I have a great incentive to do it right.

So get ready, folks! We're diving into Don Henley's world—the legend, the recluse, and the genius behind his iconic tunes.

Project Background

One of the great American music mysteries is the absence of Don Henley’s name among the great songwriters of rock & roll. But I think I know why: Henley, unlike most of his contemporaries, does not have an abundance of writing to dive into from the back half of his career.

Post-1989, Henley has only released two solo and two Eagles albums, with one of the latter only partially full of new material. In comparison during that same stretch, Bruce Springsteen has released thirteen new albums; fourteen for Bob Dylan; and Joni Mitchell has dropped six new compositions.

It’s just… strange. That’s the word I keep coming back to most often.

During his peak, let’s say 1975-1985, Henley was a top-five lyricist in classic rock. One of These Nights and Hotel California has stood the test of time and was largely written and sung by Henley. I Can’t Stand Still, Henley’s debut album, produced “Dirty Laundry,” while Building the Perfect Beast (1984) produced hits such as “The Boys of Summer,” “All She Wants to Do Is Dance,” and “Sunset Grill.”

Stretching time further, while not as commercially successful, The End of Innocence (1989) is probably Henley’s best solo album, from start to finish.

As we all know, in 1994, hell indeed froze over, the Eagles reunited, and that’s where Henley has spent the bulk of the second half of his illustrious career: touring.

But for a long time, Henley was there in the songwriter’s rockin’ spotlight. He navigated the messy breakup of his beloved band, embarked on a successful solo career, later became involved with his non-profit, and then, remarkably, Henley became somewhat of a recluse.*

*That last piece is a key part of the long-term project which I’ll discuss in the future. There’s an untold story about why Henley decided to symbolically bow out of the songwriting business while simultaneously raking in money for his part in the Eagles’ reunion.

But we’re lucky! Even without working late into his life, we still have many songs Henley graced us with. We will begin to talk about several of those in the weeks ahead!

Don Henley’s Lyric Aficionado Collective

TOGETHER, let's ensure that Don Henley's voice and writing endure the test of time! Here’s how it’s going to work:

• Each Tuesday, I will pick one song written by Henley and write a deep dive about it. You can read all about it right here. There will be obvious choices, but hopefully also ones a bit more obscure, or even ones you may have forgotten about.

  • These weekly dives will be free for all to read and comment.

• I will also pick a time once per month to chat through the Substack feature where we talk about all things Don Henley. This feature will only be open to paid subscribers.

• Finally, once a month, I will host a Zoom call with someone in the music industry to talk about their relationship to Henley’s music plus anything else they want to jam out to. Again, this meeting will be open to paid subscribers only.

Don Henley’s Lyric Aficiando Collective has a backbone to it. Some real pizzazz.

I’m feeling good about this project! So let’s take the rest of May and June to do a giveaway and incentivize those who may be on the fence:

• Any new paid subscribers will be eligible to win a Don Henley memorabilia item that I will unveil later.

• New subs who want to be part of the Henley Collective can email me their suggestions for songs to write about. Those suggestions will go right to the top of my priority list!

• New subs will also be eligible for another giveaway — part of the long-term project — to be announced at a later date.

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A Final Word

If I haven’t communicated it clearly enough, writing is now my career. This is what I do for a living. This work helps pay the bills for my family of four. I hope you can understand my decision to paywall some of the Henley-specific content while building a great community together.

I plan to continue making the rest of my writing and podcasting free. But to do that, I need to be a better salesman and gain new paid subscribers while convincing my current free subs to upgrade. I can’t write for free forever and live in current-day America!

Thank you for supporting independent writing. Your contributions make it possible for me to do fun projects like this.

Email me or comment below if you cannot afford a paid subscription. You may also donate paid subs if you have the means and I will give those out on a first-come first-serve basis.

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Before I wrap up, let’s hear from you. What is your favorite song written by Don Henley? Drop a comment below ⬇️

See you next Tuesday for the first song release!