| # | Track Title | Artist | Composer | Time |
|---|---|---|---|---|
| 1 | Nobody Else In The World But You | Don Henley, Stan Lynch, Jai Winding | 4:51 | |
| 2 | Taking You Home | Stuart Brawley, Don Henley, Stan Lynch | 5:32 | |
| 3 | For My Wedding | Larry John McNally | 3:37 | |
| 4 | Everything Is Different Now | Timothy Drury, Don Henley | 5:13 | |
| 5 | Working It | Don Henley, Stan Lynch, Frank Simes | 5:38 | |
| 6 | Goodbye To A River | Don Henley, Stan Lynch, Frank Simes, Jai Winding | 5:50 | |
| 7 | Inside Job | Don Henley, Mike Campbell | 4:50 | |
| 8 | They're Not Here, They're Not Coming | Don Henley, Stan Lynch | 5:59 | |
| 9 | Damn It, Rose | Don Henley, Stan Lynch | 7:14 | |
| 10 | Miss Ghost | Don Henley, Stan Lynch, Jai Winding | 6:42 | |
| 11 | The Genie | Stuart Brawley, Don Henley, Stan Lynch | 5:46 | |
| 12 | Annabel | John Corey, Don Henley | 3:42 | |
| 13 | My Thanksgiving | Don Henley, Stan Lynch, Jai Winding | 5:12 | |
| Total Time: | 1:10:06 | |||
Album Notes
Released May 23, 2000
CD Now Review
It's been 13 years, several Eagles reunions, and three presidential administrations
since Don Henley's last record, the sober, masterful End of the Innocence.
In the interim, marriage and children have smoothed some -- though not
all -- of the singer's rough edges. While Henley's curmudgeonliness was
once rivaled only by Andy Rooney's, he spends a lot of Inside Job in a
fine, almost expansive mood, something that isn't necessarily good news.
Anyone who saw Henley's recent VH1 Storytellers appearance, during which
he re-jiggered ''Life in the Fast Lane'' into a rap number (and still couldn't
do any more damage to the song than 20-some years of overplaying on classic
rock radio hadn't already done, but never mind) would be forgiven for being
a little frightened. But Inside Job relies on the same polished, MOR pop-rock
that infused Innocence and its predecessor, Building the Perfect Beast.
Thematically, Inside Job dwells, often poetically, sometimes ponderously,
on Henley's usual themes: a longing for permanence in a changing world,
the emptiness of modern culture, subjects that have been little addressed
since the decline of the singer-songwriter. Inside is more meditative than
revelatory, though, and while its themes (family is good, society bad)
can seem overly obvious, Henley is far more interesting in his usual eloquent
doomsayer role than that of contented family man. As usual, he is at his
finest when he sheds his synthesizer/Pro Tools inclinations for the cleanly
adult pop of ''Taking You Home'' or ''Goodbye to a River.'' Inside Job lacks
the overproduction that has dogged past Henley solo offerings, thanks partly
to a co-production job by sometime Heartbreaker Stan Lynch (who co-wrote
many of the tracks here as well), suggesting he was ill-used for all those
years as Tom Petty's faithful sidekick. --Allison Stewart, CDNOW Senior
Editor, Pop/R&B
VH1 Online Review
Listening t
CD Now Review
It's been 13 years, several Eagles reunions, and three presidential administrations
since Don Henley's last record, the sober, masterful End of the Innocence.
In the interim, marriage and children have smoothed some -- though not
all -- of the singer's rough edges. While Henley's curmudgeonliness was
once rivaled only by Andy Rooney's, he spends a lot of Inside Job in a
fine, almost expansive mood, something that isn't necessarily good news.
Anyone who saw Henley's recent VH1 Storytellers appearance, during which
he re-jiggered ''Life in the Fast Lane'' into a rap number (and still couldn't
do any more damage to the song than 20-some years of overplaying on classic
rock radio hadn't already done, but never mind) would be forgiven for being
a little frightened. But Inside Job relies on the same polished, MOR pop-rock
that infused Innocence and its predecessor, Building the Perfect Beast.
Thematically, Inside Job dwells, often poetically, sometimes ponderously,
on Henley's usual themes: a longing for permanence in a changing world,
the emptiness of modern culture, subjects that have been little addressed
since the decline of the singer-songwriter. Inside is more meditative than
revelatory, though, and while its themes (family is good, society bad)
can seem overly obvious, Henley is far more interesting in his usual eloquent
doomsayer role than that of contented family man. As usual, he is at his
finest when he sheds his synthesizer/Pro Tools inclinations for the cleanly
adult pop of ''Taking You Home'' or ''Goodbye to a River.'' Inside Job lacks
the overproduction that has dogged past Henley solo offerings, thanks partly
to a co-production job by sometime Heartbreaker Stan Lynch (who co-wrote
many of the tracks here as well), suggesting he was ill-used for all those
years as Tom Petty's faithful sidekick. --Allison Stewart, CDNOW Senior
Editor, Pop/R&B
VH1 Online Review
Listening t