"The music world seems to appreciate Don Henley's solo work as compared to Glenn Frey's and in many respects its quite understandable as Henley's social commentary in many of his songs are quite thought provoking. However, this collection of Glenn's is very overlooked as many fo the love songs are quite soothing. In addition, Glenn explores several interesting styles from the boogie woogie Sea Cruise to the disco flavored Don't Give Up to the gentle I Volunteer. You can't forget the frat house party hearty number.....Partytown. Maybe this disc is not quite up to desert island standards, but it sure is pretty darn good."
A post-Eagles Classic
G. J Wiener | 07/13/2000
(5 out of 5 stars)
"This album is one of Frey's best solo albums. This is not faint praise by any measure. After all, Frey has the most featured voice on the best selling album in human history. Unlike some of his albums in the mid-1980s, No Fun Alound has a consistent sound. Many of the works on these album have a blues-inspired feel that should be comfortable to fans of Glenn from the early 1970s. For what it's worth, this album is generally superior to fellow Eagle Henley's first solo album. Glenn works with many artiest that he colloaborated with during the Eagles-era including Jim Ed Norman, Jack Tempchin, and Bob Seger. Commonly mentioned stand outs on this album include "The One You Love" and "Partytown." I particularly like the last two tracks (She Can't Let Go and Don't Give Up). This album was not as commercially succuessful as some of its contemporaries since it did not pander to the faddish modernism of some other artists. There are a few songs that had modern touches but only upon a base that is solidly Frey's signature of R&B."
Glenn goes it alone
Mitchell Howard | Havelock North, NZ | 04/17/2003
(3 out of 5 stars)
"When Glenn split from the Eagles in 1980 and decided to make solo records he made No Fun Aloud with the aid of long time Eagles collaborator Jack Tempchin and a smattering of others, Hawk Wolinski etc. You may have expected Eagles formula LA rock but Glenn wentback to his blue eyed soul roots in Detroit and released an album full of R&B in a happy throw away style. First listen and subsequent listens allowed the words unsubstantial and light weight to spring to mind but time has treated the music well and some songs have grown on me as time went on. That Girl written with Bob Seger is one, as is I Volunteer which sounds a bit like Eagles, On the Border period. Don`t Give Up utilises 80`s electronics effectively and sounds vaguely Eagles Long Runnish. Sea Cruise is a joy in a happy go lucky Jamaica/R&B style while the Hit off the album the One You Love is a lovely ballad which brings a touch of moistness to the eye (occassionaly) While Don was venting his political spleen Glenn was having a good time. Treat this album as just that a good time record."
Post Eagles Classic
Mitchell Howard | 06/29/2000
(5 out of 5 stars)
"This is probably Glenn Frey's best solo studio album. I would recommend this album to fans of the early Eagles. Many of these songs seem like the ones that Frey was thinking of when he left the band. This is Glenn in his early 1980's glory with a number of blues inspired works and collaborations with Bob Seger, Jim Ed Norman and some covers of other artists' songs. This album does not suffer from the somewhat bizarre combinations of songs that seemed to plague a number of Glenn's albums in the mid and late 1980's. There are some well crafted Tempchin/Frey love songs like "She Can't Let Go" but there are also harded edged songs like "All Those Lies." For what it's worth, this album is generally superior to Henley's "I can't stand still" (which is also a good album). In many ways you have to praise Frey's choice of style with this album. This is an album with a number of guitar rock songs in the early 1980's when the synthesizer and techno were really king."
Frey comes back to Alabama
kperk | THE Muscle Shoals Alabama | 02/06/2008
(5 out of 5 stars)
"Having dropped into Muscle Shoals several times to give a hand to his buddy, Bob Seger, it was inevitable that he would begin his solo career here. Backed by an all-star lineup of Roger Hawkins-drums, David Hood-bass, Clayton Ivey-piano, Duncan Cameron and Wayne Perkins-guitars, and Harvey Thompson and Ronnie Eads of the Muscle Shoals Horns along with all the L.A. musicians, there was never a doubt about the quality of this album. It didn't receive as much recognition as it deserved because it hit at the same time as the advent of MTV. While most Americans were hooked on A Flock Of Seagulls, Haircut 100, etc., this album slipped by largely unnoticed. All one has to do is listen to a ballad like That Girl and wonder what was wrong with people back in 1982. And kudos to Eddie Hinton, God rest his tortured soul, for teaching Frey the "Bobby Womack Chinese soul" licks way back in 1971. It really came in handy on I Found Somebody and That Girl."