Eagles On the Border Album Review
Released in March 1974, On the Border was the Eagles’ third studio album — a record that marked their shift from country-rock roots toward a harder-edged rock sound. For me, it’s also their weakest album, with fewer classic tracks and one song I can’t stand.
Can I call myself an Eagles fan if I don’t actually like all of their albums? I think the answer is still yes. They’ve been part of my listening life for decades, and records like Hotel California and Desperado still get plenty of turntable time. But On the Border? This is the one I return to least.
The Shift from Country to Rock
On the Border arrived in March 1974, following the ambitious outlaw concept of Desperado. Where its predecessor told a cohesive story, this third album abandoned the theme in favour of a looser collection of songs. It also marked the beginning of change within the band. Don Felder was brought in late during recording and would soon become central to their evolving sound.
After a false start, recording in London with Glynn Johns, the band moved to the Record Plant, an LA Rock landmark to work with Bill Szymczyk who would remain with them until the Long Road out of Eden.
Critics at the time welcomed the shift. Rolling Stone’s 1974 review suggested the Eagles had moved past their outlaw pose and were thinking “Top 40” again. The album itself was a commercial success, climbing into the upper reaches of the Billboard 200, even if it failed to win awards.
Songs That Stand Out
For me, the album contains fewer classics than any other Eagles release, but there are still notable moments:
Already Gone – the closest thing here to a true rocker, and one of the few songs from this set I’ll happily return to.
The Best of My Love – easily the strongest track on the album. Written by Henley, Frey, and J.D. Souther, it became the Eagles’ first Billboard number one in March 1975. A landmark moment in their career.
James Dean – originally left over from the Desperado sessions. Some fans love it; I don’t. It never charted, though it became a staple of their early live shows.
You Never Cry Like a Lover – co-written with J.D. Souther, it’s polished but not particularly memorable.
The title track, “On the Border,” tries to capture some of the outlaw spirit but never quite convinces.
My Review - Bordering on the terrible
For all its commercial importance, I find On the Border to be the weakest of the Eagles’ studio albums. It lacks the cohesion of Desperado and the consistency of what was to come with One of These Nights. Beyond The Best of My Love and Already Gone, the record feels uneven. It’s also the only Eagles album with a song I truly detest — and that colours how I view the whole record.
Yet it was a necessary misstep. Without this transitional album, the band might never have reached the creative peak of Hotel California.
That’s my take: an important turning point in the Eagles’ career, but one I don’t particularly enjoy listening to.