Joe Walsh - Analog Man (2012)

01 – Analog Man
02 – Wrecking Ball
03 – Lucky That Way
04 – Spanish Dancer
05 – Band Played On
06 – Family
07 – One Day At a Timr
08 – Hi-Roller Baby
09 – Funk 50
10 – India

Tim Armstrong 	- Guitar, Producer
David Crosby - Vocals
Richard Davis - Programming, Synthesizer
Jim Fox - Drums, Vocals (Background)
Tommy Lee James - Vocals (Background)
Steve Jay -  Percussion
Greg Leisz - Pedal Steel Guitar
Little Richard - Piano, Vocals
Jeff Lynne - Arranger, Bass, Drums, Guitar, Keyboards, Mixing, Producer, Vocals (Background)
Jay Dee Maness - Pedal Steel Guitar
Graham Nash - Vocals
Kenny Passarelli - Bass
Dale Peters – Bass
Rick Rosas - Bass
Ringo Starr - Drums
Bruce Sugar - Engineer, Mixing, Organ, Percussion Programming, Programming
Joe Vitale - Keyboards, Sitar
Joe Walsh - Bass, Composer, Drums, Guitar, Liner Notes, Piano, Primary Artist,
 Producer, String Arrangements, Synthesizer, Vocals, Vocals (Background)

So anachronistic is Joe Walsh that he not only celebrates how he's an "Analog Man in a digital world," he hires Jeff Lynne as his producer for his first solo album in 20 years. And, apart from the odd lyrical reference to an iPod or Walsh's ongoing recovery, Analog Man sounds like it could have come out in 1992 and that's all due to Lynne, a man who makes a record in one particular way: crisp, clean, hook-laden, and sequenced so tightly there's no room to breathe. With no apparently irony, it sounds digital, not analog -- there's nothing greasy, even the James Gang's "Funk #49" has been given an immaculate 21st Century Digital Makeover and is now called "Funk 50" -- but it's been so long since Walsh has worked with a conscientious producer (this may be his first time, actually), he winds up reaping some benefit from such a controlled setting. Analog Man isn't rock & roll, not by a long shot, but rather a gleaming pop album in the vein of Full Moon Fever, a sound that suits Walsh's new sobriety. Perhaps he hits his recovery theme a little too hard -- a criticism that could also be leveled toward his songs about being an old fart -- but he sounds comfortable where he is and Lynne presents him in a shining, flattering light. As comebacks go, he could do a lot worse than this. --- Stephen Thomas Erlewine, allmusic.com

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