Between the Eagles’ double album Long Road Out Of Eden, two years on the road supporting it, and a solo retrospective with tour in tow, Don Henley’s been especially active as of late. Currently on the road behind his first career-spanning set, The Very Best Of Don Henley, this outing focused on crests from the past 40 years, and while all the major milestones were addressed, it dug deeper than the mere obvious.

Henley threw the audience for a loop by opening with covers of “I Put A Spell On You” and “September Song,” two standards interpreted as laid-back, Southern rockers that embarked towards Rod Stewart’s turf, but were much more engaging than the Mod’s croaking through the classics. In fact, this Eagle hasn’t lost any of his vocal luster, made evident throughout the group’s harmony-heavy “One Of These Nights” (backed by a six-piece band and two female background singers) or his own anti-Hollywood acoustic sentiment, “The Last Worthless Evening.”

“New York Minute” served as an early example of Henley’s ingenious storytelling, tracing all the intricacies and insanities happening simultaneously in the Big Apple. He further juxtaposed themes of political and childhood nostalgia during “The End Of The Innocence” (though Bruce Hornsby’s piano accompaniment was sorely missed), while delicately sifting through relationship complications across “The Heart Of The Matter.”

After dusting off those ballads, the tone turned unexpectedly to new wave for a cover of Tears For Fears’ “Everybody Wants To Rule The World,” which actually came across like it was one of Henley’s own. He kicked up some additional dust on the never-out-of- style tabloid tale “Dirty Laundry” and brought some warmth back to the Windy City with “The Boys Of Summer.”

Even when kicking into high gear, Henley remained cautious with his stage presence, but he was especially animated (at least for him) during an extra amplified version of “All She Wants To Do Is Dance.” But the always assertive finale “Life In The Fast Lane” got all the baby boomers on their feet and clapping, which paved the way for an Eagles-centered encore.

“Hotel California” packed even more punch than the band’s Hell Freezes Over rendition and the classic still came across as a sunny beach strummer with some of rock’s most unforgettable lyrics. His typical show closer “Desperado” once again highlighted the higher end of the entertainer’s register and also found him wincing with some of the most visible passion of the night.

As an added bonus, everyone returned with a funked up rendition of “I Will Not Go Quietly” that smoked with soul and sizzling guitars. It would’ve been a fitting conclusion, but Henley dug up the rarely performed Eagles holiday greeting “Please Come Home For Christmas” to officially close. Considering Thanksgiving hadn’t come yet, the sentiment felt slightly early, but marked a welcome ending nonetheless to one of Henley’s most spontaneous and varied tours since stepping out on his own.

– Andy Argyrakis

I haven’t thought of the Lanky Blonde — the older sister of a high-school buddy — in a long time. But, when the Eagles of my youth, all put back together and looking rather dapper in dark suits, took to the stage Thursday night, there she was. She was an Eagles freak: read-all-the-liner-notes, knew-the-order-of-each-song-on-the-album Eagles freak.

They started out, typically late: taking the stage at the Sears Centre at 8:20; cranking out three songs from Long Road Out Of Eden before getting into what really pays the bills. With Glen Frey acting as ringmaster, he engaged the full house as if he was in a night club, not in front of 10,000. Early on, this was not to be a high-stepping, bounce-around-the-stage concert. Rarely did they leave the comfort of the mic stands as if, as they originally were, a band banging out hits in a Los Angles studio.

Don Henley was impressive in every way, moving from vocals to drums and guitar like an old pro just out for a fun night. Sporting a Mike Ditka-like hair cut, Henley could have been just playing to the audience, but, intended or not, he looked like he could help the local team if needed. He was at his best pounding out and singing “Witchy Woman” midway through the first set.

Timothy B Schmit and Joe Walsh, at opposite ends of the stage and spectrum, stood out and shined in their own way. Walsh, always solid on guitar, was backed by a powerful horn section on “In The City” and sold it like it was the last song he was ever going to belt out.

The band jumped through 11 songs before the 20-minute intermission. It let them rest their pipes, but also gave a convenient bathroom break for a mostly baby-boomer audience.

With a band who have been making music since 1975, it’s good to see our aging rockers aren’t in tune all the time. Live performances aren’t perfect and that’s the uniqueness of the experience. These guys have been playing so long one can’t help but wonder what they think when, back in the day, flames flickered from Bic lighters to now when all you see is a glow of cell phones lighting up smoke-free arenas. But then, back in the ’70s, could you have pictured any of these guys in suits?

The band loosened up as the night wore on and finally, after 19 songs, the coats came off. Free from the unseen ties to the microphone stands, they seemed to kick into another gear. Walsh shined on “Life’s Been Good,” followed by a full-political, multi-media beatdown issued by Henley on “Dirty Laundry.” With a 29-song, three-hour experience, no one left feeling they didn’t get their money’s worth.

Credit the Sears Centre with concert-hall acoustics that helped make the night a success. This performance came off as if you were sitting in your living room with the surround sound cranked to 11. The two huge video monitors balanced the half-moon screen that spanned the stage that made this into a multi-visual experience. Couple the background videos that complemented each song, you could just plug this performance into a classic rock cable show.

While the Eagles pushed the new songs on a disc that is certified several times platinum, the seats are full because of the classics. They bring back the sounds of simpler times, free of responsibility and the day-to-day drags that kills the “Rocky Mountain Way.” So when the band ended the night with “Desperado,” it was just like it was the ’70s. I could still see the Lanky Blonde prancing about, humming the words while her brother and I helped her old man try and restore his vintage Triumph. I don’t know what happed to the car, or her brother, but I’ve got to think she was there, if only in spirit.

– Brian Ormiston