Browne, the quintessential sensitive singer-songwriter, entered the '80s with a harder, more commercial sound on HOLD OUT. Foreshadowed by 1978's RUNNING ON EMPTY, HOLD OUT is full of biting electric guitar courtesy of David Lindley, and a booming drum sound that crosses the '70s L.A. sound with the burgeoning arena-rock aesthetic. Though the elaborate poesy and introspective acoustic meditations of Browne's early work are absent here, the songs are full of thoughtful observations and well-crafted lyrics.
"That Girl Could Sing" and "Hold On Hold Out" take an uncompromising look at troubled romance without losing the endearing wistfulness that is Browne's secret weapon. On "Boulevard," Browne takes a shot at Springsteen-ish street vignette, and the driving rhythm makes the perfect springboard for what could be seen as a worthy successor to "Running On Empty," but this time focusing outward rather than inward, an important progression in Browne's work.
