Eagles on track: Every album, every song

Sonicbond Publishing Limited

www.sonicbondpublishing.co.uk

Email: [email protected]

First Published in the United Kingdom 2023

First Published in the United States 2023

This digital edition 2023

British Library Cataloguing in Publication Data:

A Catalogue record for this book is available from the British Library

Copyright John Van der Kiste 2023

ISBN 978-1-78952-260-0

The right of John Van der Kiste to be identified

as the author of this work has been asserted by him

in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from Sonicbond Publishing Limited

Printed and bound in England

Graphic design and typesetting: Full Moon Media

Acknowledgements

Thanks are due to Ian Herne, my old college friend and fellow music enthusiast of many years’ standing, for regularly sharing his thoughts with me on e-mail and sending copious material and links that I would otherwise have missed; Kev Hunter, for supplying some excellent images and material from his collection; and Terry Staunton, Miles Tredinnick and Hugh McDonnell for helping with various bits, pieces and answers.

As ever, I am also indebted to my wife Kim and members of the family for unfailing support during my writing and research.

Last but not least, thanks to my ever-supportive publisher Stephen Lambe and the editorial team at Sonicbond.

Contents

Introduction

The Birth of a Band

Eagles (1972)

Desperado (1973)

On the Border (1974)

One of These Nights (1975)

Exit Leadon, enter Walsh, and Their Greatest Hits (1971–1975)

Hotel California (1976)

Exit Meisner, enter Schmit

The Long Run (1979)

Eagles Live (1980)

From Long Run to long break

Hell Freezes Over (1994)

Selected Works, 1972–99 (2000)

21st-century Eagles

Long Road Out of Eden (2007)

Would there be another album?

Eagles Live from The Forum – MMXVIII (2020)

Songs performed live and early studio songs not officially released

Resources

The Eagles Albums – Best To Worst

What Others Said About The Band

Introduction

America was the birthplace of popular music, from jazz and swing to blues, rock ’n’ roll and contemporary folk. Yet the first major names in these fields were solo acts, from Louis Armstrong, Leadbelly and Frank Sinatra to Elvis Presley, Chuck Berry and Bob Dylan. In the 1960s, it took Britain to provide the bands that would have a similar impact in terms of influence and commercial success on a global scale, from The Beatles and The Rolling Stones in the first division, with The Who and The Kinks not far behind. America’s only band to come anywhere close were The Beach Boys, who would prove as durable as the best of them, although internal dissension and an excess of recreational substances, coupled with an erratic creative spark on the part of their most gifted and most troubled member, led them to rely too heavily on so-so cover versions, and held them back from fulfilling their potential. Creedence Clearwater Revival looked set to replace them before their phenomenal time at the top – and thus their career – was cut short by irreconcilable differences between their front man and the others.

It took Eagles, at the turn of the 1970s, to eclipse them and live up to their objective to become the ultimate American band. Although they went their separate ways in 1980 and took over a decade to ‘get over it’, in the words of one of their subsequent songs, it was a position they never relinquished. Having had a ‘resumption’, as they styled it, they remained together, surviving line-up changes and the death of one of their founding members. Admittedly, according to Billboard chart statistics, Chicago ranked second to The Beach Boys as the most successful American rock band of all time, in terms of both albums and singles. However, outside their own country, their chart achievements fluctuated, with a number one single in several territories as well as America and Britain outweighed by several modest successes and failures. Despite releasing nearly 40 albums and more than 60 singles in total over a career going back to 1969, they never matched Eagles for consistency.

Note: all Eagles records released up to and including 1980 appeared on the Asylum label. Hell Freezes Over was released on Geffen/Eagles Recording Co., while in Britain and Europe, compilations and reissues from around 1980 onwards were on Elektra or Warner Special Marketing. In Britain, Europe and America, Long Road Out of Eden was on Eagles Recording Co./Universal; Live from the Forum on Eagles Recording Co./Rhino/Warner, and Live at the Forum ’76 on Asylum.

The Birth of a Band

The Eagles was a name that had been adopted by several different outfits, mostly quite short-lived, during the 1950s and 1960s. A cursory glance at 45cat.com reveals that at least three American acts went by this name, the earliest being an R&B vocal group who released three singles in America in 1954. A mainly instrumental British combo made a handful of 45s between 1962 and 1964, while Belgium and Denmark could each boast their own ‘The Eagles’ at various stages during the decade. So could Jamaica, home to a reggae band active from around 1966 to 1976. During this period, they released eight singles in Britain, one as The Jamaican Eagles. Needless to say, none of them had any connection with the ultimate American band who styled themselves Eagles, without the definite article. None lasted nearly as long, let alone ever had a fraction of the success.

In 1971, Linda Ronstadt and her manager John Boylan needed a band for recording and touring, and engaged guitarist Glenn Frey, formerly part of the duo Longbranch/Pennywhistle, to recruit one. Frey and his former musical partner, John David Souther, had made a couple of 45s and an album on the independent Los Angeles label Amos, which during its short life also released records by country rock bands, as well as by established vocalists from an earlier era, including Bing Crosby and Frankie Laine. One of their newer bands was Shiloh, a quintet including drummer Don Henley and keyboard player Jim Norman. They issued two singles and an album on Amos, produced by Kenny Rogers, but disbanded in 1970 as they were getting no work and going nowhere, and in Henley’s words, the album, ‘which was awful, did nothing’.

Frey and Henley already knew each other, and from a pool of other musicians in the right place at the right time, had helped to assemble a band for Ronstadt, including multi-instrumentalist Bernie Leadon, formerly with The Flying Burrito Brothers, Randy Meisner, who had played bass guitar for Poco, and Rick Nelson and the Stone Canyon Band. They all subsequently worked with her on several live dates and played on her next album, but much as they enjoyed working with her as a person and a performer, they soon saw that their ambitions went beyond merely being someone else’s backing group. Leadon credited Boylan with suggesting the idea of a separate band in the first place, telling them that if they were serious, it would be difficult to put together a better combination than they already had in place. Once they had made the decision, their split from Ronstadt was entirely amicable, they remained friends with her, and over the next few years, she would often guest with them onstage.

One of Britain’s iconic singer-songwriters in the making was also in the frame, albeit tenuously. Shortly after leaving Fairport Convention in 1971, Richard Thompson was in America as a member of Ian Matthews’ band, and they all met up at one stage. Richard and Ian hung out with Eagles briefly while they were still backing Ronstadt, and he was very impressed when they played him some of the songs that they had planned for their first album. Although they never asked him directly if he wanted to join them, he later heard from their management that they had considered doing so. Ian confirmed that they never gave him a second look, but they were ‘very interested in Richard’. The latter would never have considered it himself, as he was intent on developing his own British style of songwriting, and joining an American country rock band, as he said, ‘would not have happened’ for him. Although Thompson’s talents as a writer and multi-instrumentalist would have been an inestimable asset to any post-Fairport band lucky enough to secure his services, as one of the ultimate British performers in his field, it is hard to imagine him being artistically at home in an outfit which came to personify American country rock in the 1970s.

Frey was sure they could learn from the example of Poco and The Flying Burrito Brothers, both of whom had started well with everything going for them and then lost their initial momentum. They had to look good, play well, write well, have ‘number one singles and albums, great music, and a lot of money’. It helped that all of them were vocalists and accomplished musicians. Frey and Henley had already written songs for their previous bands, and as contributors of original material, would undoubtedly be the joint driving force, even though several of their best-known songs would be partly penned by others. One of these writers on the periphery was Jackson Browne, a singer-songwriter and close friend of Frey. He introduced them to his manager David Geffen, who was about to start a new label, Asylum. Realising the potential, Geffen bought out Frey and Henley’s existing contracts with Amos Records and signed the band in September 1971.

The following month they played their first gig. As they had not yet settled on a name, they were initially billed as Teen King and the Emergencies. A proper appellation followed, though there are several different versions of how or why they made their choice. One suggested that they called themselves after America’s national bird as it would give them plenty of free publicity; another was because they liked the idea as the eagle was the bird that flew closest to the sun; another was that they were hanging out together in the Mojave Desert when they saw several soaring birds of prey overhead and Frey called out, ‘Eagles!’ He insisted that they should be known as Eagles, without the definite article, and the name would appear thus on all record labels, sleeves and publicity.

Eagles (1972)

Personnel:

Glenn Frey: vocals, guitars, slide guitar

Don Henley: vocals, drums

Bernie Leadon: vocals, guitars, banjo

Randy Meisner: vocal, bass guitar

Produced and engineered by Glyn Johns

Recorded at Olympic Studio, London, except ‘Nightingale’, at Wally Heider Recording, Hollywood, Los Angeles, February 1972

Record label: Asylum

Release date: June 1972

Highest chart positions: Did not chart (UK); 22 (US)

Running time: 37:19

In November 1971, producer Glyn Johns, who had previously produced or engineered albums by The Rolling Stones, The Who and Led Zeppelin, was visiting America when he was asked to work with Eagles on their debut. In his memoirs, Sound Man, he said that Geffen was the one who contacted him for the job. However, according to an interview for Nick Hasted in Uncut, Johns went to a Billy Preston gig one night at the Troubadour, one of the major music venues on Santa Monica Boulevard, when Frey came up and introduced himself, said he had a band and they wanted him to produce their first album. Johns agreed to come and see them live and caught them shortly afterwards at a poorly attended club gig. He thought their sound was dreadful and the whole performance ‘a mess’. The material seemed unbalanced, with Leadon, ‘a great country picker’, on one side of the stage, Frey, ‘an average rock ’n’ roll guitar player’ on the other, and the rhythm section of Henley and Meisner ‘being pulled in two directions in the middle’. A few indifferent cover versions, notably of Chuck Berry songs, suggested to him that they were little more than an average club band, not knowing what direction they wanted to pursue, and he returned to London, thinking he had seen the last of them.

They didn’t give up. Either Geffen or Frey got in touch with Johns again, asked him to give them another chance and to come to Los Angeles so he could see them in rehearsal. Reluctantly he flew back to America and they played their set again. He found nothing to make them change his mind until they were about to leave, when one of them suggested they should let him hear one of their own compositions. Frey and Leadon grabbed a couple of acoustic guitars and they played Frey’s ‘Most of Us Are Sad’, without bass or drums, with Meisner singing lead while the others added harmonies. The result, according to Johns, was a ‘harmony blend from heaven’ that sounded every bit as good as The Byrds in their heyday, and Crosby, Stills and Nash. Having four great singers with completely different voices – performing together – ‘created the most wonderful sound’. They spent the rest of the day sorting through and playing him their own songs, and he realised that they were not only superb vocalists but also a much better combination of musicians and songwriters than he had appreciated at first. He found Frey and Leadon’s guitars ‘really refreshing’, with Meisner and Henley proving a ‘solid and versatile’ rhythm section. They spent the next few days choosing songs for an album, and Johns then went to see them play a considerably improved set at another club.

Having agreed to produce the debut, he insisted that they should come to record in London. None of them raised any objection. On the contrary, according to Leadon, they had all wanted to record there ever since hearing Beatles and Rolling Stones records. Even so, it would not be altogether a happy experience, for in February 1972, the capital of England was a frosty, cheerless place for a young American band to come and work. Johns proved a demanding taskmaster, insisting they must work late into the night, and no drugs were to be brought into the studio. Opportunities to relax were few and far between, with all the pubs closed by the time they had completed work, food shops with a very limited choice in comparison with what they had at home, and only three television channels that all closed down before midnight. To make matters worse, the nation was in the grip of a miners’ work-to-rule, with power failures at inopportune moments that might mean what had been an almost perfect performance being committed to tape would be (and sometimes was) lost in a second. Band and producer were regularly at odds over the musical approach, with Henley, in particular, resenting the idea Johns seemed to have of them as a sweet-voiced quartet of easy-listening country music balladeers.

Despite these differences, they nailed the album within about three weeks. Johns might have resented their sometimes sullen attitude, but there was mutual appreciation for the professionalism and work ethic. He had the utmost respect for their formidable vocal and instrumental talents, and the balance between all four. ‘Without any one of them,’ he said, ‘it wouldn’t have been the same.’

The band returned to Los Angeles, only to realise that the album wasn’t quite finished after all. Johns was resuming work on projects with other artists in London when Geffen rang him to say they needed one more song with a lead vocal from Henley. They had tried to record ‘Nightingale’ during the sessions but were dissatisfied with the result, and all felt that the album was satisfactory enough without it. Someone had a late change of mind, and Geffen wanted Johns to