After my article on Fleetwood Mac, I thought to myself “what other legendarily fractious bands need my attention?”
I’m kidding, I don’t actually have those sorts of conversations with myself. It’s more likely to be “what’s for dinner tonight?” or “how can I combo off Phyrexian Vindicator before it gets boardwiped?” (The answer to those were “soup and salad” and “Lay Down Arms”, respectively.) But I digress.
I considered a handful of options, but I landed on Jeff Lebowski’s favorite band of all time: the Eagles. (Glenn Frey was insistent that there was no definite article in the name of the band, presaging Black Francis’ similar insistence in regards to Pixies. In his honor, I will use whichever format I feel like at the time. No gods, no masters.)
Formed in 1971 as an agglomeration of failed, failing, and flailing bands, the members of the Eagles started at each others’ throats from the get-go. At their founding, they were four veteran musicians who were trying to make a living in music. A rundown:
Don Henley (drums, vocals) was in Los Angeles with his band Shiloh until they collapsed after recording an album with Kenny Rogers (yes, that Kenny Rogers).
Randy Meisner (bass vocals) was a member of the Stone Canyon Band backing Ricky Nelson, but was unfulfilled as a hired gun.
Bernie Leadon (guitar, banjo, mandolin, etc.) had just left the Flying Burrito Brothers after tiring of a lack of success.
Glenn Frey (guitars, vocals) worked with J.D. Souther (almost an Eagle until Meisner objected) as Longbranch Pennywhistle (which has to be up there with Mott the Hoople and Toad the Wet Sprocket in bad band names) until they collapsed.
The four of them started to come together when Henley and Frey were hired as members of Linda Ronstadt’s backing band, having already met as their previous bands were signed to the same label. The two of them recruited Leadon when he came into Ronstadt’s band; Ronstadt hired Leadon knowing that Frey and Henley were looking to strike out on their own. The three of them reached out to Meisner when he played a one-off at Disneyland as Ronstadt’s bassist.
Jackson Browne connected the members of the band with David Geffen, who was launching his record label at the time. Geffen, armed with mountains of funding, signed the as-yet-unnamed group based solely on personal magnetism and solid reputations in September 1971. He arranged the buyout of any lingering record contracts for Frey and Henley, then sent the band to live in Colorado to congeal into a cohesive unit. By February of 1972, the newly named Eagles were recording their debut with star producer Glyn Johns on Geffen’s dime.
Their self-titled album was released in June of 1972, and it served as a formidable introduction. The lead single “Take It Easy” was an instant hit, while “Peaceful Easy Feeling” and “Witchy Woman” followed close on its heels. The close harmonies of the four voices set the band apart from their contemporaries like Pure Prairie League or the First National Band; the melodies and arrangements were just as good as Jackson Browne or the Byrds. In fact, Browne and Frey were neighbors, and Browne co-wrote “Take It Easy”. The Eagles served as openers for Yes on their Close to the Edge Tour to promote the album, then began work on their second album.
1973’s Desperado was a concept album about a romanticized Old West that never was. It was the first time that Henley and Frey had made a concerted effort to write together, and they quickly became the principal songwriters for the group. This did not sit particularly well with either Leadon or Meisner, who were far more veteran in the music industry than the relatively inexperienced duo. The title track became a concert staple and a regular feature on album-oriented rock stations, but it wasn’t the hit that their debut was. Unfortunately, the album was a victim of the all-too typical sophomore slump.
For those unfamiliar with the concept, bands usually build up material for a good amount of time before recording their debut, but once it comes time to record a second they don’t have enough time to stock the larder again. Thus they use the dregs left over from their first. Think Kiss (Hotter Than Hell), the Stone Roses (Second Coming), the Clash (Give ‘Em Enough Rope), U2 (October), or Hootie and the Blowfish (dear god, Fairweather Johnson is the poster child for the entire trope). Now back to our regularly scheduled program.
In retrospect it’s an important milestone in their development towards a more standard mainstream rock band, and a cornerstone of country-rock as a genre. It wasn’t as popular with audiences at first, and it caused some friction with their label as they were uncomfortable with the cowboy themes for marketing purposes. Nevertheless, it sold well enough to merit a third album, and the Eagles set about working on their follow-up in the same way they recorded their first two.
After a false start with Glyn Johns that resulted in just two songs, they relocated to their new home base of Los Angeles, where they would remain for the rest of their time as a band. Bill Szymczyk was their new producer back in the States, and his approach was much different than Johns. Szymczyk has never been a musician, and looked at music production solely through the eyes of a potential listener. As a result, his guidance steered the Eagles towards a more mainstream, broader appeal that worked exceedingly well on radio.
While recording “Good Day in Hell”, Szymczyk thought the guitars needed beefing up. He asked the band for suggestions, and Leadon remembered his old childhood friend who had met the band while on tour with Yes. Don Felder showed up to add a slide part to that song, and while in the studio was asked to provide a few tasty parts to “Already Gone”. The day after its recording, the rest of the band knew they needed Felder on a permanent basis. They asked, he said yes, and the Eagles were officially a quintet.
On the Border came out in March 1974, and was a significant improvement from Desperado. Two of the three singles were hits, and “Best of My Love” was their first number one single. The added audience attention served as a rising tide, increasing sales of their two other albums from their back catalogue. The Eagles were now able to headline tours on their own, and were on the precipice of superstardom.
One of These Nights was the catapult they needed. Released in 1975, it showed the band at the height of their creativity. The songs flowed easily from the main songwriting duo of Frey and Henley, with seemingly little effort. There was tension from the rest of the group, though, and by the end of the recording process Bernie Leadon departed. To his thinking, the Eagles started off as a country-rock fusion, but had metamorphized into a straight ahead rock band. That wasn’t what he signed up for, and he made his displeasure known after a contentious meeting that ended in him pouring a beer over Glenn Frey’s head and walking out.
The band searched for a replacement, and found one with Szymczyk’s help. He had produced albums for the James Gang and Barnstorm, both featuring wildman guitarist Joe Walsh. Joe had more than just attitude (famously bringing a chainsaw with him on tour to better destroy hotel rooms), he also had chops as a musician; Joe had served as a session musician for B.B. King, learned slide from Duane Allman, and sat in with Pete Townshend. Despite Henley’s misgivings that Walsh was too wild for the Eagles, they hired him and began work on their fifth album.
In 1976, Hotel California emerged. What more do I need to say? It took almost eighteen months to record, necessitating a stopgap in the meantime. The label decided to put together and release Their Greatest Hits (1971–1975) without input from the band itself. (By the way, that compilation is the biggest selling album in American history. More copies than Thriller. You’ve probably got a copy and don’t even know it.) It bought the group more time, as they were exhausted from the stresses of trying to produce a follow-up to their breakthrough.
Hotel California is a significantly more aggressive album than their previous work, an alteration chalked up to Walsh’s garage-rock mentality in place of Leadon’s laid-back country vibes. It was a smash hit, with the title track becoming the signature song of the Eagles for the rest of their career. As a matter of fact, it's the third best selling album of all time, behind Thriller. It won two Grammys for individual tracks, but lost Album of the Year to a little number called Rumours. (If you’re going to lose, that’s a fine one to lose to.) The band then went on tour for almost a year straight to promote the album and to capitalize on their status as one of America’s biggest rock bands.
The tensions that began surfacing during Desperado didn’t dissipate with Leadon’s departure, and Randy Meisner left at the end of the tour. When Meisner left Poco to join the then-nascent Eagles, he was replaced by Timothy B. Schmit. When Meisner moved on from the Eagles, who should the band turn to but Schmit once more. (I’m sure the guy has a complex about it by now, but millions of dollars will soothe any lingering concerns.)
The Eagles began working on their next album in 1977 with a new lineup but with the same set of grievances. Another long torturous and arduous recording session resulted in The Long Run, not released until September of 1979. It's not the same caliber as Hotel California, but what could be? I suppose it's a mark of pride that a band can sell seven million copies of an album and still be considered a disappointment. “Heartache Tonight” was another number one single, but it would be the band's last to date.
The Eagles broke up after a spectacularly disastrous show in Long Beach, California on July 31, 1980. Felder and Frey started the night off on the wrong foot when Felder was nonplussed by a celebrity guest backstage, to which Frey took offense. Throughout the show, they traded verbal barbs and threats of physical violence. Once the show concluded, they made good on their promises and had to be separated by security. Lawyers were called in shortly thereafter, and the band ended under a cloud of legal actions. The live album from their final tour was completed by mail and through lawyers since none of the principal actors could stand to be in the same room.
Throughout the Eighties, solo careers were pursued by all involved parties. Some were successful (Don Henley being the most successful, followed by Glenn Frey), others were not (Meisner, Felder, and Leadon faded into the background for the most part). Everyone agreed that the parts were less than their sum, but egos (and record label politics) meant that a reunion was impossible. Henley in particular repeatedly said that the Eagles would get back together “when Hell freezes over”.
In 1993, Don Henley gave his blessing and his logistical support to Common Thread, an album of country artists covering Eagles songs. The proceeds would go to a charity he founded that would buy the land around Walden Pond in Massachusetts to preserve it for generations to come. To promote the album, Travis Tritt’s cover of “Take It Easy” was released as a single. Travis talked to each of the members of the last incarnation, of the Eagles and somehow convinced them to appear in the music video. Together. In the same room. At the same time.
They realized they could coexist, especially if there was money to be made. Recording another album would also solve Henley’s lingering issues with his label, allowing him to pursue a new solo deal for himself. None of the others had any pressing commitments, and there were gobs of money at stake. Arrangements were made for a new live album, a concert video, and a tour to follow. Frey, Henley, Felder, Schmit, and Walsh were the Eagles once more.
Hell Freezes Over debuted at number one on the albums chart, going on to sell six million copies. The tour was a financial windfall for the members, and performances continued off-and-on for the next several years. The Eagles were inducted into the Rock and Roll Hall of Fame in 1998 by longtime friend of the band Jimmy Buffett, and all seven members played together for the first (and only) time.
Don Felder stopped playing with the band in 2000, and was officially fired in February of 2001. A flurry of lawsuits flew, including injunctions that resulted in an entire publishing run of Felder’s tell-all book being pulped. The dispute allegedly originated when Frey and Henley orchestrated a bigger share of the revenue from the ongoing tours, concert videos, and a new greatest hits album. It wasn’t until May of 2007 that the lawsuits were all dismissed after the always popular “undisclosed settlement”.
Entirely by coincidence (yeah, right), the Eagles released their first new studio album in twenty-seven years in October of 2007. Long Road Out of Eden was a number one album, which was somewhat surprising as the band signed an exclusive deal with Wal-Mart and Sam’s Club to be the sole distributors for a year after its release. Several singles charted on the country charts from it, but to be perfectly honest you’re not missing anything if you skip it.
The Eagles continued touring for several years afterward with some regularity, now as a four piece augmented by a slew of touring musicians. In 2013, Bernie Leadon appeared with the band at select concerts. Randy Meisner was asked to participate as well, but bowed out due to lingering health concerns. Felder, unsurprisingly, was not asked. Perhaps his persistent threats of further legal action played a role.
By 2015, Glenn Frey’s own health concerns came to the forefront. His diverticulitis (dating back to at least 1994) had recurred through the years, but tours and appearances were rescheduled in a big way this year, including delaying the Eagles receiving Kennedy Center Honors. At the end of the year, Frey underwent intestinal surgery but never recovered. He died in January of 2016 from complications resulting from the surgery.
At first, the band said that they were going to cease performing together, but by the next year they had changed their mind. Frey was irreplaceable, but taking his spot were his son Deacon Frey and country superstar Vince Gill. Both were considered full members rather than touring musicians. Deacon toured with the band full-time until April 2022, whereupon he left the Eagles on positive terms to pursue a solo career and his own musical identity. He still plays infrequently with them when he is able.
This brings us to the present day. The Eagles remain a quartet of Henley, Schmit, Gill, and Walsh, with touring support from Scott Crago (drums), Steuart Smith (guitars and mandolin), Will Hollis (keyboards), and Michael Thompson (keyboards and accordion). Each of the touring musicians have been with the band for over twenty years, a testament to the enduring popularity of the band.
And now we turn to the top ten Eagles songs of all time, as chosen by yours truly. As per usual, these are my opinions and my opinions alone. Don’t blame anyone else, and don’t credit anyone else either. For those of you with strong feelings on my selections, feel free to yell at me for my choices on social media or in the comments below. Let’s get started with number ten.
10. Ol’ 55
I’m breaking my general rule to only feature originals for this one, just for the excuse to talk about a different version entirely. (It’s my newsletter, if you don’t like it, get your own.) The Eagles version of “Ol’ 55” is perfectly serviceable, but composer Tom Waits considered it “antiseptic”, colored by the fact that he thought the Eagles were about as exciting as watching paint dry. Hearing the Eagles interpretation reminds me of the Waits version, and thinking about that leads me inevitably to the finest video package ever assembled as a tribute to an athlete who’s passed on far to soon. Watch this and see if you can resist tearing up. I can’t.
9. New Kid In Town
The first single from Hotel California, “New Kid in Town” began as just a chorus form J.D. Souther, who thought it had merit. He brought it to Frey and Henley, who proceeded to flesh it out into a full song. The star of the show (besides Randy Meisner’s thumping guitarron line) is the arrangement of harmonies throughout, with all five members weaving in and out of the melody. It was the second Eagles single to win a Grammy after “Lyin’ Eyes”, and with good reason. To hear J.D. do it solo, though, is a trip. Listen below:
8. I Can’t Tell You Why
The one and only Timothy B. Schmit lead, “I Can’t Tell You Why” is an atypical Eagles song for a number of reasons. It’s a falsetto lead, an R&B arrangement, and it’s the direct reason why Vince Gill eventually joined. The Common Thread album featured Vince covering this song, where he connected with Schmit (who sang backup on the cover). After Glenn Frey’s death, Vince was hired to fill some of his parts on tour. That’s not the only notable cover of the song, though. Howard Hewett embraced the song as an R&B number as heard here:
7. Take It Easy
This is the one that started it all, and many consider “Take It Easy” to be one of the finest Eagles songs ever. Jackson Browne came up with the first verse of the song, but couldn’t think of how to complete it. He invited his next-door neighbor Glenn Frey to the studio with him, where Frey became enamored with the idea for the song. Frey nagged Browne to let him finish it, and eventually Browne capitulated. The result was the lead single off of their debut album, a signature song for the new hot band, and tons of royalties for everyone involved. Winner winner, chicken dinner. Travis Tritt’s version, though, ended up making them even more. Listen below:
6. Take It To The Limit
Randy Meisner’s only lead vocal on a single was “Take It To The Limit”, and ultimately was the last straw for why he left the band. It’s in a staggeringly high key, and hitting those notes was a strain live. Meisner was reluctant to sing it, especially when he wasn’t feeling well. After a show in which Meisner was suffering from an ulcer AND the flu, Glenn Frey was insistent that they play the song. Meisner demurred, leading to a literal fistfight backstage. At that point, Meisner began making plans for his exit at the end of the tour. Fun fact: during the reunion shows, Frey sang the lead, but dropped the key by two whole notes. Even Vince Gill dropped it by one when he joined. For a decidedly less contentious take on the song, let’s go to Miley Cyrus, because whatever you make of her public image, the lady can sing:
5. Desperado
The title track from their second album, this was the first song that Henley and Frey co-wrote, alongside “Tequila Sunrise”. It’s an odd duck as it’s a ballad with piano as the principal instrument, in the style of Ray Charles’ slower material. It’s been covered by tons of performers over the years, but first by Linda Ronstadt. Although it was never released as a single by the Eagles, it’s become one of their signature songs. Whenever I hear it, though, I can’t help but think of the video package ECW put together for Terry Funk for the Barely Legal pay-per-view in 1997. Didn’t figure on this article being so wrestling-centric, but here we are.
4. The Long Run
(Article title drop!) For an ostensibly country-rock band, there sure is a lot of rhythm and blues in the Eagles’ best songs. Consider “The Long Run”, which is clearly inspired by the signature sound of Memphis R&B. In fact, there’s a lovely song released back in 1972 by Otis Clay that sounds awfully familiar. Listen here:
Draw your own conclusions. It’s a heck of a song, regardless. Ecclesiastes 1:9 does spring to mind, though.
3. Already Gone
“Already Gone” represents the birth of the modern Eagles; it’s among the first songs recorded without Glyn Johns once the band had taken more control of the recording process, and marks the first appearance of Don Felder on lead guitar. His solos hold the entire song together. Despite being one of the most radio-friendly Eagles songs over the years, it only reached number 32 on the Billboard charts. More successful was the Finnish version (!) in Finland. That’s right, all you Karma fans, I haven’t forgotten you. Listen below:
2. Life In The Fast Lane
Moving from a signature Don Felder guitar line to a Joe Walsh one, the memorable intro was just a warm-up Joe did during rehearsals until Don Henley and Glenn Frey stopped him and told him it had the potential to be a song. Glenn used a throwaway line from his drug dealer as the lyrical inspiration, and the song came together quickly after that. What really sets it up is the monster bassline from Randy Meisner, who doesn’t get enough credit for his foundational role in many Eagles arrangements. Another group of people who don’t get enough credit? Backing musicians for major pop stars. Consider Niall Horan’s backing band here covering, you guessed it, '“Life in the Fast Lane":
1. Hotel California
Was there ever any doubt? Of course it’s “Hotel California”. Everyone has speculated as to what the lyrics mean, but ultimately the only person who knows is Don Henley and he’s been a real jerk about it. To quote him when asked about a specific line:
It's a sociopolitical statement. My only regret would be having to explain it in detail to you, which would defeat the purpose of using literary devices in songwriting and lower the discussion to some silly and irrelevant argument.
The lyrics are allegedly an attempt to mirror Steely Dan’s penchant for wordplay and narrative freewheeling, but who really knows at this point? The music for the song was written by Don Felder, who also worked with Joe Walsh to create the legendary guitar duel that closes the song out. It’s been called the greatest guitar solo of all time (despite being a duet…), and it’s certainly up there. (I’m a southern boy, so it’s “Freebird”. Sorry, not sorry.) There have been countless covers of the song, but why cover when you can sample? Frank Ocean did just that (and received a lawsuit threat from Henley in the process) when he sampled the song nearly in its entirety for “American Wedding” off of his Nostalgia, Ultra mixtape as heard here: