Eagles Mentions in the Press (2006 - 2017)

Thanks for linking to that. Interesting read! I want to C&P it over to here in case that board goes away but I'm afraid that isn't kosher. Boo!

However, some comments, assuming Herb Steiner's recollections are accurate:

I didn't realize that Linda Ronstadt's backing band, where Glenn and Don met, was called the "Corvettes" and also contained Richard and Michael Bowden.

He says Shiloh had a top 10 record in Bakersfield! I wonder what it was? "A Simple Little Down Home Rock'n'Roll Love Song for Rosie"? It's like Buckingham Nicks having a hit album in Birmingham and nowhere else. Interesting!

Here's an interview with JD Souther from 2009.
http://www.acousticstorm.com/artists/interview/96

Quote:

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ACOUSTIC STORM: What was the inspiration for “Best of My Love?”

J.D. SOUTHER: Glenn found the tune; the tune I think came from a Fred Neil record. I don’t know who wrote the first lines; we wrote it in London. We were working on that album ("On the Border") and came to London. The three of us were writing it and were on deadline to get it finished. I don’t know where we got the inspiration. I can rarely tell you where I get inspiration. I’ve been making music since I was 9. When I’m writing music it’s something that’s swirling around in my head or happens to live on scraps of paper or a score paper that’s sitting on my piano. Sometimes it’s something new. Sometimes it’s something that triggers an investigative search into something that’s a little bit old. There’s something on this new album that actually started in 1972. That’s a long non-answer. I have no idea where the inspiration for that song came from.

A.S.: You have written songs with Don Henley and Glenn Frey. How does the dynamic change when three songwriters are working together, as opposed to a solo effort?

JDS: Usually all three of us are writing all lyrics and music. "New Kid in Town" is probably a bit different because I had the chorus done for almost a year before I showed it to Glenn and Don. I don’t know that we had the first line, but I think we had the bridge changed. Glenn was a real proponent and great student of Motown Records and the Philadelphia sound – Gamble and Huff records. So Glenn always had the beat. So, that was mine and Don and Glenn and I sat up a lot of nights and banged on the lyrics. They were at Criteria Studios in Florida and they called me up and said there were still a few holes in the lyrics. So I came down and we finished that and “Victim Of Love.” It’s always a joint effort. I can’t speak for them, but as much music as I had in my background, it was mostly jazz and orchestral music. I wasn’t exposed to country music until I was almost grown. I’m a much better song writer today for having written with Glenn and Don, Jackson Browne and Warren Zevon. That group of people in southern California in the early ‘70s—we were working as hard as we could to become good writers.

A.S.: Where do you get your inspiration for song writing?

JDS: (Writing as a team) speeds things up a lot. When you’re writing with good writers like Jackson or Warren Zevon or Don and Glenn you’re so critical of each other that you don’t let anything pass that doesn’t feel like it’s A+. I like writing in a group. I don’t do it very often, there aren’t many groups I feel comfortable with. But with that bunch of guys, and that song that James Taylor and Waddy Wachtel and I wrote -- there have been a few others. It’s pretty rare that we’re bringing out the best in each other. We were all trying very hard to impress each other in a way, like young guys do.

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Quote:

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A.S.: Since you had a songwriting relationship with Frey and Henley early in your career, did you ever have a chance to join the Eagles?

JDS: Yeah, I had a moment. I think I was in the band for one day. David Geffen thought it that would be “four songwriters, good; five songwriters better.” So we put together a set and played it at the Troubadour in the afternoon for the management team. I just remember them looking down the front line and seeing four of us bashing away at stringed instruments. And, to be frank, they didn’t need me. They were a perfectly well-rounded, self-contained band. I figured we were going to keep writing together anyway, so I think we all got the best of that situation, the best possible outcome. Frankly, when I said, “No, I don’t think I really want to be in the band,” I’ve never seen four guys more relieved. I think they were more delighted than I was.

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This isn't news to most of us, but it looks like the musical thing is likely to happen.
http://www.contactmusic.com/don-henl...-plans_5045110

Can't say I'm excited about it, but it sounds like they're gonna do it!

Well with Don working on it, will probably be another 2 more years till it suits him..lol

If Henley says it's true, then...guess we can all believe it now.

I'm not thrilled about them doing it, either. Musicals aren't really my thing. I'd much prefer new music.

I've just read an excellent interview with Charlie Brusco who manages Don Felder, amongst others including Styx. There's a paragraph on the Eagles HFO ticket prices which is my justification for putting it here, but mostly it's just a really good explantion about how the music business works for classic rock acts and the economics of touring vs recording.

http://www.examiner.com/article/insi...charlie-brusco

Thanks UTW - this looks like a really interesting article, even though it's pretty long. I don't have time now, but I'm anxious to read it when I get a few minutes.

UtW, thanks for that! It was very long, but very interesting! Explains a lot about how it all works!