Saturday Morning Music #3 – Rambling Syd Rumpo

Once upon a time…there was radio comedy (yes, folks, no visuals, just sound).
In the 1960s in the UK, radio comedy was still the primary comedy medium, although by the end of that decade it would be eclipsed by television.
Radio comedy operated under a lot of guidelines from the BBC, not least of which was the original BBC charter that obliged the BBC to “uphold the morals of the nation”. As far as The Authorities were concerned that meant one thing for sure.
Sex Must Not Be Mentioned.
So…the comedy writers, being the inventive people that they were, proceeded to punch through the prohibition by the use of innuendo. Radio comedy in that era was full of innuendo.
The comedy show “Round The Horne” was a prime example. “Round The Horne” was an anarchic melting pot of British radio comedy, with most of the famous names of UK comedy making appearances. The show was fronted by Kenneth Horne, who essentially operated as the straight man, attempting (usually unsuccessfully) to keep the rest of the cast and crew in line.
The show was not so much riddled with innuendo as it was powered by innuendo. It even had two stock characters (Julian and Sandy) who were flagrantly and obviously gay, this in an era where homosexuality was still a felony in the UK.
Like most radio comedy shows, the show had its collection of stock characters, many of them played by Kenneth Williams. The gifted Williams was, personality-wise, a classic tortured comedy genius, privately homosexual, but deeply conflicted about it. He would ultimately commit suicide due to depression. However, at this point in his life he was at the peak of his powers, a gifted mimic, with a fast acerbic wit that thrived in the seat-of-the-pants environment of “Round The Horne”.
One stock character created for the show that Williams played was Rambling Syd Rumpo.
Rambling Syd was a simple country guy from somewhere in the West Country of England, speaking in a caricature Dorset or Devon accent, who would show up almost every week. He would operate as a music educator, ultimately whipping out his guitar (in reality played by another musician) to sing a ditty, mostly some English traditional song with greatly altered lyrics.
Rambling Syd was a creation of writers Barry Took and Marty Feldman (yes, that Mary Feldman). In the process of creating him, Took and Feldman created an entire new lexicon for him to talk and sing. Words, mostly invented by Feldman, such as “grunge”, “nadgers”, “cordwangle”, “ganderbag”, “grussets” and “splod” were the staple currency of Rambling Syd’s verbal repertoire, as he proceeded to, ahem, re-interpret the traditional English song catalog in his own unique style.
Of course, since this was “Round The Horne”, the entire Rambling Syd slot in the show was an innuendo lover’s feast. The words just sounded naughty, and Kenneth Williams’ intro to the first tune on this Best Of tells you exactly where he was headed.
Trivia thought – this might have been the first time that the word “grunge” was popularized, prior to its appropriation by the Seattle indie rock scene in the 1980s.


Saturday Morning music – 18th November 2017

1. Kane Gang – Motortown
The Kane Gang were a short-lived band that originated in the North East of England in the early 1980s. They started out as an electronic pop trio, but soon morphed into a unique band with a style that was part US blue-eyed soul, English pop, with witty and often acerbic lyrcis. Unfortunately, the band imploded while recording their third LP and that was that.
“Motortown” is an acerbic satire about the Nissan car company’s new car plant that opened in the mid-1980s near Sunderland. At the time Nissan were hailed as saviours of the local economy, which was declining due to coal mine and industry closures. The Kane Gang put the whole hype into perspective with some suitably acerbic commentary.

2. Emerson Lake and Palmer – Fanfare For The Common Man
Keith Emerson was no stranger to re-interpreting the works of classical composers – he had re-arranged Mussorgsky’s “Pictures At An Exhibition” for ELP, generating an entire LP in the process. Having always liked Aaron Copland’s piece, ELP proceeded to re-work it for their 1976 LP “Works”.
They then proceeded to film a promotional movie for the tune in the Olympic Stadium in Montreal in the middle of the Canadian winter. Not sure how impressed the band members really were at being asked to film this video in sub-standard temperatures, all wearing winter coats that made them look like Michelin men.
In the film, Emerson is playing a unique and expensive multi-bank polyphonic synth – the Yamaha GX1 – a leviathan with a ludicrous price tag, owned by a handful of pioneering keyboard players at the time, including Emerson (who ended up with two), Stevie Wonder, John Paul Jones and Rick Wright of Pink Floyd.
Copland actually heard ELP’s version and was not entirely appalled by it…


RP Tom Petty, who showed leadership by humility

Yesterday we lost yet another musician and artist with the sudden death of Tom Petty.
I will be honest and say that I was never a fan of most of Tom Petty’s music. He had an excellent backing band, but his songwriting to me lacked enough structural interest. he rarely used bridges on his tunes, and had limited harmonic movement in the tunes. Like R.E.M., another highly popular ensemble, most of Petty’s songs went through my head and out of the other side without engaging my brain.
However, it was clear that Petty was an all-round good guy. He gave generously of his time to numerous causes, and did not go way off the rails like some of his contemporaries.
He was also humble enough to pen this mea culpa in Rolling Stone a few years ago about how he ended up using the Confederate flag in his “Southern Accents” tour, and how he subsequently came to realize that it had been a mistake. It is rare for many famous people to admit to error, but Tom was a welcome exception.
Rest in Peace Tom.


How to elaborate on the 12 bar form – Donald Fagen explains “Peg” by Steely Dan

“Peg” is the opening tune on the second side of the 1977 Steely Dan LP “Aja”.
Like a number of Steely Dan songs, it is actually based partially on the 12 bar blues form. However, as with other Steely Dan songs derived from the blues (other examples are “Bodhisattva”, “Chain Lightning” and “Josie”), the chordal structure and voice leading is…different.
As Fagen explains, the idea was to build the verse harmony around a major seventh, not a flat seventh. Also present are additional sections; the introduction, which is derived from the chorus, and a stop/transition, based on jazz bebop harmonies, between then first chorus and the start of the second verse.
Fagen, prompted by Warren Bernhardt, who played piano on several 1990s Steely Dan tours, walks through an explanation of how “Peg” is constructed in two parts.
It is a beautiful explanation of how the underlying harmony of what superficially passes for a 12-bar blues was developed into something altogether more interesting.


Bill Bruford – Feels Good To Me

While working away this weekend in the home office, I found myself listening to Bill Bruford’s LP “Feels Good To Me“.
It is difficult to explain how eye-opening this LP was when I first went out and bought it in early 1979. It is also amazing and gratifying to find out that it still sounds like a damn fine LP nearly 40 years later.
For those of us who were following the UK music scene, Bruford had already shown his willingness to go out on a limb musically more than once. He had quit the drum seat in the band Yes in 1972, when Yes were poised to break out and become a massive band worldwide. At the time the move was greeted with a fair bit of astonishment in the UK, not only because Bruford was leaving Yes, a band seemingly on the rise, but because he was leaving Yes to join…King Crimson, a band whose audience, in contrast to that of Yes, seemed to be shrinking, and whose main newsworthy activity seemed to be the latest item of news about who had just left the band. King Crimson violated most people’s expectations at the time that bands should have a stable enduring line-up. Not only that, but Crimson’s musical approach seemingly changed from LP to LP, confusing listeners and reviewers alike.
At the time that Bruford joined King Crimson, the previous version of the band had essentially ceased to exist, and Robert Fripp had recruited Bruford into a brand new incarnation of Crimson.
The band, with Bruford’s straight man drumming offset by the unique percussion stylings of Scottish percussionist Jamie Muir, was either brave or suicidal depending on your point of view – they opened their first gig in 1972 in Germany with with a 30 minute free improvisation, and played “20th Century Schizoid Man” only as an encore. However, playing with Muir awakened Bruford’s interest in tuned untuned percussion, which he would use to good effect on his own projects.
That version of the band recorded “Larks Tongues In Aspic” in 1973, an album that, for those who bought it, had an impact out of all proportion to its modest sales. “Larks Tongues” was a mixture of jazz, heavy metal, classical music and other forms not even categorizable. (One thing that you will not find in “Larks Tongues”, however, is any trace of the blues). It still sounds unique and fresh to this day.
However, after 1972, King Crimson began to shed members once more, and Fripp disbanded that version of the band in 1974, leaving Bruford to pursue itinerant session and touring gigs, until he teamed up with Eddie Jobson, John Wetton (who had been the bass player and vocalist in Crimson), and guitar player Allan Holdsworth to form the progressive rock band UK. UK released one album to good reviews, but Holdsworth left during their first major tour, and the band fizzled out.
After the UK experiment, Bruford retreated to his home studio, and working with Dave Stewart and Jeff Berlin, wrote the tunes for what would become “Feels Good To Me”. For the LP recording sessions, Bruford showed that he was a man of much more musical reach relative to just about every drummer on the planet. He recruited Stewart to play keyboards, Jeff Berlin to play bass, and persuaded Holdsworth to play guitar (in true Holdsworthian style, he would again leave the band after its first UK tour). He also called on the unique lyrical and vocal approach of the American singer Annette Peacock. Lastly, he asked jazz trumpeter Kenny Wheeler to play on several tunes.
“Feels Good To Me” covers a lot of stylistic ground, from hard pop through to intricate instrumental tunes, some with odd standard time signatures, led by Bruford’s mallet and tuned percussion playing, through to mini suites. However, what still rises to the surface is Bruford’s innate sense of melodicism. His tune melodies refuse to go in straight lines, but they have a logic and a destination, they just take more time than 8 4/4 bars to get there as they tell a more elaborate story than most instrumental melodies.
“Feels Good To Me” is a long way removed from most drummer LPs, which tend to comprise tunes designed more to showcase technique than musical story telling. Bruford has technique to throw away, but it was always used to support the tunes.
After “Feels Good To Me”, the band recorded “One Of A Kind”, this time without Peacock or Wheeler, but Holdsworth left the band before their next tour, and John Clark became the band’s guitar player. The LP is less accessible than “Feels Good To Me”, mainly because of the lack of the lack of vocals. The band then recorded a third LP “Gradually Going Tornado”, with Jef Berlin trying his hand at singing (verdict: average). They disbanded in 1983, and Bruford would then re-group and launch his project Earthworks, another genre-smashing ensemble.


Allan Holdsworth 1947-2017 – an appreciation

Allan Holdsworth passed away suddenly on April 16th 2017 from heart failure at the age of 70 at his home in Southern California.
He died in relative obscurity, and, by all accounts, in poverty.
The fact that Allan Holdsworth, at the end of his life, was an obscure small cult tells us a lot about the current state of the music business and also the popularity of instrumental music containing improvisational forms. Bluntly, the music form known as jazz is in a bad way in the USA. The problem is not confined to Allan Holdsworth. I have read interviews with other jazz players in the past few years where they explained that they were unable to play live in the USA because they could not get paid any reasonable amount of money for their craft. Europe and Japan are just about the only regions of the world where jazz artists can actually make a living playing live.
The statement that Allan Holdsworth was a guitarist’s guitarist is undoubtedly true, but it is an over-simplification and sells Holdsworth short in many respects. However, it is true that just about every person who has tried to play electric guitar has heard of Allan Holdsworth. In the same way that Jaco Pastorius greatly expanded the vocabulary of the bass guitar in the late 1970s, Allan Holdsworth did the same for the electric guitar in the 1980s. By the end of that decade, he had almost single-handedly expanded the entire notion of what a six string fretted electric instrument cold sound like, both as an accompanying instrument and as a solo instrument.
Holdsworth’s accompaniment and chordal work on guitar was the antithesis of the old phrase “rhythm guitar”. Holdsworth did not sweep the strings, he plucked them, and his chord voicings were often colored, inverted and contained controlled dissonance and open ringing notes. He used large spreads across the fretboard. I have his music instruction book “Searching for the Uncommon Chord”, and I can verify that some of the voicings and fingerings are beyond my ability to play.
Essentially, Holdsworth played accompanying guitar like a keyboards player. Processed through intricate and complex equipment, this resulted in a unique soundscape that has been imitated to a greater or lesser degree by dozens of guitar players.
It was no real surprise that when the SynthAxe appeared in the 1980s, Holdsworth was immediately drawn to it, and he became the musician most indelibly associated with the instrument. The conception of feeding the string information from guitar into keyboard controllers perfectly meshed with his approach to playing guitar. Unfortunately the SynthAxe, like many great innovations, lacked a large enough market to support proper development, and reliability and cost issues blighted greater acceptance. Holdsworth’s own SynthAxes were eventually retired from road use, to be used occasionally in the studio.
Like many skilled practitioners on musical instruments, Allan Holdsworth did not start out playing guitar. He was initially a horn player, and this was immediately obvious when you listened to his solos, which contained pauses and gaps reminiscent of what you hear in blowing instrument solos, where the instrumentalist has to stop playing to take a breath. The attack, the tone, the note selection and his use of a diverse range of scales made him recognizable in no more than two or three notes. Like all great individualists on any instrument, Holdsworth’s solos were instantly recognizable as Holdsworth.
Holdsworth, in his solo playing, also seemed to be totally non-anchored to the blues form and scale patterns that most guitarists start out playing, and often become trapped within. His choice of notes and scales seemed to be derived partly from bebop, but mostly from Somewhere Else.
Holdsworth, as befits a determined individualist, also wrote quirky, often non-standard compositions. He seemed ill at ease with or uninterested in conventional song forms. In the 1980s he experimented briefly with vocal-led music, but soon abandoned having a singer in his band, and for the last 25 years of his life, he toured and recorded with a base trio format, adding a keyboards player occasionally. However, he always used the best musicians available, and there was no shortage of musicians who wanted to play with him. Like Frank Zappa, alumni of Holdsworth bands are to be found embedded in positions of veneration in the music industry all over the place. Holdsowrth’s best composi
tions are, like his solo playing, instantly recognizable, if only because almost nobody else could write tunes like that.
Unfortunately, the characteristics of his playing and compositional ability that made Allan Holdsworth unique also made him uniquely difficult to sell as a musical artist. That difficulty was exascerbated by his demanding and uncompromising personality. Unlike many other gifted instrumentalists, Holdsworth never became a fluent sight-reader, so the parallel career of a session player to pay the bills was not really an option for him. (He would have hated that line of work anyway). He also seemed to have a low boredom threshold, and tended to walk away quickly from any musical project that could not hold his attention. Stints with UK and Bill Bruford in the late 1970s ended quickly, as did an attempt to form a more conventionally-structured rock band (recording sessions for “Road Games” followed by the band I.O.U.).
Holdsworth’s many musical admirers included Steve Vai, Frank Zappa (who would probably have hired Holdsworth to play for him if he had been a sight-reader) and Eddie Van Halen, who assiduously lobbied for Warner Brothers to sign Holdsworth as a solo artist in the early 1980s. Hoever, after recording most of an album, Holdsworth and Warners fell out, and only a single truncated LP, “Road Games”, was released.
After that flirtation with the conventional end of the record industry, Holdsworth’s fate was to shuffle from independent record company to record company, releasing an LP here, a CD there. He moved to Southern California in the 1980s, worked and toured infrequently, and, like most jazz artists, suffered from the general downturn in the music industry, which has seen royalties, once a source of steady income for recording artists, shrink to almost nothing in the last 15 years. In occasional interviews, he came across as frustrated, but unrepentant. At the end of his life, he was scratching a living, and after his death, friends had to set up a GoFundMe for his anticipated funeral expenses. The fact that the appeal was shut down after 72 hours, having raised over $114,000 dollars against a $20,000 target, confirms that Allan Holdsworth still had a lot of friends and admirers.
A more conventional Allan Holdsworth would probably have worn tight trousers in a stadium rock band, played bombastic solos, been a hero to air guitar players…and would have been boring beyond belief. Instead we ended up with 40 years of a unique approach to guitar playing that re-wrote a lot of the vocabulary and expanded, sonically, harmonically and melodically, the entire landscape of what we know as Playing Guitar.
Rest In Peace Allan. We hardly knew ye.


Gregg Allman

Gregg Allman, the remaining half of the Allman brothers, passed away suddenly last week at the age of 69.
In reality, he had been dodging the Grim Reeper for the best part of 10 years, since discovering that he was suffering from liver failure due partly to Hepatitis C. His prodigious prior alcohol ingestion probably had a lot to do with the liver issue also. After a liver transplant and a difficult recovery, Allman had been touring intermittently, in between further bouts of ill-health.
Many people with drug and alcholol abuse problems are essentially self-medicating to address deep trauma. In Gregg Allman’s case, the trauma dated back to 1971 and 1972.
By the Fall of 1971, the Allman Brothers, the band that Gregg and his elder brother Duane had formed in Jacksonville FL in 1969, had matured into one of the great live musical acts. The band, built around the twin guitar playing of Duane and Dickey Betts, with Gregg providing Hammond organ and gritty vocals, with two touch drummers in Butch Trucks and Jai Johnny Johansen, and with Berry Oakley maturing into one of the great bass players, had toured non-stop for over 2 years, sometimes playing 2 sets a night, and had gradually morphed into an ensemble that was beginning to blur the boundaries between blues, rock and jazz.
The band’s first two studio LPs, “Allman Brothers Band” and “Idlewild South”, contained interesting original compositions that bore only a passing relationship to the blues. Tunes like “Dreams” and “Midnight Rider” impressed fellow musicians, but it soon became clear that the Allman Brothers were a far better live band than a studio band. In the studio, they often sounded stilted and tentative. Live, they soon became a pin-sharp band, capable of playing almost anything and interpreting other people’s tunes in a way that made it sound like only they could have written and arranged them.
Although the band’s initial repertoire was rooted in the blues, the cliched 12-bar blues form soon became a minority part of the band’s book of tunes. In addition to their own tunes, based on other musical forms, or modified blues forms, they also had a book of interpretations of old blues-based tunes, again with modifications to the musical forms.
By the time that Tom Dowd captured the band live at the Fillmore East in early 1971, to create one of the great live rock albums, the band was beginning to move into a zone that made them almost unclassifiable. A tune like “Hot ‘Lanta”, finished literally days before the Fillmore dates, illustrates the direction shift. Based on the blues form, the tune cycles through the theme, solos from the guitarists and the drummers, to a very slow melancholic hanging ending quite unlike any blues band’s standard cliche-ridden ending.
Film and audio records of the Fillmore dates and other concerts from the same time show clearly that although Gregg Allman, by virtue of being the band’s singer, looked and sounded like the frontman, this was Duane’s band. Duane directed the band on-stage, and it is his voice making most of the between-song announcements. Duane was constantly moving forward, in his own playing and with the band’s book of tunes.
And then, everything collapsed. On 29th October 1971, Duane Allman was fatally injured in a motorcycle crash in Macon, Georgia. Just over one year later, Berry Oakley would die in remarkably similar circumstances, also as the result of a motorcycle accident.
Suddenly, the Allman Brothers, who were well-positioned to make a major musical impact, were leaderless. Gregg and Dickey Betts became the leaders of the band after Duane’s death, and replaced Duane Allman’s fiery guitar with the jazz-tinged piano of Chuck Leavell. With Betts now a major compositional force, and taking over a lot of the lead vocals, the band rapidly morphed away from jazz-influenced blues and towards country-rock, becoming the de facto leaders of the whole “Southern Rock” movement of the early to mid 1970s. For several years, the band enjoyed massive success with hits like “Ramblin’ Man” and “Jessica”.
Then, slowly, the band fell apart, and it became clear after the fact that Gregg Allman, like many musicians, had been captured by drink and drugs, from which he had difficulty escaping. He testified against a band roadie to avoid jail time for hard drug possession, which effectively broke up the band in 1975.
After that, Allman embarked on a long period of intemittent activity, blighted by substance abuse. There was a short-lived marriage to Cher, which produced an odd LP “Allman and Woman”, a failed attempt at sounding like Ashford and Simpson. There were Allman band tours, and reformations of the Allman Brothers. The band toured in several incarnations for many years, without or without Dickey Betts.
Listening to a tune like “In Memory Of Elizabeth Reed” 45 years after it was recorded, one is struck by the acuity of the composition and the sheer tightness and pin-sharp playing of the original band, and it is impossible to wonder how great the Allman Brothers could have been as a band without the deaths of Duane Allman and Berry Oakley. Sadly, Gregg Allman probably spent a lot of the rest of his life wondering the same thing, and this may be why he died suddenly a week ago, after a difficult life.


Something rather different…

The German jazz organist Barbara Dennerlein, playing a jazz blues on the pipe organ at the Rockefeller Chapel in Chicago in 2009.
And here is another performance as she improvises around Bach’s Toccata and Fugue at Trinity Church, NY.
Another performance on a cathedral pipe organ,
Dennerlein is a true organ pioneer, having a prodigious technique on organ bass pedals, which she utilizes to not only play complex walking bass lines, but also to trigger musical samples.


Tweet Of The Day

From US singer and songwriter Rosanne Cash:

This illustrates why I refuse on principle to subscribe to music streaming services. They rip off artists. I buy my music via CD, digital download, and via The Standing O Project, which splits revenues 50:50 with its artists.


Glenn Frey and The Eagles

The death of Glenn Frey at the age of 67 is an interesting event to experience.
He was, by normal life expectancy standards, still young at 67. The shock is magnified by the fact that most people of my age group who grew up listening to music have listened to and bought Eagles albums. Effectively, the Eagles formed part of the soundtrack of our early adult lives. The images of the members of the Eagles that predominate in our minds are of driven men in their twenties, West Coast cool, tight harmonies, and the rock n’roll lifestyle. Ironically, none of the band members were actually from California. Frey himself was born in Detroit, and like the other members, made his way to California in search of the musical holy grail.
Frey looked pretty much the same until quite recently, although recent images hint at both the onset of old age, and poor health. However, you always tend to remember younger versions of rock and roll royalty. The internet is full of images of the youthful rock and roll playboy Glenn Frey, not the haggard, older drooped-chin Glenn Frey. It is clear from tributes paid since his death that Frey was struggling for a long time with significant health issues. He had also discovered the virtues of family, having swapped the wild man of rock and roll lifestyle for a domestic existence that would have probably horrified his younger self.
The Eagles, for a while, certainly exemplified the rock and roll lifestyle. Frey himself once described the Eagles as “a great way for a man to spend his twenties”. The biographies of the Eagles confirm that the band members did indeed engage in all of the classic rock n’roll lifestyle behaviors of drink, drugs and many women to excess all through the 1970s as their fame and fortune grew massively.
Like many famous bands, the Eagles’ body of work comprises a relatively short period of time – an 8 year period from 1972 to 1980. The original core of the band – Frey, Don Henley, Randy Meisner and Bernie Leadon, recorded the first two albums and some of the third album before they added Don Felder in late 1973, in order to give themselves the heft to play rock n’roll.
Along the way, the Eagles also slowly lost members. Bernie Leadon, who had more practical band experience than the other members, and who had less tolerance for the rock and roll lifestyle, was the first to leave in 1975, after his suggestion that the band not continue with their punishing tour schedule was ignored. Randy Meisner, whose family life also suffered from the same tour schedule, quit 2 years later. (Both men would be financially secure for life; the LP “Eagles Greatest Hits”, released in the mid-70’s, on which they appear, has sold a record 42 million units). The Eagles, despite public appearances, were officially a 3 man corporation thereafter (Frey, Henley and Felder) with Joe Walsh and Timothy B. Schmidt as salaried members, until Don Felder was fired in 2001. In true Hollywood fashion, lawsuits were exchanged over his firing, and not settled until 2009.
Don Henley’s polite allusion to “family dysfunctionalities” in his tribute to Frey was merely a confirmation of what has already been revealed by autobiographies – the Eagles band members often squabbled, and occasionally got into both legal and physical fights. Being a member of the Eagles was akin to taking part in some endurance race, albeit one with large financial rewards. Felder’s rift with Frey and Henley after his firing was permanent, and his own biography paints a picture of a band that was not a happy place. Large egos, drugs, wild women, too much touring, pressure to deliver the Next Great Album – what could possibly go wrong?
The Eagles made a lot of money in the late 1970’s, but it is clear that they were burned out physically and musically by 1980. Ultimately, the combination of burning the candle at both ends and in the middle led to the band going on hiatus for the best part of 15 years. The second and third acts, starting with the “Hell Freezes Over” tour, were mostly the band operating in jukebox mode, with only a small amount of new material being recorded and released. The tours were immensely popular and profitable, but there was no new music to play, so the sets comprised The Eagles Greatest Hits, plus solo material from Frey, Henley and Walsh.
Frey worked as a solo artist in the 1980’s and expanded into acting and production, as he tried to answer the question “what next?” Shorn of the Eagles backdrop, he showed his love for straight ahead pop and R&B. He had hit singles, but it is fair to say that neither he nor Don Henley came anywhere near their achievements as members of the Eagles.
Frey’s songwriting was praised in obituaries, but he was often a collaborator, especially on the early albums. “Take It Easy”, effectively the Eagles’ signature tune along with “Hotel California”, began life with Jackson Browne, who conceived the song structure and the first verse and chorus, handing it off to Frey, who wrote the memorable second verse about the girl in the flatbed Ford. Browne’s version of the song is much more sophisticated musically than the Eagles’ version, which is more straight-ahead rock n’roll, albeit with the organic country edge that Bernie Leadon provided (Leadon’s dancing banjo can be heard starting under the guitar solo and through the rest of the song). A number of other Eagles songs on the first 3 LPs were collaborations, or from other songwriters.
Frey matured into a more confident songwriter when the band transitioned to a rock and roll focus in the 1974-75 time period, moving away from the country-influenced acoustic sound that marked their first 2 LPs. Frey seems to have been the primary instigator of the transition. The first two albums were recorded in London with Glyn Johns producing, but Frey was frustrated with the production approach, which he felt was holding back the rock and roll side of the band, so the band relocated recording to the USA and the transition of the Eagles to full-bore rock and roll began. Ironically, “Best Of My Love”, the first major Eagles hit single, was the last song recorded in London produced by Glyn Johns.
I was a fan of the Eagles starting from the time when their first LP was released, but, as a guitar player and lover of natural sounding music, I steadily lost interest as the band morphed into a pop-rock band, spending progressively more time and money on studio work. I came to realize that I lost interest in the band when Bernie Leadon left. His acoustic-first approach, country playing style, and quirky approach to songwriting was one of the main reasons that I liked the band in the first place. My favorite Eagles tune is “Bitter Creek” from their second LP “Desperado”, which is their least-selling album. The song, written in Drop D tuning, sounds different to most of the other Eagles songs as a result, and the subject matter, typical for Leadon, is also different – is an introspective warning message, totally acoustic.
“Desperado” is my favorite Eagles album, simply because it seemed to me to be a genuine attempt at assembling a song cycle based on the myths of the Old West and the outlaw pathology (rock trivia fans always like to check out the dead outlaw images on the cover photos, which comprise the band and most of their songwriting collaborators of the time). It also sounds more coherent than their first or third albums, which are more uneven in terms of songwriting. I found “One Of These Nights” to be way too polished for my taste, and in hindsight, it was clear that Bernie Leadon was signaling his estrangement from the band, with his two compositions, “Journey Of The Sorcerer” and “I Wish You Peace”, being essentially solo compositions and recordings that did not fit with the rest of the album . By the time of “Hotel California”, every song on that album spoke to me saying “bunch of guys wrote average rock and roll songs and spent too much time in the studio working on them”. I listened to a friend’s copy of the LP several times, resolved to not buy it, and that was that. You couldn’t fault the technical excellence of the band, the songs and the harmonies, but for me, something important had gone missing along the way. The band had lost its emotional and organic musical core, trading it for polished rock and roll glitz. Large dollops of fame and fortune were the result, of course.
How good a songwriter was Glenn Frey? It is a difficult question to answer, because most of his better-known compositions were actually collaborations. I regarded him more as a synthesizer of ideas and source of vision, both of which are important skills if you want to be a musical artist. He was not prolific, it seemed to me that he relied more on important virtues like crafting than on wells of inspiration. I see him less as a great songwriter and more as the source of focus and drive for the early Eagles, unafraid to work to kick the band along to bigger and better things.

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