Age and geography come into play more often than not when the Eagles and SoCal country rock is discussed. For every L.A. or Midwest fan there's a kid from Queens who detests the band. I fall in the middle. Those first three albums were crucial in my junior high/high school listening experience in L.A.; by the time I was in college bouncing between New Jersey and New York, I had no use for "Hotel California" or "The Long Run."
As time passes I find it important to reassess records that that did not speak to me at the time of their release, especially ones that have gained a cultural foothold. (My relationship with the music of Steely Dan is very similar to the Eagles).
Venturing out to see J.D. Souther on Tuesday was more about hearing him sing songs from his fine new album, his first in more than 24 years, than it was a chance to rekindle a relationship with a beloved catalog. Curiously I found myself rethinking the Eagles and wondering if there's a clear spot at which the stylistic torch was passed from Jackson Browne to Souther as the central outside influence on the band.When it came to Souther, Hillman and Furray, I figured JD had neutered the the former members of the Byrds and Buffalo Springfield; the drive to score a hit on soft-rock radio obviously led to artistic compromise.
Souther spoke about gathering old tapes for a compilation though he gave no details about who might release it or when. Two of his albums came out on Asylum so Rhino seems to be the logical place but there is nothing on their slate right now. His show at Largo, reviewed here, certainly brought new light to the value of his catalog.