Fans of the Fab Four enjoy debating who merits being called “the fifth Beatle,” whether the candidate is George Martin for his production, Brian Epstein for his management during the early days, or Billy Preston for his performance contributions near the end of the band’s career. In the story of the Eagles, a membership argument could be made for Irving Azoff, the group’s manager since 1972, or Bill Szymczyk, who produced most of the group’s '70s recordings. Yet only one figure boasts a close musical relationship that began before the Eagles existed and concluded with a series of performances alongside the Eagles earlier this year.
That would be singer-songwriter John David Souther, who died yesterday.
Those deeply familiar with the Eagles saga can likely tick off the important contact points. The first group Glenn Frey formed upon relocating from Detroit to Los Angeles in the ‘60s was Longbranch Pennywhistle, a duo with Souther that released one album. The Eagles wanted to include Souther’s tune “How Long” on their first LP, but he kept it for his own debut album. Still hooked on the song, the Eagles played “How Long” live in the ‘70s and recorded it for 2007’s Long Road Out of Eden, scoring a Top Ten Adult Contemporary hit as well as a Grammy for Best Country Performance by a Duo or Group with Vocal.
Yet for all the notoriety (and wealth) Souther gleaned from the Eagles, that was a side hustle. His main focus was a solo career that never gained much momentum, despite attracting accolades and boundless respect from peers. Souther’s industrious period, such as it was, comprised four solo albums spanning 1972 to 1984, plus a pair of discs by country-rock supergroup the Souther-Hillman-Furay Band. Two Souther singles achieved chart success, the Roy Orbison-inflected “You’re Only Lonely” (a No. 1 Adult Contemporary track and a Top Ten pop hit in 1979) and “Her Town Too” (a poignant James Taylor duet that hit No. 5 on the AC chart in 1981). His most iconic solo composition is unquestionably “Faithless Love,” originally recorded by Souther’s onetime paramour Linda Ronstadt in 1974.
Souther referenced Ronstadt during a show at McCabe’s Guitar Shop in Santa Monica in 2017, which was the second and final Souther show I attended. (The first was a terrific gig at the Largo, another LA venue, in 2008.) Onstage at McCabe’s, Souther recalled that Ronstadt described him as a “kamikaze” performer because of his intuitive style. That tracked, because while Ronstadt and the Eagles are legendary for their precision, Souther’s approach was looser. Possessing a high, sweet voice that absolutely killed when it connected to a melancholy phrase or a plaintive melody, Souther generated spiky guitar work that was more emotive than exact. His piano playing achieved higher levels of grace.
Souther also dabbled in acting, for example playing a recurring role on the network drama Nashville (which debuted in 2012). As with so many other aspects of Souther’s career, one can’t help but wonder how his acting might have progressed if he’d been more driven.
Perhaps the most intriguing episode of Souther’s connection to the Eagles is what might be described as his tryout for the band circa 1972. Though it’s unclear exactly when this happened—presumably just before or after the group recorded its first LP—management suggested adding Souther to the lineup. (Yes, that would have made him . . . the fifth Eagle.) The quintet worked up a set and performed at the Troubadour for a private audience comprising only management personnel, but all parties immediately recognized the four-piece didn’t need another guitar-slinging tunesmith. (Years later, the band decided what they actually lacked was a powerhouse lead guitarist who could energize their sound--enter Don Felder and, later, Joe Walsh.)
That would be singer-songwriter John David Souther, who died yesterday.
Those deeply familiar with the Eagles saga can likely tick off the important contact points. The first group Glenn Frey formed upon relocating from Detroit to Los Angeles in the ‘60s was Longbranch Pennywhistle, a duo with Souther that released one album. The Eagles wanted to include Souther’s tune “How Long” on their first LP, but he kept it for his own debut album. Still hooked on the song, the Eagles played “How Long” live in the ‘70s and recorded it for 2007’s Long Road Out of Eden, scoring a Top Ten Adult Contemporary hit as well as a Grammy for Best Country Performance by a Duo or Group with Vocal.
Yet for all the notoriety (and wealth) Souther gleaned from the Eagles, that was a side hustle. His main focus was a solo career that never gained much momentum, despite attracting accolades and boundless respect from peers. Souther’s industrious period, such as it was, comprised four solo albums spanning 1972 to 1984, plus a pair of discs by country-rock supergroup the Souther-Hillman-Furay Band. Two Souther singles achieved chart success, the Roy Orbison-inflected “You’re Only Lonely” (a No. 1 Adult Contemporary track and a Top Ten pop hit in 1979) and “Her Town Too” (a poignant James Taylor duet that hit No. 5 on the AC chart in 1981). His most iconic solo composition is unquestionably “Faithless Love,” originally recorded by Souther’s onetime paramour Linda Ronstadt in 1974.
Souther referenced Ronstadt during a show at McCabe’s Guitar Shop in Santa Monica in 2017, which was the second and final Souther show I attended. (The first was a terrific gig at the Largo, another LA venue, in 2008.) Onstage at McCabe’s, Souther recalled that Ronstadt described him as a “kamikaze” performer because of his intuitive style. That tracked, because while Ronstadt and the Eagles are legendary for their precision, Souther’s approach was looser. Possessing a high, sweet voice that absolutely killed when it connected to a melancholy phrase or a plaintive melody, Souther generated spiky guitar work that was more emotive than exact. His piano playing achieved higher levels of grace.
Souther also dabbled in acting, for example playing a recurring role on the network drama Nashville (which debuted in 2012). As with so many other aspects of Souther’s career, one can’t help but wonder how his acting might have progressed if he’d been more driven.
Perhaps the most intriguing episode of Souther’s connection to the Eagles is what might be described as his tryout for the band circa 1972. Though it’s unclear exactly when this happened—presumably just before or after the group recorded its first LP—management suggested adding Souther to the lineup. (Yes, that would have made him . . . the fifth Eagle.) The quintet worked up a set and performed at the Troubadour for a private audience comprising only management personnel, but all parties immediately recognized the four-piece didn’t need another guitar-slinging tunesmith. (Years later, the band decided what they actually lacked was a powerhouse lead guitarist who could energize their sound--enter Don Felder and, later, Joe Walsh.)
Souther has said he was relieved the tryout led nowhere because he was a loner by nature, and of course the band found other ways to utilize his talents.
