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Glenn Frey: An Eagle Alone The Eagles debuted on AM Radio ten years ago, with "Take it Easy" from their premier album Eagles. In the seven years that followed, the band amassed several gold and platinum albums, numerous top 10 hits and four Grammy Awards. During that time, Glenn Frey and Don Henley were proclaimed as the 70s hottest songwriting duo, penning such Eagles classics as "Desperado", "Tequila Sunrise", "One of These Nights", and "Lyin' Eyes" to name a few. Despite upheavals in the band's original line-up--Don Felder joined in 74, Bernie Leadon was replaced by Joe Walsh in '75, and Randy Meisner was replaced by Timothy B. Schmit in '77--the band has remained one of the decade's biggest success stories. The Eagles have been inactive as a group since the release of The Long Run three years ago. Despite the speculation of a possible breakup, the group remained figuratively intact until Glenn Frey recently emerged from the studio with a solo effort, No Fun Aloud. The official announcement of the group's disbandment, he says, could have been made years ago. As a founding member of the group, Frey was also instrumental in the decision to break the group apart. Facing his 30s, he says he wanted to leave while the group remained atop the charts. For the most part, Frey has left behind the country/Rock sound that he lent to the Eagles and adopted an R&B tone that dates back to his teenage years in Detroit. Such long-time friends as Bob Seger, Jackson Browne, and JD Souther also remain integral influences on his work. In addition to a crisp sound, No Fun Aloud's strength is clearly in the material itself. Much of it is parallel to the quality songwriting he displayed with the Eagles, Frey has once again teamed with Jack Tempchin ("Peaceful Easy Feeling") to write five tracks, and Bob Seger on "That Girl", which is highlighted by co-producer Jim Ed Norman's magnificent string arrangements. The album is a blend of tender romantic ballads, such as "I Found Somebody", and more upbeat, R&B-tinged melodies as "I've Been Born Again", a remake of the Don Davis/James Dean tune. The Spanish-flavored "She Can't Let Go"--with Frey playing most of the instruments--and "The One That You Love"--reminiscent of several early Eagles love songs--are just two of the many highlights on the LP. Frey has undertaken not only his own production--along with Allan Blazek and Norman--but also recently produced Lou Ann Barton's debut album with Jerry Wexler, lent a hand to Karla Bonoff on her latest effort, and spent time in the studio with the LA based band, Jack Mack & The Heart Attack. After years of tedious recording work with the Eagles, Frey wants to enjoy his work in the studio. An avid sportsman, he is taking more time for a personal life, and surrounding himself with friends while recording. The Monstertones, last hard singing backup on "The Greeks Don't Want No Freaks" resurface on the track "Partytown". Jimmy Buffet returns to front this musical force, with a revamped lineup that includes tennis stars John McEnroe and Peter Rennert, and Front Line Management executives Irving Azoff and Larry Solters. IM&RW talked with Frey in Wilder Brothers LA where--in addition to work at Muscle Shoals Sound in Sheffield, Alabama and Bayshore Recording Studios in Miami--the album was recorded. he entertained us with his humorous manner and sharp wit for an hour and a half. Frey, whose voice inflections are often reminiscent of a male Mae West, was excited about hearing his single release, "I Found Somebody" on AM Radio enroute to the studio. He candidly discusses the Eagles' break, and his solo efforts. Walking away form the interview, there was no question that Glenn Frey remains an influential cornerstone of mainstream Pop/Rock. IM&RW: You've attained phenomenal success in the past as a member of the Eagles, including eight gold or platinum albums, four Grammy awards and numerous top 10 hits. As a solo artist, is it like being the "New Kid in town", to coin a phrase? GF: It is. We were joking because it was May of '72 that I made my AM debut, when "Take It Easy" was n the radio. Now, here it is May of '82, 10 years later, I'm 33 instead of 23 and wham, it looks like we've got the upsetter. I'm real excited. I heard two cuts from my album on the radio for the first time today. It looks pretty good. I don't think people knew I could shoot as good as I do, I was kind of a good foot soldier, like a play-making guard. But I don't think they ever thought I would go to the hoop. I think we're going to do real well with this. I'm pleased. I guess it's just like parents when they see their kids in a movie and say (raises voice) "That's my boy. I raised that song from when it was a little bitty baby, grade school right through commencement, and then said, "Now get out there and make me some money" (Laughs) IM&RW: From a musical standpoint, is there anything that you couldn't accomplish within a band context? Anything you feel that you could have expanded upon or improved? GF: I don't think I'll discuss what could have been better. That's between me and the muse. You always think that you could have been better. The nice thing is that when you're successful, you don't feel like you've done something wrong. you just feel like you're doing undeservedly well and you want to improve, just for your own sake. In retrospect--although Desperado is a pretty good album for guys who were 24 years old to make--I think the period of One of These Nights and Hotel California was about a year and six month when it seemed like Don and I could do no wrong. Every time we sat down to do something, we came up with a tune that knocked us out. That was when we had the greatest flow going and I think we did our best work, between '75 and '77. IM&RW: Were you influenced by members of the Eagles? GF: All the members of the Eagles influenced me. Of course, Don Henley the most, because we were the closest. I would say Bob Seger, JD Souther and Jackson Browne are my three closest friends besides Don. As I was growing up, they were really a major influence on me, personally as well as musically. IM&RW: What were those influences? GF: Good songs. I figured that if I wanted to start hanging out with Jackson, Henley and I were going to have to start writing some good stuff. If our stuff isn't any good, he isn't going to want to sit around talking about tunes with us (Laughs). IM&RW: Why announce the breakup now? Does it feel odd to say that the group no longer exists? GF: Not for me. Not for me. I'm sure it's strange for other people. I don't know...Maybe Irving felt that we shouldn't say anything just in case everyone regrets what they're starting to do and wants to come back to the flock. But I also think that in the back of Irving's mind, he knew that once I make up my mind about something, there's no changing it. And I told him two years ago, 'It's over. You can announce it and whatever. I'm finished' I've got a new life ahead of me--my 302. And I'm going to spend it my way. I was a good soldier for nine years; a pretty good soldier anyway, barring a couple of upheavals now and then. It was just time to change. I didn't want to see the Eagles--the purity of the band--destroyed by going out there and doing "Take it Easy" for the 12th summer in a row, with a beer belly, 38 years old, greed and lost youth etched into the audience's mind. That didn't have to happen. I don't think anybody else had the vision I had at the time, but Don and I always said we'd quit while we were on top without taking a backward step. At least we proved we could make an album after Hotel California, do a tour and still maintain a certain high standard. So once that was accomplished, that was plenty. Who wants to be in a band when they're in their 30s after you've done it for nine years. What am I going to do, go out and start another band with four or five guys? I just feel that I should be a solo artist. IM&RW: You seem to imply that a solo career was part of a natural progression for you. Do you look back with any remorse? GF: Yeah, I wish I had punched a couple of people when I had the opportunity and didn't. Now, I'll never get the chance again. (Laughs) IM&RW: When did you decide to do a solo album? How long did it take you to put it together? GF: The first question is easy. I decided I was going to do it after the third week of The Long Run. I just didn't tell anybody. That's gospel (laughs). What was your second question? I was reveling in my wit. IM&RW: How long were you in the studio? GF: I worked on this album for about a year and a half, but not in studio hours. I had some free time for a change. I had a personal life for a while which was really kind of exciting, a new experience. I took off two months to do Lou Ann's album and six weeks to get Karla started on her album. There were other things I did which also kept it fresh. I enjoyed going back to work on the record each time. Allen Blazek: We both did about two different projects in between working on Glenn's project. I'd say we worked on Glenn's somewhere between 15 and 20 weeks. IM&RW: You seem ecstatic about hearing the single on the radio for the first time. GF: That'll wear out in about a week. You're just catching me at a time when it happens to be exciting. IM&RW: Was it more exciting than when the Eagles caught on? GF: Eagles records had such a long gestation period that when we finally got them out, it was just a relief. I've always been able to know when I've cut a hit record before I give it to someone else. We always knew with the Eagles that we had three or four singles. This is more exciting because I'm taking a chance. When I score on my first possession with the ball, I get real happy. It's like, 'Yeah, I can play in this league.' So it's every bit as exciting for me right now. I've been born again. IM&RW: You've been recognized as the driving force behind the Eagles' move from soft Country Rock to a harder Rock sound. Yet, your debut solo effort is R&B tinged. Why? GF: Bill Szymczyk and I listen to R&B records all the time, even while we work. We'd do eight takes of some Eagles song one day in the studio and sometimes you just needed to whip that sound out of your mind. So Szymczyk would say, 'I've got to play you this song, you guys will love this. Forget about what you've been doing, dig this. Check these cats out.' So Szymczyk would play us tons of R&B records. Don Felder and myself were also into R&B. I think once Bernie Leadon left the band and the banjo and mandolin were phased out as an integral part of our music, it was a natural progression that we all wanted to go that way. So it was all a matter of saying. 'Hey, let's try some of this stuff. We got a singer like Don Henley, he's got a great Blues voice. There's no reason why we shouldn't do something like that.' IM&RW: Doesn't the R&B influence also come from your hometown Detroit? GF: Right. This is really the only music that speaks to me. It's the stuff. I'm a music fan and I've been listening to records for about 20 years and R&B are the only records that last. I have all these tapes which I call "Roach Remembers," where I catalogue all my favorite R&B stuff. IM&RW: "Roach Remembers?" GF: It's my horrible nickname. I don't think I'll ever have too much of an ego problem because I've got a road crew that just doesn't give me a break (laughs). They abuse me. IM&RW: You've included a wide range of material on your album, including R&B, a Spanish sounding love tunes. Are you trying to avoid categorization as a solo artist? GF: Well, yeah. I think albums have to have diversity. Just like a good film has t have love scenes, pictorial scenes, action and all that stuff. I want to be diverse an I think I have the ability to play and sing different kinds of songs. "She Can't Let Go", is just to let people know I haven't forgotten where I've come from, that I'm not turning back entirely on where I've been. I can still pick up the acoustic guitar and write that kind of material. But Seger says I can sing some of this R&B stuff, so I'm going to take him at his word. IM&RW: Do you enjoy the chance to interpret other artists' material by remaking old tunes? GF: To me, both "Sea Cruise" and "I've Been Born Again" sound like I was supposed to sing them. if it didn't sound and feel that way to me, I wouldn't do it. I would never do an old song just because I don't want to write another song or anything like that. When we cut both of those songs and I sang them, it seemed like there was a good match between my voice and the material. So to me, it's almost like it sounds like a Glenn Frey song because I'm singing it. IM&RW: Do you enjoy the studio as much as performing? GF: Do I enjoy the studio. Shit, I must. I come here often enough. I guess I do. In fact, I went to dinner last night and I almost didn't know how to act. I thought I was supposed to just inhale a BLT and go on to the next track (laughs). IM&RW: Did you get involved in production because you wanted to have total control over your work? GF: Not really. In fact, on this album I play the same role that I played on the Eagles albums. I would pretty much spearhead the tracks, lead the arrangement. They used to call me the Lone Arranger. They used to have me do a lot of that stuff. So one of the things that does show up in this album is my sense of simplicity and economy in arranging songs and putting the parts together that work. I think that's something I did in the Eagles and that's something I always liked about our records; the way each little part of the track would happen around the vocals. I think that kind of thing shows up on this record--my arranging ability. IM&RW: In addition to producing your own album in part, you also did Lou Ann Barton's debut LP and gave Karla Bonoff a hand in her latest effort. Is production an important aspect of your endeavors apart from the Eagles? GF: Yeah, it is. As a member of the Eagles, I was limited musically. That was fine while I devoted my attentions in my 20s to succeeding with a Rock band. I had to devote all of my time to the Eagles. But now that I'm in my 30s, I'm able to work with other people and have them benefit from my experience. I just feel like I want to do 50 songs a year. Quincy Jones got to do Michael Jackson and make a great album, play 15 or 20 records a year. You just feel like you're doing more. So, while I still feel young enough and energetic enough to do the work, I want to make more records. IM&RW: What do you enjoy most about producing other artists' work? GF: I think the thing I get the most satisfaction out of is that I don't have to sing or play (laughs), which is the hard thing. IM&RW: You recorded part of your album and Lou Ann Barton's LP at Muscle Shoals. What appeals to you about that particular studio? GF: It's dry country and Jerry Wexler figured that someone who likes to drink beer as much as me, and whiskey as much as Lou Ann, better work in the Bible belt where they can't score. (Laughs). But now Sheffield's gone wet and I don't know if I'll go back. I'm kidding of course. there are no distractions down there and the musicians are great; they're the last house rhythm section left in America. There used to be a lot of them: a couple in Memphis, a couple in New York, Philadelphia and LA. But Muscle Shoals is the only one which still has the same four guys playing together--Barry Beck and Jimmy Johnson, who have been producing records I couldn't have. Roger Hawking and David hood. They played on "When a Man Loves a Woman" by Percy Sledge, so they can play anything I can come up with. They give you a house on the Tennessee River. you work hard every day and then go home. You work and NFA. I don't like wasting three hours on something dumb, because everybody's high or because everybody's paranoid. Down there, you go to work and get it done. We did manage to drink 37 cases of Budweiser. We had our own after-hours club at the studio (laughs). IM&RW: Can you detail what the musicians who played on your album added to the sound? GF: These guys that I got to help me were all great. I was real excited about just working with other people, nothing against the guys (Eagles). But a chance to work with new musicians was a real exciting experience for me. Michael Huey, the drummer for Juice Newton, who I've known for a long time, "Hawk" David Holinski, the keyboard player was great, and Bob Glaub, Jackson (Browne's) bass player was great. Then I used certain individual for just a couple of things here or there. But everybody who played was genuinely enthused. I think my enthusiasm rubbed off on them. I had no complaints. IM&RW: What about your fellow producers, Allan Blazek and Jim Ed Norman? GF: Allan has been my partner from the very beginning of this record. We started out doing Karla's together. I needed an engineer and he was the only guy that I trusted. He's Bill Szymczyk's partner, understudy, friend and what-have-you. Allan was the assistant engineer on at least five of the Eagles albums. We have a real good rapport. Allan brings and interesting sound. He likes hard Rock music a lot and Alvin Bishop, Helicks, some Fandango and Outlaws, some pretty hard edged stuff. He's just real good. About half way through the album, I started to feeling like I had too much to do. I twas more important for me to sleep, sing, and rest. I couldn't spend more hours in the studio looking through the best of my vocal takes and stuff like that. We wanted Allan and someone else, almost like a surrogate Glenn. Jim Ed was already doing horn and string arrangements for me. So I said, 'I want you guys to produce so I can stand out here and be an artist and play guitar and not have to fine tune every detail.' I figured these two guys--as talented as they are--were not going to steer me up the wrong street. It just kind of relieved me of a little extra pressure. All three of us worked on the final finishing: the final solos, final vocals, the percussion date, the horn dates, the solo horn dates, the string dates. IM&RW: It seems like you're pleased with every track on the album. GF: Well, God, when you're making a solo album and you're leaving a group as substantially influential as the Eagles were, you don't want to leave yourself uncovered. You want to play with a stacked deck. you don't want to try and win the hand with a straight if you can get a straight flush. So I wasn't taking any chances. I wasn't going to do anything that I felt was self indulgent. I like songs that are communicative. I'm not a self-indulgent musician who goes up to Hollywood and plays for the 30 or 40 guys who can really dig how heavy what he is doing is. That's not my intent at all. I love popular song and the way that it fits into the mainstream of our lives. I like two verses, a chorus, a bridge, a solo, a third verse, chorus and out. I like that kind of art form. There's nothing to hide. Why make a record if there is? IM&RW:How did you build the tracks on the album? AB: We did the basic tracks with a rough vocal and all the instruments. Usually we won't do a solo. GF: Yeah. Usually we skip the solos. The tracks were recorded with me on guitar or piano; "Hawk" on keyboards; and bass, drums and all that stuff. One good thing about these songs was that we had a pretty good idea what the bass part was supposed to be like. In some cases, it'd be the bass part that I played on the demo. I'd just show it to someone. We didn't want to do the album with me playing all the instruments. We wanted to have a band performance. So in certain instances--"Partytown" for one--Bob Glaub played the bass part that I wrote for the demo; he played the hell out of it too. It pumps down there, on 'I saw her standing there.' Ummmm Ummmmm I heard that one radio today and oh boy, did that give me goose pumps. AB: We just laid it down on tape right. We like to make sure that it sounds pretty good when we put it on tape and everything is done. So, by the time it comes to mixing it, you can almost just take it and bring the faders level up and it's fairly rough mixed. I don't like to leave things to later. That ends up 'Oh, we have to do this and we have to do that,' That gets to be too much. We did the mixes real quick. IM&RW: Can you detail how the basic tracks were laid down? GF: Some songs were cut with a full band, four or five pieces, with me singing and playing at the same time, with the option to redo my vocal. I did four, five, or six things that way. The stuff at Muscle Shoals I did that way. I made the demos at Hawk's house. Hawk is the keyboard player in Rufus. He's got a great little four-track studio. So we used to do demos there with the Linn drum machine. There were actually a couple of songs where we couldn't get the right feel with humans playing all the parts. So, both "She Can't Let Go" and "The One You Love", I cut with the Linn drum machine and just played everything, even bass. IM&RW: Are you going for a live feel? GF: I'm going for feel on this record period. If the vocal feels good to me, I don't care if there's a couple of imperfections in it. I know what works. I've worked on records and comped vocals and overdone guitar parts till every note was perfect. But I also feel that a great vocal with a couple of out -of -tune notes just sells the song to the max. If it's close, as long as it doesn't haunt me in my sleep, I don't care. All my favorite records are out of tune. IM&RW: So it's an energy you're striving to capture on your album and not necessarily note-by-note perfection? GF: I think so, yeah. It's just what the center of the record is: bass, drums, the vocal and the basic riff of the song. You've got to capture that. I work for that. After spending a year and a half on The Long Run, recording was not fun for me. I got to the point where I was like a kid who doesn't want to go to school. You can sure sleep in the morning when you don't want to get up. When I had that attitude about the studio, there was something wrong and I had to correct that. So the way I corrected it was just by starting to do other records and recording more the way I think Rock 'n' Roll records should be made: faster, but still real good. I don't think I'm compromising quality. I just don't think every single note has to be perfect. IM&RW: So, it's a rough approach to recording rather than a refined one? GF: When we're in the studio, we cut things pretty well flat. Sometimes we Eq a guitar or the bass a little bit, but we hardly ever have any Eq. On certain songs, Alan and I found that once he set up the mix and got everything in its place, that it wasn't the same record. I was like you could hear everything too good some places. And it's more important that guitar overshadows the piano in the mid-range,. When you Eq and get the frequencies all right, you hear them both, and sometimes it's not the same as having the natural way the instruments come out when you play them dynamically. IM&RW: What instruments have you been playing? GF: My standard guitar in the one that happened on the front of the album. It's a black Les Paul Junior. It's middle to late '50s. Jackson Browne gave it to me in Echo Park for free, because it wouldn't play n tune for him. He got himself a Telecaster and he like it, so he gave me that guitar. I've always joked that I got into Rock 'n' Roll for $125. That's how much it cost me to get my pre-CBS Deluxe with one 12" Vox speaker in it. I still play through that amplifier. It's the best Deluxe I've ever had. And I still play the guitar I got for free. IM&RW: What is that you like about particular guitar? GF: I think it has single-sound pickups as opposed to double-wound for some reason, they're just hotter. It's hotter than any Sunburst Les Paul I've every bought. I need guitars that have clubby necks. I play it hard. I'm not an artful player, so I need something I can grab onto. It seems like Les Paul Juniors have that quality about them. Every time I see a singe pickup or double pickup Junior, I usually buy it. They don't cost that much. Les Paul Junior IV models just aren't that expensive. You can still get them for 5-600 bucks. So I've been trying to buy backup guitars of Old Black all my life. IM&RW: Old Black? GF: Yeah, her name is Old Black. I've yet to find one that's as good. IM&RW: Is that the only guitar that you play? GF: Oh no. I've got a Fender Esquire that I really like and I have a red 335 Chuck Berry guitar now that I'm gink of having an affair with. I'm still with Old Black (laughs) but I've been playing a little on the side with Big Red. (Laughs). IM&RW: Can you describe your style of playing? GF: Yes. (Laughs). Search and destroy. I'm not a really good guitar player and I'm not really a very good singer. I think I'm a fairly good writer and a fairly good record producer. Something seems to go right when that all gets put together. But I don't sing perfectly in tune and I certainly don't play perfectly in tune. It's go for feel. One thing I seem to be able to do or people have told me this, is play a lot of good melody on guitar. I don't play a lot of notes. I like to play solos that people can sing as opposed to stuff they can't. IM&RW: What keyboards did you use on the album? GF: I sue this white Wurlizter here that I found way back in the dusty storeroom at Ace Music in Miami. I collect old Wurlizters. IM&RW: Any special effects? You used your Trans Am on one track didn't you? GF: That was the car on the beginning of "Born Again". We just put a mike out there and I ran my motor like I was pulling up. Technically, this is a pretty straight ahead album. These are pretty straight ahead tunes. When you're making Soul records, you can't have sequencers and all kinds of things happening on Yamaha CS80s and Prophets and that kind of stuff. I understand that's a reflection of the times, that these are technical times, but that's not the kind of music that I really want to make mine. So on the records that we make, we just try to get the group sounding flat on the tape. Then we add just the slightest amount of Eq or echo, so you can hear everything and maybe help make it wet here or there. We'll use a little bit of digital on my voice or a guitar solo every now and then. But except for a couple little thing like that, its NFA again. We just don't feel that there's any reason on these kind of records to try any kind of twaaaang. That crap. IM&RW:What type of amps are you using? GF: I usually just play through my Deluxe reverb, one speaker pre-CBS. I think it's a '65 or '66 deluxe with a Vox 12" speaker. We bought a bunch of them from Vox while they were still in business about seven years ago. I have a little arsenal of them. The Deluxe overdrives this Vox speaker just perfectly, just enough. I know a lot of people use Marshalls and go through the Boss chorus and then through this and that. But again, the nature of this music is with respect to 1967: I don't recall any pedals on any Aretha Franklin songs or any phasing of any of the Telecasters. Not that I'm pretending to be doing records like her's, but I think they're similar in approach, what I call pure American, white Soul music. IM&RW: Anything else that stands out? GF: The best background vocals this side of the Mason Dixon. I'd give anything for a film of some of the Monstertone sessions. Those are specifically designed for everybody to be in the wind and just kind of flying. IM&RW: Can you distinguish h the Monstertone's voices? GF: Yeah. (laughs). It's a malt. We wanted it to sound like 50 or 60 people. So we did it once with a group of about seven guys, doubled them, mixed them down and then we did it again with a group of about seven or eight guys and mixed them down. IM&RW: No women? GF: Well, then I did a couple of parts that I thought were higher parts. The problem is that women don't like to be around the Monstertones. (Laughs). There are some wild guys (Laughs). IM&RW: You obviously had a lot of raw talent to work with. Anonymous Monstertone: Hey, they're making fun of me. My mother happens to think that I sound great. She can pick out my voice. IM&RW: Who dubbed them the Monstertones? GF: Maybe I should explain to you what monstering is. It's like the Jekyll and Hyde story. It's when you take foreign substances and chemicals into your body and slowly, but surely transform yourself into the party person that you are. So your monster is who you are when you're high or when you're drunk. We even meter it. How big a monster; were you half monstered or full monstered last night? We do a lot of monstering. We work hard to play hard. Monsters love company too. So monstering is a very integral part. Thus the Monstertones, the guys who sing only when they're monstered. This is the band that couldn't live or sing straight. We have a secret album of all our mistakes. At the end of every year we edit the best of it and press 50 records for the people who worked on it; all outtakes from all kinds of secret cerebral albums that never see the light of day. It's funny. No commercial value. (L&M note: We'd buy a copy <G>) IM&RW: You and Henley were always considered an extremely prolific song writing team. You also do a lot of work with Jack Tempchin. You seem to enjoy working as a team. GF: With Don, I handled more of the music, because he was the drummer. And he handled more of the lyrics because he was they English literature major. Besides that, he was just really good lyrically. We wrote more lyrics and music together up until Hotel California and then Don really sprouted some fantastic lyrics on his own, so he started shouldering more of that. I was more the guy who wrote chords for my songs and then also helped with the chord progressions that Walsh and Felder brought in. I helped get Henley and Felder's stuff together. I was the go-between for a lot of that. I think I backed off lyrically a little bit and I shouldn't have. Now, with Jack Tempchin, we write about the same amount of lyrics. Of course, we both play guitar and piano. IM&RW: Why didn't you collaborate with Don Henley on this LP? GF: Because we did so much while we were working together on the Eagles that it wouldn't have been a solo album. It would have been the two main guys from the Eagles getting together kind of thing. I wanted to make this record void of any ties with the Eagles. Different cast of character, different movie--totally. Besides, we (the Eagles) keep different hours. That's true. I'm glad you're laughing. IM&RW: Your solo work seems more lighthearted than most of the Eagles' material. GF: I think that lyrically, the Eagles--Don in particular--were just more incisive and a little more concerned about confronting a few more issues through music. Henley seemed to be very good at that. This album doesn't' make a statement like we're all going to blow ourselves up. That's not what I'm primarily concurrence with. I'm concerned with more personal things; men and women in love, out of love, around love, near love. (Laughs). IM&RW: It seems like you're having a lot of fun lately as opposed t you final days with the Eagles. GF: The last two years with the band weren't the greatest. But I had a lot of fun with the Eagles. We threw a party in every major hotel in every major city in the United States for seven year. I'll never have to look back and say I didn't sow my wild oats. If I never settle down, it isn't because I didn't go wild in my 20s (Laughs). Anonymous Monstertone: You sowed yours and everybody else's.
Stan Hyman & Vikki Greenleaf.
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