The musician Don Henley called “the greatest rhythm guitarist ever”
Every great rock and roll band usually needs a solid rhythm guitarist to anchor them. While they may not always hog the spotlight, groups like Guns N’ Roses and Metallica wouldn’t be the powerhouses they are without Izzy Stradlin and James Hetfield providing a steady foundation. Don Henley, a master of rhythm from behind the drum kit, recognised the exceptional talent of Glenn Frey when he joined the Eagles. Frey’s rhythm guitar work was unparalleled, adding a crucial layer to the band’s sound.
Then again, any rhythm guitarist usually has their work cut out for them before they even play a note. Beyond often being the primary songwriter for the group, they typically must balance both sides of the band, maintaining the group’s pulse while adding melodic touches to each track. This dual role is crucial, providing the foundation and the nuance that shapes the band’s overall sound.
The only way that kind of discipline settles into someone is when they know the instrument like the back of their hand, and Frey had been a fixture of the guitar scene since he started in Detroit. Before he made his way to the sunny streets of California, Frey was already working on tunes like ‘Ramblin Gamblin Man’ with Bob Seger.
Once he started shopping around the Los Angeles club scene, though, Linda Ronstadt’s backing band whipped him into shape, eventually locking in with the rest of the band when Henley joined on their first tours. Henley had already gotten used to the country rock scene with his band, Shiloh, but when Frey started writing with him, he knew something different was happening.
Sure, there were still basic chords, but while Keith Richards would throw in some lead fills or play demanding riffs, Frey provided a steady pulse for every song. Bernie Leadon or Joe Walsh might have garnered more attention, but without Frey, the entire song would feel hollow. His consistent rhythm guitar work was the glue that held the Eagles’ sound together.
When talking to Rolling Stone, Don Henley remembered just how important Frey’s contribution was to how the band felt, saying, “Glenn became an avid student of the rhythm-guitar style of Chuck Berry and, with the possible exception of Keith Richards (also a Berry disciple) and a couple of others, Glenn was one of the best rhythm guitarists I ever heard.”
Part of the reason why Frey’s style works so well is how he can pull melodies out of just a handful of chords. There are only three chords being played throughout the verse of ‘New Kid in Town’, and yet Frey’s melody tells that story of the burnt-out has-been in Los Angeles, even if you don’t know what the words are.
He also wasn’t afraid to break outside the usual formula, either, whether that meant falling back on Chuck Berry licks on ‘Get Over It’ or fiddling around with different tunings to get what would become ‘Best of My Love’. Whereas Frey did find his style and stick with it, that steady pulse has been paving the way for what would become modern country and rock and roll today.
