Rolling Stone (10/26/72, p.62) - "..sounds good to begin with and gets better with age...the kind of first album that doesn't even sound like a first album.."
Record Collector (magazine) (p.93) - "[I]t's very good. There's a variety of genres and tempos, the playing is great, the songs well made and the work hangs together cohesively."
Liner Note Author: Scott Schinder.
Recording information: Electro-Vox Recording, Hollywood (08/19/1971); Pacific Recorders, San Mateo (08/19/1971); Sunset Sound, Los Angeles (08/19/1971); Wally Heider Studio, San Francisco (08/19/1971); Wally Heiders', Los Angeles (08/19/1971); Electro-Vox Recording, Hollywood (08/28/1971); Pacific Recorders, San Mateo (08/28/1971); Sunset Sound, Los Angeles (08/28/1971); Wally Heider Studio, San Francisco (08/28/1971); Wally Heiders', Los Angeles (08/28/1971); Electro-Vox Recording, Hollywood (1972); Pacific Recorders, San Mateo (1972); Sunset Sound, Los Angeles (1972); Wally Heider Studio, San Francisco (1972); Wally Heiders', Los Angeles (1972).
Photographers: Henry Diltz; Frank Laffitte; Linda Ronstadt.
John David Souther was among the first artists signed to David Geffen's Asylum Records imprint, joining the likes of other SoCal talents Judee Sill, Jackson Browne, David Blue, and the Eagles. Souther's on-again/off-again collaborations with fellow Detroit, MI native Glenn Frey began when the pair formed a folk duo called the Longbranch Pennywhistle. Their sole outing is definitely worth finding as it boasted contributions from the likes of James Burton (guitar), Ry Cooder (guitar), Doug Kershaw (fiddle), Jim Gordon (drums), Larry Knechtel (keyboards), and Joe Osborn (bass). For Souther's 1972 debut, the singer/songwriter enlists the aid of not only his one-time partner Frey, but also a few other notable names consisting of Ned Doheny (guitar), Gib Guilbeau (fiddle), former Things to Come member Bryan Garofalo (bass), and soon-to-be-session musician extraordinaire Gary Mallaber (drums). John David Souther (1972) bears the same earthy Southwestern textures that are inextricably linked to the roots of the country/rock subgenre. "The Fast One" commences with a midtempo rocker that bears the sonic stamp of Guilbeau's unmistakable fiddling. "Run Like a Thief" follows with a prime example of Souther's often underrated lyrical capacity. He draws upon sacred themes during "Jesus in 3/4 Time" with a feel that isn't too far removed from the Gram Parsons-era Byrds. "Kite Woman" is a love song for codependents, reiterating an understated craftsmanship within Souther's wordplay as he reflects on one whose "got you strung-out somewhere down the line." "Some People Call It Music" is marked by some superlative string work from Souther and Doheny, with the former's harmonies practically predicting the compact, rural vocals that the Eagles would adopt in fairly short order. Joel Tepp (harmonica) -- whose recent résumé listed a guest shot on Crazy Horse's Loose -- provides a few greasy harp licks to the blues-fuelled "White Wing." The palpable loneliness of "It's the Same" and the concluding "Lullaby" are countered by the rocker "How Long." Although the latter title was initially issued by Souther as a single from this album, it resurfaced some 36 years later on the Eagles' reunion studio platter Long Road out of Eden (2007). It would become a Grammy award winner for them under the "Best Country Performance by a Duo or Group with Vocal" category. The nod reinforced an already prolific collaboration between Souther and the combo, as he supplied several key LP cuts for them during the '70s, including co-writing "The Best of My Love," "New Kid in Town," and "Heartache Tonight." ~ Lindsay Planer