The narratives surrounding the Eagles often focus predominantly on the iconic duo of Glenn Frey and Don Henley. These two talented musicians quickly established themselves as the primary songwriters and vocalists of the band, leading to their prominence in many of the group’s hits. However, it’s essential to acknowledge the incredible contributions of their talented bandmates. The original lineup featured the beautifully voiced Randy Meisner and the remarkably skilled instrumentalist Bernie Leadon. Over time, the band also included the fiery guitarist Don Felder, the legendary and fun-loving Joe Walsh, and the warm and engaging Timothy B. Schmit.

As the Eagles evolved, Leadon was the first to depart, marking a shift from their early, more roots-oriented sound towards a harder-edged rock style during the mid-’70s. Following Leadon’s exit, Meisner also left in 1977. The arrival of Felder and Walsh contributed to this toughening sound while Schmit filled Meisner’s shoes, bringing his own romantic flair to the group. The following list highlights the Top 20 Eagles Songs Not Sung by Don Henley or Glenn Frey, showcasing the significant contributions of these talented musicians throughout the band’s storied history.

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These band members did not merely complement the tracks led by Frey and Henley; they played a crucial role in completing the band’s comprehensive narrative. The most acclaimed Eagles albums featured a remarkable balance among all members, reflecting their diverse talents. Their unexpected reunion after a lengthy hiatus during the ’80s would have been incomplete without the unique contributions of these musicians, who added depth and flavor to the Eagles’ iconic sound.

Even after the untimely passing of Frey, Henley continued to lead the band, with Schmit and Walsh remaining integral parts of their live performances. Many of the songs they contributed to are not only cherished singles but also beloved deep cuts that resonate with long-time fans. The Eagles’ legendary discography would have felt incomplete without these remarkable tracks, highlighting the importance of each band member’s unique style and input.

No. 20. “Visions”
From: One of These Nights (1975)

Written by Don Felder with assistance from Don Henley, “Visions” showcases a riff-driven, Southern rock-influenced sound. Notably, this track marks the only Eagles song featuring Felder on lead vocals. While he may not reach the vocal heights of the group’s more recognized singers, Felder compensates with fiery guitar solos that provide a captivating and gritty backdrop to the song.

No. 19. “Most of Us Are Sad”
From: Eagles (1972)

This haunting track, penned by Glenn Frey and performed by Randy Meisner, delves into themes of melancholy. Despite its somber title, “Most of Us Are Sad” only hints at the profound emotional depth that Meisner would later bring to his ballads. This early track serves as a testament to Meisner’s vocal ability to convey a beautiful ache, setting the stage for his future contributions.

No. 18. “Twenty-One”
From: Desperado (1973)

In “Twenty-One,” Bernie Leadon demonstrates his instrumental prowess, even if his lyrical skills fall short. This track, along with “My Man” from On the Border (1974), showcases Leadon’s exceptional talent as the most skilled instrumentalist within the Eagles. His playful picking style infuses the song with infectious joy and energy, making it a delightful listen.

No. 17. “Guilty of the Crime”
From: Long Road Out of Eden (2007)

The Eagles’ final studio album leaned more towards country influences than rock, with “Guilty of the Crime” standing out as an exception. Unfortunately, Joe Walsh seems to blend into the background of this track, co-written with Frankie Miller and the late Jerry Lynn Williams, who had a history of crafting less exciting songs for artists like Eric Clapton.

No. 16. “Take the Devil”
From: Eagles (1972)

Meisner’s initial foray into songwriting with “Take the Devil” presents a slower, less melodic composition that doesn’t fully showcase his vocal talents. Despite this, Glenn Frey‘s gritty guitar solo at the end hints at the significant successes that were yet to come for the band, laying the groundwork for their evolving sound.

No. 15. “I Don’t Want to Hear Any More”
From: Long Road Out of Eden (2007)

This track features Timothy B. Schmit in the spotlight, thanks to the songwriting contributions of Paul Carrack. While “I Don’t Want to Hear Any More” has a sweet melody, it lacks the emotional impact and memorable quality of other songs like “Love Will Keep Us Alive,” leaving it somewhat forgettable.

No. 14. “Journey of the Sorcerer”
From: One of These Nights (1975)

This instrumental piece by Bernie Leadon starts with a gentle undertone before expanding into a grand orchestral arrangement, featuring violinist David Bromberg. “Journey of the Sorcerer” exemplifies the Eagles’ ability to blend different musical elements, creating an epic soundscape that captures the listener’s imagination.

No. 13. “Is It True?”
From: On the Border (1974)

Randy Meisner’s evolution as a songwriter is an intriguing subplot within the Eagles’ story. “Is It True?” acts as a beacon of his potential, showcasing a heartfelt ballad that allows him to step slightly out of the shadows cast by Frey and Henley. Despite a peculiar line about chainsaws in the middle, Frey saves the day with a striking lead guitar performance that enhances the track.

No. 12. “Too Many Hands”
From: One of These Nights (1975)

Co-written by Meisner and Felder, “Too Many Hands” offers a clever twist on a familiar religious theme. This song symbolizes a significant step away from the band’s earlier pastoral sounds, coinciding with Felder’s arrival. The track features an exciting guitar duel between Felder and Frey, while Henley adds texture with the tabla, creating a rich tapestry of sound.

No. 11. “Do Something”
From: Long Road Out of Eden (2007)

This track showcases Timothy B. Schmit‘s vocal prowess, presenting a steel-tinged narrative that resonates with a sense of defeat. Its introspective qualities would have fit seamlessly alongside the deeper cuts from The Long Run, highlighting Schmit’s ability to convey raw emotion through his music.

No. 10. “Tryin’”
From: Eagles (1972)

Randy Meisner, known for his heartfelt ballads, also proves he can deliver a catchy groove with “Tryin’.” This original piece finally grants Meisner a standout moment on the band’s debut album, showcasing his versatility and ability to engage listeners, even in the album’s closing moments.

No. 9. “Last Good Time in Town”
From: Long Road Out of Eden (2007)

In the Eagles’ long-awaited follow-up to The Long Run, Joe Walsh only contributed to two tracks. “Last Good Time in Town” is his only credited co-write, featuring verses by Walsh and a chorus crafted by longtime collaborator J.D. Souther. The track playfully reflects on the joys of normal life after the wild times, encapsulating Walsh’s unique style and perspective.

No. 8. “Train Leaves Here This Morning”
From: Eagles (1972)

This song became a defining moment for Bernie Leadon, who revisited a previously co-written track with Byrds co-founder Gene Clark. When Leadon joined the Eagles, “Train Leaves Here This Morning” was reborn, showcasing the evolution of country rock from its earlier outlier status to a mainstream sound that resonated with audiences.

No. 7. “Love Will Keep Us Alive”
From: Hell Freezes Over (1994)

This song originated from a shelved late-’80s supergroup featuring former Eagles members Timothy B. Schmit and Don Felder, alongside notable musicians like Jim Capaldi and Paul Carrack. Schmit resurrected the concept when the Eagles made their surprising comeback, creating a heartfelt anthem that resonated with fans.

No. 6. “Bitter Creek”
From: Desperado (1973)

Leadon wrote and performed this track as the final original piece on Desperado, right before the reprise of “Doolin-Dalton” and “Desperado.” The song begins with the reserved tones typical of Leadon’s traditionalist style, but it takes flight during the outro, showcasing the Eagles’ trademark harmonizing and elevating the track to new heights.

No. 5. “I Can’t Tell You Why”
From: The Long Run (1979)

This track marked the debut of Timothy B. Schmit as a lead vocalist after Randy Meisner‘s departure. “I Can’t Tell You Why” was one of the first songs completed for The Long Run, but it took an extensive amount of time to release, finally hitting the airwaves in February 1980. With Frey’s expressive guitar solo, this song captures the essence of the Eagles’ evolving sound.

No. 4. “In the City”
From: The Long Run (1979)

Joe Walsh had previously recorded “In the City” for the soundtrack of the cult classic film The Warriors. When the Eagles decided to re-record the song for their long-awaited album, they maintained a similar musical approach while enhancing it with their signature vocal harmonies. The track became a live favorite, with the Eagles often incorporating a memorable nod to the Beatles’ “Day Tripper” during performances.

No. 3. “Pretty Maids All in a Row”
From: Hotel California (1976)

The Eagles underwent a transformation from a roots-based band to rock icons as Joe Walsh took over for Leadon. While Walsh contributed to the iconic “Life in the Fast Lane,” “Pretty Maids All in a Row” stands out as a poignant meditation on regret. The song gains emotional depth when his bandmates join for the vocal finale, following a soulful slide guitar solo that reveals a more vulnerable side of Walsh.

No. 2. “Try and Love Again”
From: Hotel California (1976)

This hidden gem from the Eagles’ most celebrated album often emerges as a fan favorite. “Try and Love Again” encapsulates the theme of hope and resilience, making it particularly poignant for Randy Meisner, who faced struggles with his role in the band. This track marked his final co-writing credit and lead vocal performance with the Eagles, reflecting both personal and artistic significance.

No. 1. “Take It to the Limit”
From: One of These Nights (1975)

“Take It to the Limit” achieved remarkable success as the Eagles’ highest-charting single, yet it brought immense pressure for Randy Meisner to perform the song’s soaring high note during live shows. Overwhelmed by anxiety, he requested the song be removed from their setlist, leading to his departure when the band refused. Following Meisner’s exit, Frey took over the vocals, and after Frey’s passing, Vince Gill stepped in to continue the legacy.

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