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Tue 8 September 2026 15:00, UK
“But you can never leave…” You’re imagining the solo right now, aren’t you? That’s the power of Joe Walsh and the Eagles.
The way that they were able to blend country music and rock was revolutionary, and the guitar capabilities of Walsh were a huge part of achieving that sound. They were one of the biggest bands to come out of America, and they have an infectious music style that continues to touch the hearts of listeners decades after they were originally made.
The way that Walsh played gave the Eagles their own indistinguishable sound that the band could never shake, even once they broke up. Glenn Frey was well aware of this, as when the band initially split, the music continued with a life of its own.
“While the band did break up in 1980, our music continued without us,” he said, “It was becoming increasingly apparent to me that, no matter where I went or what I did, for the rest of my life, I would always be an Eagle.”
Walsh has always been very open about his favourite guitar players, and it’s interesting to look at those who have inspired his sound. His innovation and relentless approach towards not being confined to a specific genre or style is reflected in the instrumentalists who he holds in high regard.
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For instance, one of his favourite guitarists, Duane Allman, wasn’t just someone he admired but somebody he learnt from. Walsh was taught how to play slide guitar by Allman, and he used that slide sound to establish how the Eagles sounded to the rest of the world. Glenn Frey even said that this style of musicianship drove the band and helped them reach new heights.
Walsh also admitted that one of his favourite guitarists was Jimmy Page. When you consider how the Eagles managed to merge country music and rock, it’s hardly a surprise that he was a fan of Led Zeppelin, who did something similar but with the blues, rock and acoustic music. Page wasn’t just a guitarist for Walsh but a representation of creative freedom. Walsh admired him dearly because of that.
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You can hear pieces of both Allman and Page scattered throughout Walsh’s own work. The former comes through whenever he lets a note glide rather than attacking it head-on, whereas Page’s influence is closer to an attitude, particularly Walsh’s ability to make a riff sound heavy without sacrificing the song underneath it. Whether it was the Eagles or his solo material, he could move between delicate country phrasing and something far more muscular without either side sounding out of place.
Finally, given innovation was such a huge part of Walsh’s approach to guitar music, he was also a big fan of one of the most forward-thinking minds in music, Les Paul. Not only was he an exceptional guitar player, but he also revolutionised the guitar, how it’s played and how it’s recorded. It took a lot to stun Joe Walsh, but one moment in his career where you see him genuinely lost for words is when he is given Les Paul’s guitar and has the chance to play it.
Paul’s influence can be felt in Walsh’s fascination with sound just as much as his actual technique. A guitar was never simply something for him to plug in and play correctly, and much of his best work comes from manipulating tone until a fairly simple part develops a personality of its own. That willingness to experiment with what happened between the strings and the finished recording was central to Paul’s legacy, and Walsh carried the same curiosity into a completely different generation of rock music.
“Oh boy,” he says, looking at the six-string, “This is a little boy’s dream come true.”
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