Eagles ‎– On The Border

Asylum Records ‎– 7E-1004
Vinyl, LP, Album, Stereo, Santa Maria Pressing

Tracklist Hide Credits

A1 Already Gone
Lead Vocals – Glenn*Soloist, Guitar [Solo Guitars] – Don Felder, Glenn*Written-By – Jack Tempchin, Robb Strandlund
A2 You Never Cry Like A Lover
Lead Vocals – Don HenleyWritten-By – Don Henley, John David Souther
A3 Midnight Flyer
Lead Vocals – Randy*Slide Guitar [Slide] – Glenn*Written-By – Paul Craft
A4 My Man
Lead Vocals – Bernie*Pedal Steel Guitar – Bernie*Written-By – Bernie Leadon
A5 On The Border
Handclaps [Claps] – The Clapetts*Lead Vocals – Don HenleyPerformer [T.N.T.S.] – Coach (14)Written-By – Bernie Leadon, Don Henley, Glenn Frey
B1 James Dean
Lead Vocals – Glenn*Soloist, Guitar [Solo Guitars] – Bernie*Written-By – Don Henley, Glenn Frey, Jackson Browne, John David Souther
B2 Ol' '55
Lead Vocals – Don Henley, Glenn*Pedal Steel Guitar – Al PerkinsWritten-By – Tom Waits
B3 Is It True?
Lead Vocals – Randy*Slide Guitar – Glenn*Written-By – Randy Meisner
B4 Good Day In Hell
Lead Vocals – Don Henley, Glenn*Slide Guitar [Slide] – Don FelderWritten-By – Don Henley, Glenn Frey
B5 Best Of My Love
Lead Vocals – Don HenleyPedal Steel Guitar – Bernie*Written-By – Don Henley, Glenn Frey, John David Souther

Companies, etc.



Columbia Records Pressing Plant, Santa Maria pressing denoted by "S" and "CSM" etches in runouts..
Textured, matte sleeve. Issued with double-sided foldout color poster.

Label rimtext on this release reads "ASYLUM RECORDS Mfg. by Elektra/Asylum/Nonesuch Records. A Division of Warner Communications, Inc. 15 Columbus Circle, New York, NY 10023".

Another same catalog # US release "On The Border" with similar labels except it omits "ASYLUM RECORDS" and shows Los Angeles address for Elektra/Asylum/Nonesuch Records on labels.

Other matrix/pressing variations for U.S. release with same cat# 7E-1004:
On The Border catalog # appears on left side of label and Mfg. info on outer ring includes Los Angeles, California address.
On The Border (CTH) printed on labels
On The Border CSM pressing with catalog # on left side of label below Side One
On The Border white labels "Not For Sale"
On The Border reissue with white, blue, purple sky background labels

--Rear Sleeve--
Ⓟ © 1974 By Asylum Records. Manufactured By Elektra/Asylum/Nonesuch Records, A Division Of Warner Communications Inc. 15 Columbus Circle, New York, New York 10023, Printed In U.S.A.

Mastering and Pressing info from runout.

A1: Jazzbird Music / Benchmark Music ASCAP
A2: Golden Spread Music / Benchmark Music ASCAP
A3: Rocky Top Music, Inc. BMI
A4, A5, B3, B4, B5: Kicking Bear Music / Benchmark Music ASCAP
B1: Benchmark Music ASCAP
B2: Fifth Floor Music, Inc. ASCAP

A1, A3, A4, A5, B1, B2, B3, B4: Produced & Engineered for Pandora Productions Ltd.
Recorded at The Record Plant, Los Angeles.
A2, B5: Recorded at Olympic Studios, London.

Printed in the U.S.A.

Special thanks to Irv Azoff, Jackson Browne, Don Felder, Richard Fernandez, David Geffen, Ron Stone and the fire gods Nido & Wotan --
Extra special thanks to Paul Ahern for leaving town

"Ol '55" and "The Best Of My Love" appear on sleeve; "Ol' '55" and "Best Of My Love" appear on labels.

Barcode and Other Identifiers

  • Matrix / Runout (Label Side A): 7E-1004-A
  • Matrix / Runout (Label Side B): 7E-1004-B
  • Matrix / Runout (Runout A etch; STERLING stamp [Var 1]): 7E 1004 A-5 CSM STERLING LH 2H
  • Matrix / Runout (Runout B etch; STERLING stamp [Var 1]): 7E 1004 B-5 CSM STERLING 2 LH D-4 "̶H̶e̶ ̶W̶h̶o̶ ̶H̶e̶s̶i̶t̶a̶t̶e̶s̶ ̶I̶s̶ ̶L̶u̶n̶c̶h̶"̶
  • Matrix / Runout (Runout A etch; STERLING stamp [Var 2]): \ 7E 1004 A -4 CSM STERLING LH F[(raised)2]
  • Matrix / Runout (Runout B etch; STERLING stamp [Var 2]): S \ 7E -1004 B - 4 CSM STERLING LH F2 "̶H̶e̶ ̶W̶h̶o̶ ̶H̶e̶s̶i̶t̶a̶t̶e̶s̶ ̶I̶s̶ ̶L̶u̶n̶c̶h̶"̶
  • Matrix / Runout (Runout A etch; STERLING stamp [Var 3]): \ 7E 1004 A - 5 CSM STERLING LH 2G
  • Matrix / Runout (Runout B etch; STERLING stamp [Var 3]): 7E - 1004 B - 4 CSM STERLING LH D 2 "̶H̶e̶ ̶W̶h̶o̶ ̶H̶e̶s̶i̶t̶a̶t̶e̶s̶ ̶I̶s̶ ̶L̶u̶n̶c̶h̶"̶ 2
  • Matrix / Runout (Runout A etch; STERLING stamp [Var 4]): 7E 1004 A -4 CSM STERLING LH 2 A9 1S
  • Matrix / Runout (Runout B etch; STERLING stamp [Var 4]): 7E-1004 B -4 CSM STERLING LH 2 D 3 S2 "̶H̶e̶ ̶W̶h̶o̶ ̶H̶e̶s̶i̶t̶a̶t̶e̶s̶ ̶I̶s̶ ̶L̶u̶n̶c̶h̶"̶
  • Rights Society (A1, A2, A4 to B5): ASCAP
  • Rights Society (A3): BMI
  • Pressing Plant ID: CSM

Other Versions (5 of 144) View All

Cat# Artist Title (Format) Label Cat# Country Year
7E-1004 Eagles On The Border(LP, Album) Asylum Records 7E-1004 Australia 1974 Sell This Version
7E-1004 Eagles On The Border(LP, Album, Ter) Asylum Records 7E-1004 US 1974 Sell This Version
HYS 651-04 Eagles On The Border = En La Frontera(LP, Album) Asylum Records HYS 651-04 Spain 1974 Sell This Version
7E-1004 Eagles On The Border(LP, Album, RE, SP) Asylum Records 7E-1004 US 1983 Sell This Version
7ES-1004 Eagles On The Border(LP, Album) Asylum Records 7ES-1004 Canada 1974 Sell This Version



Add Review



February 8, 2019

It’s no surprise that many thought that the Eagles were just another country-rock band as the 70’s came into view, though by the time On The Border was released, the world was faced with an entirely new concept, with a band who were destined to take the world by storm, as the album resonated with listeners on an entirely different level.

To that end, and perhaps in the spirit of outrunning their past personae, most of the numbers found on this outing are in some way related to escape, or the failures that besiege us all, necessitating a light-footed hightailing outa Dodge. The Eagles have always been about California, a place many had escaped to during the psychedelic 60’s, and the ethos the west coast emphasized, personified, along with the intense camaraderie that was still legendary from San Diego to Sacramento and beyond.

On The Border was dismissed by many when it hit the streets, with critics asking what could possibly need three guitarists, and that with three gunslingers, despite playing well, there were simply too many intrusive guitar parts and solos, smacking of the gratuitous. Others claimed that somewhere in the middle of the songs, the arrangements lost track of each other, and in essence, were ill-defined. Yet I heard more on this record, I heard a new way of presenting this easy going country rock, that at times could step out and blister floorboards, as if the Eagles were turning a musical corner, knowing that if you weren’t on board then, you soon would be in the future.

Perhaps On The Border did lack purposefulness, but this was a new decade, songs didn’t need to fold back on each other, the album was filled with emancipation and energetic high spirits, elegant harmonies and substantial arrangements. Certainly the Eagles were not like Neil Young, the Eagles were expanding their sound, channeling their music to a more mainstream market, yet that in no way relegated it to a lesser status, it’s just that the band, like Fleetwood Mac, found a key that turned heads, causing listeners to take notice with catchy hooks, storytelling lyrics and great considered songwriting. The Eagles were showing the world, and this album was as successful overseas as it was in the States, that music was all about the fun it evoked, rather than being belabored with boring extended jams and guitar hero solos. If anything, the Eagles where showing that they were a band who created dynamic albums, filled with songs that were more than worthy of standing as singles in their own right.

Without a doubt, many fans passed this album by on its release, only to rediscover it by walking the cat backwards, shamefully shuffling their feet over what they’d missed.

*** The Fun Facts: There are some very clever and pointed aspects to the album. The song “Good Day In Hell” was a tribute to both Gram Parsons and Danny Whitten, regarding the music business and the perils of the lifestyle that business creates. “On The Border” referenced the Watergate scandal, Richard Nixon, and the government overstepping its bounds, infringing on the privacy rights of its individual citizens. The phrase “Say Goodnight Dick” can nearly be heard, a line made famous by Dan Rowan (of Rowan & Martin, and the show Laugh In) referencing Richard Nixon’s fall from grace. The liner notes credit a mysterious T.N.T.S. for the vocal tracks. This in fact wasn’t a person, but stood for the gin, Tanqueray n’ Tonic, a drink that was favored during the sessions. A Gram Parsons reference turns up again on the number “My Man,” as Gram died of a drug overdose in ’73, and had been an artist who pioneered the country-rock sound, though achieved little success, yet inspired many.

Review by Jenell Kesler