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Speaker 1: Too Much Information is a production of iHeartRadio. Hello everyone,

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Speaker 1: and welcome to Too Much Information, a show that brings

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Speaker 1: you the secret histories and little known fascinating facts and

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Speaker 1: figures behind your favorite music, movies, TV shows, and more.

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Speaker 1: We are your steely Knives of Scintilla, your two Tiffany

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Speaker 1: Twisted minds of Minusha prisoners here of our own device.

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Speaker 1: I'm Alex Heigl and I'm Jordan Runtog, and I have

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Speaker 1: to say I had no idea they were saying Tiffany

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Speaker 1: twisted in that song. I don't even know what that means.

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Speaker 1: I imagine you'll tell me later. Re listening to all this,

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Speaker 1: I've actually discovered that the thing I like best about

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Speaker 1: this song of the lyrics shocking. That makes sense. I

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Speaker 1: can see that. And as our keen eared listeners may

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Speaker 1: have gleaned from that intro, Jordan, today we are gathering

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Speaker 1: at our master's chambers for a feast of facts voices,

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Speaker 1: waking you up in the middle of the night or

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Speaker 1: whenever you might listen to this, to talk about the

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Speaker 1: Eagles Hotel, California. Yea, love him or hate him? And

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Speaker 1: as I've learned from our reviews on Apple Podcasts, my

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Speaker 1: feelings about boomer music icons are not frequently appreciated, wildly

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Speaker 1: dislikable boomer music icons, I need to say true risk

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Speaker 1: of getting more of those? Yeah, you know, I don't

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Speaker 1: Yeah whatever. Don Henley's quotes speak for himself. Yeah, the

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Speaker 1: Eagles are just one of the biggest bands period and

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Speaker 1: Hotel California is their biggest song, So good for them.

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Speaker 1: I just want to add that discussing the Eagles right

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Speaker 1: now is if listeners can probably tell making you physically ill. Yeah,

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Speaker 1: I'm I'm a little sick of Don henley s. Yeah.

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Speaker 1: I don't know, man, you have a bit more of

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Speaker 1: a partlar fascination with the iconography and everything around them.

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Speaker 1: I just really love Joe Walsh. Yeah, I mean, what's

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Speaker 1: not to love? You know, we have numerous Joe Walsh

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Speaker 1: corner moments in here, so yeah, thank god. Yeah, you know,

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Speaker 1: my festination with the Eagles extends way beyond the music.

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Speaker 1: The tumultuous interpersonal dynamics and the interband drama. For me,

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Speaker 1: put them neck and neck with Fleetwood Mac in terms

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Speaker 1: of just being the most entertaining and grossing rock and

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Speaker 1: roll soap opera. In a previous podcast, I co hosted

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Speaker 1: about rock rivalries. The Eagle story spiraled into an epic trilogy,

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Speaker 1: so it's Titanic levels in the DMI universe. I mean, yeah,

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Speaker 1: I don't know, dude, is it like, don't I want

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Speaker 1: to get one of those T shirts of like Detroit

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Speaker 1: versus everybody that's like Don Henley versus everybody, or like

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Speaker 1: all my homies hate Don Henley. I mean another good one.

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Speaker 1: But you know, I mean despite our strongly held feelings.

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Speaker 1: I know people, people I consider friends who have equally

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Speaker 1: strong feelings for the Eagles in the opposite way they

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Speaker 1: love the Eagles. I mean the gargantuan sales figures speak

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Speaker 1: for themselves. Numbers don't lie, you know. Yeah. In the

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Speaker 1: United States, the Eagles have the first and third highest

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Speaker 1: selling albums ever. Their greatest hits album is number one.

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Speaker 1: He'll Talk California is number three, forming a sandwich with

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Speaker 1: Michael Jackson's Thriller at number two. That's a sandwich. I

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Speaker 1: don't like the Eagles as the bread, Michael Jackson as

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Speaker 1: the meat. Michael Jackson and meat should never be in

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Speaker 1: the same sentence together. Yeah, I don't know, man, you

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Speaker 1: know what it is to me? I think they really

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Speaker 1: crystallized with doing the research and having to read that

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Speaker 1: these guys talk a bunch is they have sore winner energy.

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Speaker 1: You know, they made more money making music than probably

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Speaker 1: anyone will again like just purely from music, because you know,

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Speaker 1: I was thinking about it. I was like, I wonder

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Speaker 1: how rich these guys are. And the reason that they

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Speaker 1: probably aren't as rich as Michael Jackson or your Taylor

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Speaker 1: Swift or whatever is because, to their credit, they didn't

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Speaker 1: do endorsements, they didn't do commercials, they didn't license their stuff,

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Speaker 1: but they have the first and third best selling records

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Speaker 1: of all time, like so you were you you won guys,

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Speaker 1: And all they can do is keep like relitigating the

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Speaker 1: same petty grievances and like the same relitigating in a

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Speaker 1: literal sense, very Austin by the way. Yeah, And it's

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Speaker 1: it's like it's one thing to be a sore winner

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Speaker 1: if you're like funny and engaging, but it's another thing

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Speaker 1: to be like a cantankerous old man. It's a bad look.

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Speaker 1: It's just a bit they like they're just personally unlikable people,

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Speaker 1: except for sweet Joe Walsh oh yes, yes, yes yes,

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Speaker 1: and Randy Meisner. Oh god, yeah, I didn't know that

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Speaker 1: about Randy Meiser. That was that was a surprise read.

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Speaker 1: It's not, you know. I mean, as the honorary boomer

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Speaker 1: in our little duo, I know better than to criticize

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Speaker 1: these golden boys of the me decade too much. So

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Speaker 1: allow me to quote the self proclaimed dean of rock critics,

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Speaker 1: Robert Chris Gau in nineteen seventy two, he writes, another

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Speaker 1: thing that interests me about the Eagles is that I

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Speaker 1: hate them. One of the best pieces of rock criticism

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Speaker 1: of all time. Yes, you know, this is just one

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Speaker 1: of the many ways that I am like the dude

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Speaker 1: from The Big Lebowski. My intense antipathy towards the Eagles,

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Speaker 1: despite what I really believe to be their sizeable degree

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Speaker 1: of musical talent. It's really something that fascinates me. How

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Speaker 1: I can dislike them so much but admit that they

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Speaker 1: are very good at what they do. Yeah, I know

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Speaker 1: that's not mutually exclusive, but that's interesting to me. And

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Speaker 1: you know, sometimes late at night, when I can't sleep,

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Speaker 1: I try to examine my feelings and figure out why

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Speaker 1: I feel this way about the Eagles, and I think,

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Speaker 1: like you just mentioned, there's self serious alpha dogness mixed

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Speaker 1: with their seemingly unholy passion for lawsuits, makes their whole peaceful,

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Speaker 1: easy feeling, take it easy eight track classics ring a

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Speaker 1: little hollow. Yeah, it's so disingenuous, Like you're the least

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Speaker 1: easy taking it people of all time. Yeah, I mean,

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Speaker 1: I'm hard pressed the name a group who better exemplifies

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Speaker 1: the curdling of the sixties hippie dream, which, ironically, Joe

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Speaker 1: Walsh was a student at Ohio's Kent State University in

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Speaker 1: nineteen seven, an when the National Guard opened fire on

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Speaker 1: a peaceful anti war protest, killing for students, which is

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Speaker 1: an incident that historically has been viewed alongside the murder

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Speaker 1: at the Rolling Stones concert on Altamont as the death

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Speaker 1: knell of the sixties. So there's that, But there's also

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Speaker 1: something just so much more, something unexplainable, that inspires such

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Speaker 1: strong negative feelings against the group who makes music that

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Speaker 1: is really, by any metric, pretty inoffensive. So to me,

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Speaker 1: like I keep saying, that is just what makes the

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Speaker 1: Eagles so interesting, And I know I'm not alone in

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Speaker 1: feeling that way. Following the death of Eagles co Benevolent

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Speaker 1: Dictator Glen Fry. In twenty sixteen, Billboard published a piece

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Speaker 1: written by Chris Willman called Why are the Eagles So Hated?

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Speaker 1: An explainer on the immensely popular yet divisive rock band.

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Speaker 1: That headline is questionable timing, considering it was written while

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Speaker 1: glen Frye's body was probably still warm, but the New

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Speaker 1: York Daily News did one better, publishing a piece with

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Speaker 1: the headline Glen Fry's death is sad, but the Eagles

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Speaker 1: were a horrific But Chris Willman is a little more

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Speaker 1: even handed in his Billboard piece as he tries to

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Speaker 1: break down the hatred for the Eagles in less emotional

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Speaker 1: and more intellectual terms, and he cites several reasons why

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Speaker 1: everyone seemingly hates the Eagles. One reason is that the

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Speaker 1: band evokes the schism between East Coast and West Coast

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Speaker 1: music rivalries, less with the bands themselves, but mostly with

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Speaker 1: the critics. The New York based critics historically hated the

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Speaker 1: Eagles for the same reason that New Yorkers generally hate

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Speaker 1: la They think they're soft. The rest of Robert Chris

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Speaker 1: gals quote and Robert Christgaus in New Yorker reads the

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Speaker 1: Eagles are the ultimate in California dreaming, a fantasy of

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Speaker 1: fulfillment that has been made real only in the hip,

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Speaker 1: upper middle class suburbs of Barynne County and the Los

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Speaker 1: Angeles Canyons. What do you think about that? Yeah? I

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Speaker 1: think that tracks. I mean, despite all of their high

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Speaker 1: flutinous about this song being like the death of the

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Speaker 1: California Dream, I mean, at their heart, every other one

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Speaker 1: of their songs is about how great the California life style,

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Speaker 1: taking it easy and tequila sunrise this, and how great

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Speaker 1: taking it to the limit is is it? No? No? Well,

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Speaker 1: let me ask you. You are a a longtime New

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Speaker 1: Yorker who recently moved out. Oh people out here are soft? Okay, yeah, okay,

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Speaker 1: yeah I know I yeah, for sure New Yorkers are

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Speaker 1: needlessly hard two or false? Uh you know what? You

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Speaker 1: know what's actually really interesting reading about this band and

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Speaker 1: knowing how none of them were actually from California. But

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Speaker 1: it's funny to me because they epitomize they're not the

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Speaker 1: Midwest mentality of being like genuinely nice, they're the California.

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Speaker 1: They're the Los Angeles mentality of being outwardly nice and

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Speaker 1: secretly huge dicks. Whereas New Yorkers I've found are gruff

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Speaker 1: or whatever, like hey are walking into here, but like yeah,

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Speaker 1: but like we'll go out of their way to help you.

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Speaker 1: I never felt like a New Yorker rudeness, I mean

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Speaker 1: surface rudeness, but like I've always I've always held that

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Speaker 1: about New York. So well, I'm from Boston. Who are

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Speaker 1: in Mino? So well, we're not talking about Boston. What

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Speaker 1: does Boston even have? Drop Kate Murphy's a couple of colleges. Well.

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Speaker 1: According to this Billboard piece, another reason for scorn against

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Speaker 1: the Eagles is their supposed inoffensiveness. He previously mentioned Daily

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Speaker 1: News hatchet job. You know the Eagles were a horrific band.

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Speaker 1: Describe them as quote easy listening, even too soft for

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Speaker 1: an elevator. The music your mom and dad would play

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Speaker 1: in the living room high five while you went upstairs

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Speaker 1: and listened to the clash after dinner. Yeah, there's you know,

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Speaker 1: an easy shot. But as much as like, when I

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Speaker 1: think about like the harmony, this the kind of polished

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Speaker 1: Laurel Canyon stuff, Like they really were polished within an

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Speaker 1: inch of their life. What if you think about like

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Speaker 1: the other three and five part harmony guys of the era.

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Speaker 1: They are tremendous harmony singers. I mean it's really yea,

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Speaker 1: but yeah, it's just so polished. I mean they talk

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Speaker 1: about when Joe Walsh joined the band, they were like

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Speaker 1: John Henley was like, you can't move on stage, like

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Speaker 1: none of that rock starship. It's supposed to be about

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Speaker 1: the music man. Let Joe Walsh move on stage, dude.

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Speaker 1: Don Henley said that because I thought when they hired

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Speaker 1: Joe Walsh they were interested in getting more rocky and

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Speaker 1: it was like sonically but yeah, the quote that I

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Speaker 1: read was he was like, they were like I think

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Speaker 1: it might have been a minute Mark Elliott book. They

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Speaker 1: were basically said, we don't do the like hold your

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Speaker 1: hand up to your ear while you're playing the guitar solo,

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Speaker 1: or like play play between your knees or like all

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Speaker 1: that stuff. Like you know, we just were about the

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Speaker 1: music man. I'm like, well, that's why you have bad problems,

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Speaker 1: Don Henley, is because you got to stick up your ass,

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Speaker 1: oh boy, and commercial and perhaps the most compelling reason

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Speaker 1: for all the Eagles hatred is that we've simply been

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Speaker 1: taught to do it after years of social and cultural conditioning.

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Speaker 1: In his book I Wear the Black Hat Grappling with

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Speaker 1: Villains real and imagined, critic Chuck Klausterman wrote about the Eagles,

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Speaker 1: nodding to Robert Chriscau's famous line by calling his chapter

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Speaker 1: another thing that interests me about the Eagles that I

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Speaker 1: am contractually obligated to hate them, And in the section,

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Speaker 1: Chuck Lusterman rights, after spending the first twenty five years

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Speaker 1: of my life believing that they were merely boring, I

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Speaker 1: suddenly decided that the Eagles were the worst band that

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Speaker 1: had ever existed or could ever exist. I saw the

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Speaker 1: Big Lebowski and decided the main character should become the

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Speaker 1: role model for all human thoughts. Electronica was on MTV.

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Speaker 1: Even Grandma's were temporary. Postmodernists, Aspire and urban outfitter employees

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Speaker 1: were excited about technology and really into Neutramilk Hotel. It

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Speaker 1: was the logical time to believe Glenfry was Paul Pott

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Speaker 1: and elsewhere on the piece, Chuck Lasterman describes the Eagles

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Speaker 1: as quote the most unpopular super popular entity ever created

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Speaker 1: by California, not counting Ronald Reagan. They effortlessly represented what

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Speaker 1: people do not like about Malibu, which is true. I

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Speaker 1: mean he had that famous thing about Coldplay too, right.

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Speaker 1: Coldplay is like British Eagles, really good harmonies, really hard

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Speaker 1: on your sleeve, jibber jabber, really inoffensive and boring. That's again,

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Speaker 1: I don't like hate it. I'm like, this is all

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Speaker 1: really well executed. These guys are pros like, but you

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Speaker 1: do hate it. You just admit that it's well done. Yeah, okay,

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Speaker 1: that's true. No, but at the end of the piece,

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Speaker 1: Chuck Lusterman reevaluates his feelings for the Eagles and he

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Speaker 1: comes to see them as quote, just an old rock

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Speaker 1: band who made music that was significant and relaxing and inevitable.

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Speaker 1: And he also admitted that only an idiot would argue

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Speaker 1: that Take It Easy is poorly written or badly executed, which,

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Speaker 1: like we just said, that's the correct take. I feel

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Speaker 1: like inevitable is really interesting because it's it's it's really

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Speaker 1: funny to think about where they were situated in terms

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Speaker 1: of the country rock stuff. Like you know, when they

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Speaker 1: had a what's his name Bernie Leadon, yeah, who he

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Speaker 1: was in the Flying Burrito Brothers, Right, yeah, yeah, so

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Speaker 1: you have like a direct lineage to like country the

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Speaker 1: original the original country rock, right, and then they progressively

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Speaker 1: winnowed all of those elements out and created like, you know,

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Speaker 1: easy listening arena rock, and which is essentially the template

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Speaker 1: for like the commercial music of the eighties. You know,

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Speaker 1: like it's inevitable is a tremendous word to apply to

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Speaker 1: this band's arc, you know, you know, each of these

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Speaker 1: scholars have neglected to mention one of the biggest reasons

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Speaker 1: why I find the Eagles detestable. It's the inconsistent use

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Speaker 1: of an article in the band's name. Is it the

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Speaker 1: Eagles or is it Eagles? I've heard both ways. Yeah,

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Speaker 1: if it's Eagles, that's inexcusable. I'm sorry. It's the same

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Speaker 1: with talking Heads. I can't I'm sorry, it's the talking Heads.

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Speaker 1: I can't like Eagles. It's Eagles. No article on Spotify,

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Speaker 1: it's I hate that. I hate that so much. And

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Speaker 1: yet their header says the Eagles are one of the

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Speaker 1: most iconic bands in the history of music. Like, yeah,

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Speaker 1: it's it's not great. It's not great. What do you

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Speaker 1: think about Pixies? I can live with that. I can't

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Speaker 1: even live with Heads. They're weird enough. But yeah, yes

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Speaker 1: that you know what that's exactly what it is. You

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Speaker 1: are weird enough to be precious about how I refer

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Speaker 1: to your bands. But no, the Eagles, No, you were

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Speaker 1: the Eagles. I'm sorry. Well from the songs cringe Worth,

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Speaker 1: the original title to the Steely Dan song that inspired

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Speaker 1: a key lyric to the theories about whether or not

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Speaker 1: it was a real place. Here's everything you didn't know

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Speaker 1: about Hotel California. In the mid seventies, the Eagles were

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Speaker 1: on top of the damn world, where Don Henley had

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Speaker 1: believed he would rightfully end up since he was born

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Speaker 1: perming iron in hand in Gilmur, Texas, the birthplace of

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Speaker 1: Johnny Mathis. Is he permed or natural hair? He said

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Speaker 1: it was natural? But I mean, yeah, what a cloud?

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Speaker 1: You don't you get it? You don't get an afro

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Speaker 1: that doesn't have a dad from the Brady Bunch. Did

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Speaker 1: I guess that's true? Let's see Buckingham famous white guy

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Speaker 1: afros over the seventies tombler dot com. Yeah, the band's

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Speaker 1: previous album nineteen seventy fives. One of these nights, Bawn

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Speaker 1: the three top ten singles and the greatest hits album

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Speaker 1: that we talked about wound up forcing the ri double

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Speaker 1: Aid to invent the designation of platinum. Did you know that?

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Speaker 1: I didn't. I thought platinum was earlier in the seventies.

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Speaker 1: I thought, but Beach Boys compilation Endless Summer went like

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Speaker 1: quadruple platinumer double Platinum or something in seventy three. I

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Speaker 1: didn't realize it was that late. You'd love it to

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Speaker 1: be the Beach Boys, wouldn't you. I would. Yeah, No

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Speaker 1: ice Cream's shirt wearing Son of a Bitch. We were

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Speaker 1: under the microscope, Glenn Fry said. At the time, everybody

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Speaker 1: was going to look at the next record we made

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Speaker 1: and pass judgment. Don Henley and I were going, Man,

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Speaker 1: this better be good. This was not long after Don

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Speaker 1: Fingers Felder had joined the band in nineteen seventy four,

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Speaker 1: just one day after being called in to add slide

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Speaker 1: guitar on the tracks Good Day in Hell and Already Gone.

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Speaker 1: Assuming he was being brought on board as a full member,

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Speaker 1: he was wrong, realizing that the unholy alliance between Don

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Speaker 1: Henley and and Fry ran the band as a quote

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Speaker 1: benevolent dictatorship. Per Felder's scathingly petty tell all book Heaven

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Speaker 1: and Hell, Fry could be a bully and Henley a

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Speaker 1: controlling perfectionists, about whom Glenn Fry himself once said, no

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Speaker 1: one can suck the fun out of a room like

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Speaker 1: Don Henley. That's great. I like that. This is your

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Speaker 1: best friend and creative partner. Saying that about you and

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Speaker 1: Henley stands was that no band could function as a democracy.

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Speaker 1: They compared the dynamic to a sports team, saying if

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Speaker 1: people play their positions and play their strengths, everything turns

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Speaker 1: out well. The whole is greater than some of the parts.

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Speaker 1: We always understood that some of the other people didn't

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Speaker 1: understand that. They disliked Felder asserting himself and asking for

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Speaker 1: things like songwriting credits, with Henley saying at one point,

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Speaker 1: think of how much could be accomplished if no one

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Speaker 1: cared about credit. Ooh, and in the History of the

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Speaker 1: Eagles documentary, Don Felder was never ever satisfied, never ever happy.

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Speaker 1: I really see both sides of this. This is tricky

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Speaker 1: because on one hand, if you're as talented as Don

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Speaker 1: Felder as he might expect to be treated with, I

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Speaker 1: don't know, a certain amount of respect, get a little

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Speaker 1: thing like songwriting credit. Maybe hey, maybe Glenn Fry was

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Speaker 1: jealous of his musical abilities. To a certain extent, he's

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Speaker 1: a fingers Felder is a way better guitarist than Glenn Frye.

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Speaker 1: But on the other hand, in bands, seniority obviously matters,

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Speaker 1: and no one wants the new guy coming in and

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Speaker 1: throwing their weight around. But as Don Felder tells it,

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Speaker 1: he was being disrespected on a daily basis. That sows

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Speaker 1: the seeds for the end of this episode, shall I say,

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Speaker 1: In addition to fingers Felder's unhappiness bassist and sweet Cinnamon

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Speaker 1: Bun too pure for this world, Randy Meisner was also

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Speaker 1: feeling on the outs. He told the band's biographer Mark Elliott.

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Speaker 1: We were all real close, more or less up until

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Speaker 1: the year of Hotel California. I just didn't feel like

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Speaker 1: I was part of the group at that point. Success

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Speaker 1: changed everything. When we first started, we were really close,

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Speaker 1: like brothers. We'd sit around, smoke a dube together, drink

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Speaker 1: beer and have a good time. By nineteen seventy six,

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Speaker 1: it just wasn't the same. We couldn't sit down like

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Speaker 1: the guys anymore. It was all business. The friendships were

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Speaker 1: all gone by that point. Randy Meisner, He's got that

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Speaker 1: the beautiful falsetto voice that you can hear on take

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Speaker 1: it to the limit. Great bass player, sweet Sweet, the

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Speaker 1: goodest boy Randy Meisner, the most likable member of the

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Speaker 1: Eagle Well No Sorry, second the Joe Walsh, speaking of

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Speaker 1: the breaking of which another key lineup change was the

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Speaker 1: swapping in of Joe the Midwest Madman Walsh, a nickname

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Speaker 1: I just made up for Bernie lead Lips lead In,

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Speaker 1: same founding member. Lenin had firmly been a member of

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Speaker 1: The Bling Burrito Brothers and was way more into the

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Speaker 1: country side of the country rock sound. The Beatles are

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Speaker 1: credited with popularizing. The breaking point in his relationship with

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Speaker 1: the band supposedly came when one night, as for I

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Speaker 1: was intensely talking about the direction the band should head

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Speaker 1: in next Ledden interrupted him by pouring a beer over

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Speaker 1: his head and saying, you need to chill out, man

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Speaker 1: who among us? Apparently he later regretted this, saying that

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Speaker 1: it wasn't his proudest moment and it was really disrespectful,

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Speaker 1: et cetera, et cetera, et cetera. But it sounds pretty funny.

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Speaker 1: It sounds hilarious. Oh can you imagine how mad he got? Well,

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Speaker 1: I mean yeah, I mean he kind of came out

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Speaker 1: on top. He left the Eagles, presumably got a ton

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Speaker 1: of money from his time in the Eagles, and he

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Speaker 1: got one over on Glenn Fry and then he rejoined.

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Speaker 1: I think things are relatively good between them. I think recently,

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Speaker 1: relatively recently, in the two thousands at least, he rejoined

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Speaker 1: the Eagles for I think it was called just the

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Speaker 1: History of the Eagles Tour. I think around the same

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Speaker 1: time that that documentary History of the Eagles two parter

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Speaker 1: came out in I think twenty thirteen. And for anyone

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Speaker 1: who hasn't seen that documentary, it's like, for me, it's

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Speaker 1: up there with the Beatles Anthology in terms of just

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Speaker 1: a truly great rock doc epic. It's so funny, it's

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Speaker 1: so petty, it's so nasty, It's filled with so many

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Speaker 1: great rock cliches, usually involving mountains and being on top

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Speaker 1: of them. What is the one I'm trying to think

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Speaker 1: of the Joe Walsh quote on the process of getting famous.

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Speaker 1: The first thing that happens is you give a label

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Speaker 1: and you got to live up in it, and then

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Speaker 1: you get just get caught up in that. And I

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Speaker 1: forget what the second thing is. You gotta live up

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Speaker 1: in it. Apparently this is the this is just I

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Speaker 1: haven't seen this, but this is from a Grant Land

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Speaker 1: feature on when that came out, and his quote on

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Speaker 1: their breakup is so much stuff just happened. Oh my god.

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Speaker 1: You know, there's a philosopher who says, as you live

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Speaker 1: your life, it appears to be anarchy and chaos and

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Speaker 1: random events, non related events smashing into each other and

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Speaker 1: causing this situation or that situation. And then this happens,

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Speaker 1: and it's overwhelming, and it just looks like what in

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Speaker 1: the world's going on? And later, when you look back

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Speaker 1: at it, it looks like a finely crafted novel, but

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Speaker 1: at the time it don't. I have to give Bill

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Speaker 1: Simmons credit. This is an incredible line in this piece. First,

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Speaker 1: Joe Walsh never names the philosopher, and as far as

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Speaker 1: we know, that philosopher was some dude named Clyde who

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Speaker 1: gave Walsh incredible coke on a Thursday night in like

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Speaker 1: nineteen seventy eight. Second, there's a twenty percent he stole

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Speaker 1: that entire thing from Charles Dickens and just doesn't remember. Third,

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Speaker 1: that's an amazing quote. I mean, Joe Walsh is like

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Speaker 1: the Yogi bearra of rock and roll. Joe Walsh was

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Speaker 1: born in Kansas, raised in Ohio, New York, and New Jersey,

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Speaker 1: but then moved back to Ohio to get his went

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Speaker 1: to Kent State, as you mentioned, to get his music

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Speaker 1: career on the road. His first two bands were basically

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Speaker 1: like Ohio bar groups, but Joe is the star. And

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Speaker 1: in between doing Forrest Gump type like selling Jimmy Page,

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Speaker 1: his iconic gibson Les Paul and learning slide guitar from

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Speaker 1: Dwayne Allman made he made a name for himself. James

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Speaker 1: Gang Whips Funk forty nine's incredible. They were never commercially famous.

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Speaker 1: They were really kind of only a hit in in

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Speaker 1: and around Ohio in the Midwest, but they're such a

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Speaker 1: great power trio. I actually found this really great quote

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Speaker 1: from Joe Walsh talking about it. Oh blah bla Lula whoa, Yeah,

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00:22:25,119 --> 00:22:28,280
Speaker 1: that's the intro to the song Meadows. This is what

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00:22:28,320 --> 00:22:31,080
Speaker 1: I'm saying, like like like Don Henley would never start

401
00:22:31,080 --> 00:22:34,040
Speaker 1: a song like that for Joe walshy was it was Tuesday.

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00:22:36,680 --> 00:22:38,560
Speaker 1: Jordan Tea is up some of the some of the

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Speaker 1: best Joe Walsh stories. Yes, I have so many great

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Speaker 1: Joe Walsh stories. He's amazing. I think I talked about

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Speaker 1: this on a Revolver episode. But Joe Walsh worshiped the

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Speaker 1: Beatles and he wanted to be one so bad. And

407
00:22:50,840 --> 00:22:52,640
Speaker 1: in the mid sixties he was in an early group

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00:22:52,680 --> 00:22:55,840
Speaker 1: called the Measles, and he set about trying to obsessively

409
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Speaker 1: learn the guitar part to the Beatles track and Your

410
00:22:58,320 --> 00:23:01,240
Speaker 1: Bird Can Sing from the nineteenth sixty six album Revolver.

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Speaker 1: And he spent weeks and weeks, maybe even months, trying

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Speaker 1: to work the guitar part out by ear, not realizing

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Speaker 1: that it was actually two guitars playing the part, and

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Speaker 1: they became famous around town for being able to play

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Speaker 1: the whole part on one guitar, and he would proudly say,

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Speaker 1: not even George could do that. And then now, of

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Speaker 1: course he is Ringo Star's brother in law. He's married

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Speaker 1: to Ringo's wife's sister, Lily Tomlin. Yeah, and he's also

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Speaker 1: the owner of Klaus Foreman's original cover artwork for Revolver.

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Speaker 1: So Joe Walsh came out on top there. I love

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Speaker 1: a fellow Beatle obsess of getting what he wants. After

422
00:23:37,680 --> 00:23:40,560
Speaker 1: leaving James Gang and recording some records under the named Barnstorm,

423
00:23:40,680 --> 00:23:43,360
Speaker 1: Walsh was invited to join the Eagles by their manager,

424
00:23:44,320 --> 00:23:47,520
Speaker 1: notorious music industry heavy Irving A's Off, and he did

425
00:23:47,600 --> 00:23:50,600
Speaker 1: join the man in nineteen seventy five, largely against Don

426
00:23:50,640 --> 00:23:54,680
Speaker 1: Henley's wishes. As we mentioned earlier, Don Henley thought Joe

427
00:23:54,800 --> 00:23:58,760
Speaker 1: was too wild for the band. He was not wrong.

428
00:24:00,119 --> 00:24:02,480
Speaker 1: Was the famous quote about Joe Walsh from Glenn Fry.

429
00:24:02,680 --> 00:24:06,119
Speaker 1: Joe was an interesting bunch of guys. The guys in

430
00:24:06,200 --> 00:24:09,560
Speaker 1: the Eagles gave Joe walshy chainsaw for her birthday once

431
00:24:09,600 --> 00:24:13,480
Speaker 1: as a joke. Probably got a lot of use. Joe

432
00:24:13,680 --> 00:24:17,520
Speaker 1: was the American champion of hotel room trashing after being

433
00:24:17,560 --> 00:24:21,280
Speaker 1: trained by his British counterpart, Keith Moon. Joe Walsh had

434
00:24:21,280 --> 00:24:23,439
Speaker 1: in the History of the Eagles documentary, one of the

435
00:24:23,480 --> 00:24:25,760
Speaker 1: most terrifying things that ever happened to me was that

436
00:24:25,880 --> 00:24:31,320
Speaker 1: Keith Moon decided he liked me. That's an incredible quote.

437
00:24:31,320 --> 00:24:34,040
Speaker 1: He's guy's a quote machine. So, as a result of

438
00:24:34,119 --> 00:24:38,800
Speaker 1: Joe's penchant for destroying hotel rooms, there was a long

439
00:24:38,840 --> 00:24:41,600
Speaker 1: list of hotels in which the Eagles were not welcome.

440
00:24:42,640 --> 00:24:44,840
Speaker 1: My favorite story from this era, if you'll indulge me

441
00:24:44,880 --> 00:24:47,680
Speaker 1: once more in my Joe Walsh stories, is when Joe

442
00:24:47,680 --> 00:24:52,919
Speaker 1: Walsh was at the Astor Towers in Chicago with John Belushi,

443
00:24:52,760 --> 00:24:56,479
Speaker 1: WHI yeah, yeah. They were not allowed into the fancy

444
00:24:56,520 --> 00:24:59,560
Speaker 1: dining room because they were both wearing jeans, and you know,

445
00:24:59,600 --> 00:25:02,240
Speaker 1: they had a dress code at places like this. Instead

446
00:25:02,240 --> 00:25:04,080
Speaker 1: of just you know, going back to the room and

447
00:25:04,119 --> 00:25:07,160
Speaker 1: putting on slacks, John Belushi and Joe Walsh went into

448
00:25:07,200 --> 00:25:12,000
Speaker 1: an alleyway and spray painted their jeans black. Unfortunately, they

449
00:25:12,000 --> 00:25:14,320
Speaker 1: were hungry and didn't wait for the paint to dry,

450
00:25:14,640 --> 00:25:17,440
Speaker 1: so when they sat down on these antique Queen Anne chairs,

451
00:25:17,720 --> 00:25:20,840
Speaker 1: the paint came off. This caused a problem when they

452
00:25:20,840 --> 00:25:23,440
Speaker 1: stood up and the whole backside of their pants were

453
00:25:23,480 --> 00:25:27,159
Speaker 1: blue again. I guess they were so pissed off by

454
00:25:27,160 --> 00:25:29,560
Speaker 1: this whole frustrating experience that they went back to Joe's

455
00:25:29,640 --> 00:25:33,639
Speaker 1: room and caused twenty eight thousand dollars worth of damage

456
00:25:33,720 --> 00:25:39,639
Speaker 1: in a single night. And amazingly, Joe was still up

457
00:25:39,680 --> 00:25:42,119
Speaker 1: to these tricks years later when he was in Ringo

458
00:25:42,200 --> 00:25:45,240
Speaker 1: Stars All Star Band in the late eighties and early nineties,

459
00:25:45,520 --> 00:25:47,879
Speaker 1: I interviewed Ringo's drum tech a few years back, and

460
00:25:47,920 --> 00:25:49,800
Speaker 1: he told me one night when the band bread he

461
00:25:49,920 --> 00:25:53,080
Speaker 1: ritched Carlton, Joe glued the furniture in his suite to

462
00:25:53,200 --> 00:25:57,760
Speaker 1: the ceiling. The drum tech told me Joe carried a

463
00:25:57,760 --> 00:25:59,879
Speaker 1: hot glue gun and glued the table to the ceiling,

464
00:26:00,080 --> 00:26:03,040
Speaker 1: and the lamp plugged in, turned on, and the ashtray

465
00:26:03,080 --> 00:26:04,920
Speaker 1: with a lit cigarette in it, and then he took

466
00:26:04,920 --> 00:26:08,080
Speaker 1: a bunch of polaroids and the stunt came with a

467
00:26:08,160 --> 00:26:11,480
Speaker 1: four thousand dollar price tach And when Joe came in

468
00:26:11,520 --> 00:26:13,760
Speaker 1: the next day for a sound check, the drum tech

469
00:26:13,800 --> 00:26:16,240
Speaker 1: asked him, Hey, Joe, have a fun time last night,

470
00:26:16,359 --> 00:26:19,720
Speaker 1: and Joe said it was worth every penny good for him.

471
00:26:20,280 --> 00:26:22,960
Speaker 1: I know stuff like that would normally offend me, but

472
00:26:23,000 --> 00:26:25,680
Speaker 1: for some reason, with Joe Walsh it doesn't. He was

473
00:26:25,720 --> 00:26:28,199
Speaker 1: in the band's orbit as a solo artist. He was

474
00:26:28,240 --> 00:26:31,760
Speaker 1: managed by the Eagles manager A's Off, and he used

475
00:26:31,800 --> 00:26:34,679
Speaker 1: an Eagles pound, Bill Simsick as his record producer. But

476
00:26:34,760 --> 00:26:37,240
Speaker 1: we mentioned earlier how he's entry in the band kind

477
00:26:37,240 --> 00:26:40,560
Speaker 1: of sheered away the last remaining vestiges of any country

478
00:26:40,560 --> 00:26:42,760
Speaker 1: influences in the band, except for maybe the harmonies and

479
00:26:43,200 --> 00:26:46,040
Speaker 1: the occasional pedal steel. You can just put pedal steel

480
00:26:46,080 --> 00:26:49,680
Speaker 1: and anything. Did you know that little seat, little music

481
00:26:49,680 --> 00:26:53,280
Speaker 1: industry secrets for you. Walsh's big contribution to the Hotel

482
00:26:53,320 --> 00:26:56,200
Speaker 1: California record, other than the dueling lead part in the

483
00:26:56,200 --> 00:26:58,439
Speaker 1: title song, was the guitar line to Life in the

484
00:26:58,480 --> 00:27:05,520
Speaker 1: Fast Lane. Yeah, it was like a coordination exercise. He

485
00:27:05,680 --> 00:27:07,600
Speaker 1: described it as like patting your head and rubbing your

486
00:27:07,640 --> 00:27:09,560
Speaker 1: stomach at the same time. It was like a string

487
00:27:09,680 --> 00:27:14,160
Speaker 1: skipping exercise, kind of like gum. Yeah, there's a listical there,

488
00:27:14,160 --> 00:27:17,480
Speaker 1: like top ten riffs that came out of exercises. There's

489
00:27:17,480 --> 00:27:20,879
Speaker 1: probably a lot of them. Fry told Cameron Crowe. I

490
00:27:20,920 --> 00:27:22,960
Speaker 1: was riding in a car with a drug dealer, a

491
00:27:23,000 --> 00:27:25,760
Speaker 1: guy we used to call the count because his count

492
00:27:25,840 --> 00:27:28,239
Speaker 1: was never very good. We were driving out to an

493
00:27:28,240 --> 00:27:31,359
Speaker 1: Eagles poker game. I was in the passenger seat. He

494
00:27:31,440 --> 00:27:33,600
Speaker 1: moved over to the left lane and started driving seventy

495
00:27:33,600 --> 00:27:35,920
Speaker 1: five to eighty miles per hour. I said, hey man,

496
00:27:36,080 --> 00:27:38,680
Speaker 1: slow down. He goes, hey man, it's Life in the

497
00:27:38,720 --> 00:27:42,760
Speaker 1: fast Lane. Frey hung onto the title and Walsh just

498
00:27:42,840 --> 00:27:44,439
Speaker 1: threw down the riff. One day as the band was

499
00:27:44,440 --> 00:27:47,280
Speaker 1: warming up, caught both Henley and fryes Ears. Fry said

500
00:27:47,320 --> 00:27:50,520
Speaker 1: it made a statement Joe Walsh was officially in the band.

501
00:27:51,760 --> 00:27:53,639
Speaker 1: You know, I think it says a lot about Glen Fries.

502
00:27:53,680 --> 00:27:56,080
Speaker 1: He's the kind of guy that thinks that the phrase

503
00:27:56,200 --> 00:28:00,879
Speaker 1: life in the fast Land's cool is bad. As also,

504
00:28:00,960 --> 00:28:03,159
Speaker 1: seventy five miles an hour on the interstate like not

505
00:28:03,280 --> 00:28:05,520
Speaker 1: that fast. I know, I was trying. I mean, unless

506
00:28:05,520 --> 00:28:09,360
Speaker 1: they're like going through like Sunset Boulevard or something. Yeah, yeah,

507
00:28:09,359 --> 00:28:12,359
Speaker 1: I had that thought too. Is it worth doing a

508
00:28:12,359 --> 00:28:14,880
Speaker 1: brief rundown of seventies rock stars who were a little

509
00:28:14,920 --> 00:28:18,400
Speaker 1: too open about crediting their dealers for their big blockbuster hits.

510
00:28:19,000 --> 00:28:21,600
Speaker 1: Fleetwood mac We're gonna credit their coke dealer on rumors

511
00:28:21,680 --> 00:28:25,320
Speaker 1: until he, according to Mcfleetwood got snuffed, as he said

512
00:28:25,400 --> 00:28:28,400
Speaker 1: charmingly described it. And then wasn't there a Black Sabbath

513
00:28:28,440 --> 00:28:32,360
Speaker 1: one too? Yeah? And when they made Volume four, during

514
00:28:32,400 --> 00:28:36,639
Speaker 1: which they had cocaine smuggled in and speaker cabinets, they

515
00:28:36,720 --> 00:28:41,560
Speaker 1: the liner notes, Thank the great Coke Cola. It was

516
00:28:41,680 --> 00:28:43,960
Speaker 1: so open in the seventies, dude, I mean, like I've

517
00:28:44,000 --> 00:28:46,360
Speaker 1: read about like the history of drugs in this country,

518
00:28:46,400 --> 00:28:49,800
Speaker 1: and you know doctors used to just do cocaine, like, oh,

519
00:28:49,800 --> 00:28:54,080
Speaker 1: it's good for you, insane. I love how Glen Fry

520
00:28:54,160 --> 00:28:56,400
Speaker 1: was scandalized not only by the speed that this guy

521
00:28:56,480 --> 00:28:59,320
Speaker 1: was driving, but also just the nature of the song itself,

522
00:28:59,600 --> 00:29:01,400
Speaker 1: he laid. I said, I could hardly listen to Life

523
00:29:01,440 --> 00:29:03,560
Speaker 1: in the fast Land when we were recording it, because

524
00:29:03,560 --> 00:29:05,240
Speaker 1: I was getting high a lot at the time and

525
00:29:05,320 --> 00:29:07,600
Speaker 1: the song made me ill. This is him talking a

526
00:29:07,680 --> 00:29:10,080
Speaker 1: rolling stone in nineteen seventy nine. We were trying to

527
00:29:10,080 --> 00:29:13,200
Speaker 1: paint a picture that cocaine wasn't great. It turns on you.

528
00:29:13,480 --> 00:29:15,920
Speaker 1: It messed up my back muscles, messed up my nerves,

529
00:29:15,960 --> 00:29:18,840
Speaker 1: it messed up my stomach and made me paranoid. The

530
00:29:18,840 --> 00:29:21,240
Speaker 1: title track was the first one track for the record,

531
00:29:21,400 --> 00:29:24,200
Speaker 1: but it had dated back too long before that. Dawn

532
00:29:24,600 --> 00:29:31,680
Speaker 1: Franzia Felder nicknames. Everybody gets a nickname. Yeah, you get Anna,

533
00:29:31,880 --> 00:29:35,920
Speaker 1: and you get a nickname. He'd rendered a beach house

534
00:29:35,920 --> 00:29:38,239
Speaker 1: in Malibu before the band started on the follow up

535
00:29:38,240 --> 00:29:40,360
Speaker 1: to One of These Nights, and he told Guitar World

536
00:29:40,400 --> 00:29:42,520
Speaker 1: in twenty thirteen, I remember sitting in the living room

537
00:29:42,520 --> 00:29:45,080
Speaker 1: on a spectacular July day with the doors wide open.

538
00:29:45,560 --> 00:29:47,440
Speaker 1: I had a bathing suit on and was sitting on

539
00:29:47,480 --> 00:29:50,160
Speaker 1: this couch, soaking wet, thinking the world was a wonderful

540
00:29:50,200 --> 00:29:53,120
Speaker 1: place to be. This is why people hate Californians. I

541
00:29:53,200 --> 00:29:55,920
Speaker 1: had this acoustic twelve string and started tinkling around with it,

542
00:29:55,960 --> 00:29:58,760
Speaker 1: and those Hotel California chords just kind of oozed out.

543
00:29:59,600 --> 00:30:01,280
Speaker 1: He can did a demo of the tune to his

544
00:30:01,440 --> 00:30:04,800
Speaker 1: TAC four track tape recorder, playing bass himself and using

545
00:30:04,800 --> 00:30:08,640
Speaker 1: a drum machine. He told Gibson dot Com in twenty ten,

546
00:30:08,960 --> 00:30:10,400
Speaker 1: I knew it was unique, but I didn't know if

547
00:30:10,440 --> 00:30:12,640
Speaker 1: it was appropriate for the Eagles. It was a kind

548
00:30:12,640 --> 00:30:15,600
Speaker 1: of reggae, almost an abstract guitar part for what was

549
00:30:15,640 --> 00:30:20,200
Speaker 1: on the radio back then. Did you added these? No?

550
00:30:22,880 --> 00:30:25,840
Speaker 1: You did. I must have done it in a fuke state.

551
00:30:27,080 --> 00:30:31,480
Speaker 1: Don Head Honcho Henley and Glenn super Freak Fry took

552
00:30:31,520 --> 00:30:33,640
Speaker 1: something of a dim view of Felder's demos that he

553
00:30:33,640 --> 00:30:37,280
Speaker 1: contributed to the session. Aside from what would become Hotel California,

554
00:30:37,440 --> 00:30:40,400
Speaker 1: he brought them over a dozen other songs, all of

555
00:30:40,440 --> 00:30:44,720
Speaker 1: which they rejected. Fry would later say ninety five percent

556
00:30:44,800 --> 00:30:47,240
Speaker 1: of them were cluttered with guitar licks, and we'd listen

557
00:30:47,320 --> 00:30:50,720
Speaker 1: to one and go, well, where do you sing? He's

558
00:30:50,760 --> 00:30:53,800
Speaker 1: got some such sticks. I love it. But Henley did

559
00:30:53,840 --> 00:30:56,440
Speaker 1: hear something he liked in that Beach demo. He told

560
00:30:56,520 --> 00:30:59,240
Speaker 1: Rolling Stone Felder had submitted a cassette tape containing about

561
00:30:59,240 --> 00:31:01,920
Speaker 1: a half dozen different pieces of music. None of them

562
00:31:01,960 --> 00:31:04,160
Speaker 1: moved me until I got to that one. It was

563
00:31:04,200 --> 00:31:07,200
Speaker 1: a simple demo, a progression of our pageted guitar chords

564
00:31:07,400 --> 00:31:10,560
Speaker 1: along with some hornlike sustained note lines all over a

565
00:31:10,600 --> 00:31:13,200
Speaker 1: simple four four drum machine pattern. There may have been

566
00:31:13,240 --> 00:31:15,640
Speaker 1: some Latin style percussion in there too. I think I

567
00:31:15,680 --> 00:31:18,160
Speaker 1: was driving down Benedict Kenyon Drive at night, or maybe

568
00:31:18,200 --> 00:31:22,240
Speaker 1: even North Crescent Drive. Why what a name dropper? The

569
00:31:22,280 --> 00:31:24,280
Speaker 1: first time I heard the piece, and I remember thinking

570
00:31:24,480 --> 00:31:27,400
Speaker 1: this has potential. I think we can make something interesting

571
00:31:27,440 --> 00:31:30,000
Speaker 1: out of this. I love about Don Henley and Glenn

572
00:31:30,040 --> 00:31:32,640
Speaker 1: Fry make it seem like they plucked this raw diamond

573
00:31:32,680 --> 00:31:35,320
Speaker 1: out of a messy pile of crap. Fry, in a

574
00:31:35,360 --> 00:31:38,320
Speaker 1: ninety ninety two episode of In the Studio with Redbeard

575
00:31:38,600 --> 00:31:42,640
Speaker 1: were called, we said, this is electric Mexican reggae. Wow,

576
00:31:42,800 --> 00:31:47,080
Speaker 1: what a nice synthesis of styles as a horrifying sentence,

577
00:31:47,440 --> 00:31:51,680
Speaker 1: and so Mexican Reggae became the song's working title during

578
00:31:51,720 --> 00:31:56,000
Speaker 1: their early sessions before the lyrics were finalized, Jesus Christ

579
00:31:56,200 --> 00:31:59,480
Speaker 1: I can't. Another big point of contention between Felder and

580
00:31:59,480 --> 00:32:03,400
Speaker 1: the hair Wins was the partially complete album cut Victim

581
00:32:03,440 --> 00:32:05,640
Speaker 1: of Love, which Felder had thought he was going to

582
00:32:05,640 --> 00:32:08,720
Speaker 1: sing himself. Takes were done with Felder singing lead, but

583
00:32:08,840 --> 00:32:11,600
Speaker 1: Messrs Fry and Henley weren't having it. There was no

584
00:32:11,640 --> 00:32:13,800
Speaker 1: space for Filler and don Felder, for all of his

585
00:32:13,840 --> 00:32:16,720
Speaker 1: talents as a guitar player, was not a singer. Fries

586
00:32:16,760 --> 00:32:19,400
Speaker 1: adding the history of the Eagles, with Henley adding the

587
00:32:19,520 --> 00:32:25,480
Speaker 1: incredible incredible, He says, we let mister Felder sing it

588
00:32:25,600 --> 00:32:28,360
Speaker 1: dozens of times over the space of a week, over

589
00:32:28,440 --> 00:32:31,880
Speaker 1: and over. It simply did not come up to band standards.

590
00:32:33,520 --> 00:32:37,880
Speaker 1: So they arrived at an incredible solution. They had irving

591
00:32:37,880 --> 00:32:41,320
Speaker 1: A's off their manager, take Felder out to dinner and

592
00:32:41,720 --> 00:32:43,560
Speaker 1: tell him, Hey, you're not going to be singing that song.

593
00:32:43,960 --> 00:32:47,800
Speaker 1: While Henley was back in the studio recording over his

594
00:32:47,920 --> 00:32:52,600
Speaker 1: vocal takes. Chef's Kiss of dickishness. That's up there with

595
00:32:52,640 --> 00:32:57,080
Speaker 1: Fleetwood mac axing Stevie Nick's Silver Springs from rumors and

596
00:32:57,120 --> 00:32:59,280
Speaker 1: then making mc fleetwood take her out to the parking

597
00:32:59,280 --> 00:33:02,000
Speaker 1: lot to bay basically shoot her in the head and

598
00:33:02,080 --> 00:33:05,200
Speaker 1: tell her that her most cherished song was getting cut

599
00:33:05,240 --> 00:33:08,600
Speaker 1: from the album written as a gift for her mother. Yes,

600
00:33:08,920 --> 00:33:11,000
Speaker 1: and then Stevie ended up dating Don Henley for a

601
00:33:11,040 --> 00:33:14,640
Speaker 1: while in the seventies two. So everybody's terrible. Everybody's terrible.

602
00:33:14,920 --> 00:33:16,960
Speaker 1: It was a truly awful scene. I have to think,

603
00:33:17,000 --> 00:33:19,360
Speaker 1: like Tom Petty was the only guy who was cool

604
00:33:19,440 --> 00:33:22,400
Speaker 1: out of that Laurel Canyon thing because he came from Florida.

605
00:33:22,440 --> 00:33:25,880
Speaker 1: He came from Janesville, you know. Yeah, everyone else in

606
00:33:25,960 --> 00:33:30,680
Speaker 1: this such a ponderous who's cool in that scene? Linda

607
00:33:30,760 --> 00:33:35,920
Speaker 1: Ronstat Yeah, there you go. Yeah, Yeah, like all the

608
00:33:36,320 --> 00:33:38,720
Speaker 1: all time assole of rock and roll came out of

609
00:33:38,800 --> 00:33:44,360
Speaker 1: Laurel Canyon. Yeah, Crosby Stills, Nashing Young, the Eagles, Warren Zevon,

610
00:33:44,800 --> 00:33:55,760
Speaker 1: like good Lord Zappa, Zappa difficult, not dickish, maybe, yeah,

611
00:33:55,800 --> 00:33:58,840
Speaker 1: I think, yeah, yeah, I wouldn't put him in there. Yeah,

612
00:33:58,840 --> 00:34:03,800
Speaker 1: I wouldn't put him in the Henley category. But getting

613
00:34:03,800 --> 00:34:07,200
Speaker 1: back to Victim of Love, Don and Glenn predictively got

614
00:34:07,240 --> 00:34:10,360
Speaker 1: pretty nasty about it. Don Felder later said it was

615
00:34:10,400 --> 00:34:12,200
Speaker 1: a bit of a bitter pill with Swallow not to

616
00:34:12,239 --> 00:34:14,480
Speaker 1: sing on it. I felt Don Henley was taking that

617
00:34:14,600 --> 00:34:17,080
Speaker 1: song from me because I've been promised a song on

618
00:34:17,120 --> 00:34:21,680
Speaker 1: this album, and Don Henley disagreed. He said in the

619
00:34:21,719 --> 00:34:24,239
Speaker 1: History of the Eagles documentary, I have no recollection of

620
00:34:24,280 --> 00:34:28,360
Speaker 1: anybody being promised anything. And he claims that when Felder

621
00:34:28,360 --> 00:34:30,319
Speaker 1: brought him the song, it was just wasn't even a song.

622
00:34:30,360 --> 00:34:33,120
Speaker 1: It was a chord progression, no title, no lyrics, and

623
00:34:33,160 --> 00:34:36,680
Speaker 1: no melody. Henley added, Felder demanding to sing that song

624
00:34:36,719 --> 00:34:39,360
Speaker 1: as the equivalent of me demanding to play lead guitar

625
00:34:39,440 --> 00:34:45,399
Speaker 1: on Hotel California. It just didn't make sense. And I mean,

626
00:34:45,440 --> 00:34:50,040
Speaker 1: Glen Fry sort of defending this power dynamic they'd set up.

627
00:34:50,360 --> 00:34:52,440
Speaker 1: He admitted that, you know, he and Don kind of

628
00:34:52,440 --> 00:34:54,600
Speaker 1: carved up the vocal duties between them in the early

629
00:34:54,640 --> 00:34:57,560
Speaker 1: part of the band's career, but as the seventies wore

630
00:34:57,600 --> 00:34:59,680
Speaker 1: on and the band became bigger and bigger, he let

631
00:34:59,760 --> 00:35:02,920
Speaker 1: Dawn sing more songs because that's kind of what the

632
00:35:02,960 --> 00:35:05,839
Speaker 1: people wanted, and it was kind of obvious that Don

633
00:35:05,880 --> 00:35:08,800
Speaker 1: Henley was the better singer of the two. This was

634
00:35:08,920 --> 00:35:12,000
Speaker 1: Glenn's own way of saying that the band's interests outweighed

635
00:35:12,040 --> 00:35:15,279
Speaker 1: individual interests. As Joe Walsh put it, this is the

636
00:35:15,320 --> 00:35:18,600
Speaker 1: best thing for the Eagles, and Don Felder never forgot

637
00:35:18,640 --> 00:35:21,680
Speaker 1: that we were all alpha's and all very assertive and

638
00:35:21,719 --> 00:35:26,479
Speaker 1: powerful in our own way. In his own defense, Don

639
00:35:26,520 --> 00:35:29,200
Speaker 1: Felder would admit, there's no comparing my vocal to Don

640
00:35:29,239 --> 00:35:33,200
Speaker 1: Henley's vocal. There's no comparing anybody's vocal to Don Henley.

641
00:35:33,360 --> 00:35:37,640
Speaker 1: But he never forgot or forgave the slight and you

642
00:35:37,760 --> 00:35:40,080
Speaker 1: must have been particularly galling for him that every other

643
00:35:40,120 --> 00:35:42,799
Speaker 1: member of the Eagles had a solo vocal spot on

644
00:35:42,840 --> 00:35:46,400
Speaker 1: Hotel California, the album named for his own musical baby

645
00:35:46,840 --> 00:35:50,560
Speaker 1: except Himself. But on a nicer note, Owners of the

646
00:35:50,600 --> 00:35:53,480
Speaker 1: old vinyl edition of Hotel California will notice the phrase

647
00:35:53,719 --> 00:35:57,240
Speaker 1: vol is a five piece live inscribed on the album's

648
00:35:57,320 --> 00:36:00,799
Speaker 1: run out groove. That's the little smooth part of the record, right,

649
00:36:00,960 --> 00:36:03,400
Speaker 1: you know, right outside of the label in the center.

650
00:36:04,400 --> 00:36:08,040
Speaker 1: This was a little inside joke. It's signaled that victim

651
00:36:08,080 --> 00:36:11,239
Speaker 1: of love was recorded live by the Five Eagles with

652
00:36:11,280 --> 00:36:14,480
Speaker 1: no overdubs. This was etched in there by the band's producer,

653
00:36:14,520 --> 00:36:17,759
Speaker 1: Bill Simsick, which basically was mad as a big as

654
00:36:17,800 --> 00:36:20,200
Speaker 1: a big middle finger to critics who accused the Eagles

655
00:36:20,200 --> 00:36:22,719
Speaker 1: of being too clinical and soulless in the studio and

656
00:36:22,840 --> 00:36:25,360
Speaker 1: just overdubbing things within an inch of their life and

657
00:36:25,440 --> 00:36:29,399
Speaker 1: not having that authentic in the room band sound that said.

658
00:36:29,440 --> 00:36:31,200
Speaker 1: I think he also said they were like thirty three

659
00:36:31,320 --> 00:36:35,680
Speaker 1: edits on Hotel California. That sounds right. Yeah, So Bill

660
00:36:35,840 --> 00:36:39,560
Speaker 1: Simpson was not in a single vowel on that guy's name.

661
00:36:42,000 --> 00:36:45,120
Speaker 1: Trying to think of a nickname for him, Bill stuttering

662
00:36:45,360 --> 00:36:51,879
Speaker 1: Simpson is sick vowel movement. He came into their band's

663
00:36:51,960 --> 00:36:54,680
Speaker 1: orbit by Joe Walsh. He'd produced not just The James Gang,

664
00:36:54,680 --> 00:36:59,280
Speaker 1: but Walsh's solo records, and the Eagles ditched Glynn John's

665
00:36:59,400 --> 00:37:02,000
Speaker 1: in favor of Simzeck after hearing his work on those

666
00:37:02,040 --> 00:37:05,040
Speaker 1: records and wanting to move in a more rock and direction.

667
00:37:06,160 --> 00:37:08,200
Speaker 1: Simsic has a great sound on sound Feature where he

668
00:37:08,200 --> 00:37:11,279
Speaker 1: talks about recording the song, and he said in there

669
00:37:11,360 --> 00:37:13,640
Speaker 1: his initial meeting with Henley, he said how many mics

670
00:37:13,680 --> 00:37:15,399
Speaker 1: I'd use on a set of drums, and I told

671
00:37:15,440 --> 00:37:19,280
Speaker 1: him eight or nine. Glenn Johns was known for using three.

672
00:37:19,840 --> 00:37:21,759
Speaker 1: Then when Glenn Fry wanted to know how long he

673
00:37:21,760 --> 00:37:24,040
Speaker 1: could work on his guitar solos, I told him as

674
00:37:24,080 --> 00:37:27,000
Speaker 1: long as it takes. They wanted to rock, and that's

675
00:37:27,040 --> 00:37:33,640
Speaker 1: what I did. So it was a good marriage and

676
00:37:33,800 --> 00:37:36,000
Speaker 1: drum set. He really don't need that many mikes and

677
00:37:36,120 --> 00:37:40,440
Speaker 1: drum set. Control. It's all about control. These guys are

678
00:37:40,480 --> 00:37:44,120
Speaker 1: all about control. Yeah. Both one of those nights in

679
00:37:44,160 --> 00:37:46,799
Speaker 1: Hotel California were recorded half at the Record Plane in

680
00:37:47,000 --> 00:37:49,440
Speaker 1: La as a concession to the band, and half at

681
00:37:49,440 --> 00:37:52,719
Speaker 1: Criteria in Miami, where Simzeck lived after being scared out

682
00:37:52,719 --> 00:37:59,880
Speaker 1: of California by an earthquake. Really have you any earthquakes? Oh? Yeah, bunch,

683
00:38:00,400 --> 00:38:02,040
Speaker 1: But I was ever. He was like shaken out of

684
00:38:02,080 --> 00:38:04,320
Speaker 1: bed in the middle of the night, if I recall correctly,

685
00:38:04,400 --> 00:38:08,000
Speaker 1: And then he was like this, which is I understand understandable.

686
00:38:08,880 --> 00:38:11,200
Speaker 1: He told sound on sound every time we were at Criteria.

687
00:38:11,320 --> 00:38:12,920
Speaker 1: The guys were actually quite happy to be out of

688
00:38:13,040 --> 00:38:14,840
Speaker 1: LA and away from all of the partying and the

689
00:38:14,880 --> 00:38:18,200
Speaker 1: hangars on Hotel California took nine months to make, and

690
00:38:18,239 --> 00:38:20,480
Speaker 1: throughout that time we'd go back and forth between LA

691
00:38:20,480 --> 00:38:23,200
Speaker 1: and Miami. We do a month in LA and take

692
00:38:23,200 --> 00:38:25,240
Speaker 1: three or four weeks off, and then a month in Miami.

693
00:38:25,600 --> 00:38:27,000
Speaker 1: We do a month in LA and take three or

694
00:38:27,000 --> 00:38:28,640
Speaker 1: four weeks off, and then a month in Miami and

695
00:38:28,640 --> 00:38:31,240
Speaker 1: take three or four weeks off because we'd record tracks

696
00:38:31,280 --> 00:38:33,080
Speaker 1: and then they'd have to go away and write the words.

697
00:38:33,400 --> 00:38:37,719
Speaker 1: What an incredibly relaxed schedule. How lovely for them. Very

698
00:38:37,719 --> 00:38:39,880
Speaker 1: seldom they would write a full song all in one go.

699
00:38:40,200 --> 00:38:42,279
Speaker 1: Somebody would have a lick, somebody would have a riff,

700
00:38:42,360 --> 00:38:44,759
Speaker 1: and then we developed at the studio more than anything else.

701
00:38:45,800 --> 00:38:48,880
Speaker 1: All that said, Criteria was not exactly a sober living facility.

702
00:38:49,400 --> 00:38:52,400
Speaker 1: Next door, we're Black Sabbath working on their technical Ecstasy

703
00:38:52,440 --> 00:38:57,320
Speaker 1: album and simultaneously undercutting the Eagles by playing too loud,

704
00:38:57,440 --> 00:39:01,200
Speaker 1: which is just another reason to love Black Sabbath. Tony Eaomi,

705
00:39:01,560 --> 00:39:04,640
Speaker 1: Sabbath guitarists told Uncut in twenty fourteen, the Eagles were

706
00:39:04,640 --> 00:39:06,680
Speaker 1: recording next door, but we were too loud for them.

707
00:39:06,719 --> 00:39:09,400
Speaker 1: It kept coming through the wall into their sessions. Hotel

708
00:39:09,400 --> 00:39:12,680
Speaker 1: California's delicate closing ballad. The last resort had to be

709
00:39:12,680 --> 00:39:16,920
Speaker 1: rerecorded multiple times due to noise leakage, but the Eagles

710
00:39:16,960 --> 00:39:22,000
Speaker 1: held their own in volume of cocaine consumed. Sabbath bassist

711
00:39:22,080 --> 00:39:25,080
Speaker 1: Keezer Butler were called venturing into a studio recently vacated

712
00:39:25,120 --> 00:39:27,879
Speaker 1: by the band. Before we could start recording, we had

713
00:39:27,880 --> 00:39:30,120
Speaker 1: to scrape all the cocaine out of the mixing board.

714
00:39:30,320 --> 00:39:32,239
Speaker 1: I think they'd left about a pound of cocaine in

715
00:39:32,280 --> 00:39:35,920
Speaker 1: the board. Given the length of the recording process. One

716
00:39:35,960 --> 00:39:38,760
Speaker 1: of the stumbling blocks to getting Hotel California on tape

717
00:39:38,840 --> 00:39:41,920
Speaker 1: was Felder remembering what he'd played on the demo. He

718
00:39:42,040 --> 00:39:44,640
Speaker 1: told Music Radar in twenty twelve, Joe and I started

719
00:39:44,680 --> 00:39:47,120
Speaker 1: jamming and Don said, no, non stop, it's not right.

720
00:39:47,400 --> 00:39:49,080
Speaker 1: I said, what do you mean, it's not right and

721
00:39:49,120 --> 00:39:50,680
Speaker 1: he said no, no, You've got to play it just

722
00:39:50,719 --> 00:39:53,520
Speaker 1: like the demo. Only problem was I did that demo

723
00:39:53,560 --> 00:39:55,920
Speaker 1: a year earlier. I couldn't even remember what was on it.

724
00:39:56,120 --> 00:39:59,279
Speaker 1: They settled this with a cross country call. I had

725
00:39:59,320 --> 00:40:02,360
Speaker 1: to call my housekeeper in Malibu, who took the cassette,

726
00:40:02,760 --> 00:40:06,000
Speaker 1: put it in a blaster a boombox and played it

727
00:40:06,000 --> 00:40:08,759
Speaker 1: with the phone held up to the blaster. It was

728
00:40:08,800 --> 00:40:12,120
Speaker 1: close enough to the demo to make Don happy inconveniencing

729
00:40:12,160 --> 00:40:15,719
Speaker 1: a housekeeper to please Don Henley just seems about right.

730
00:40:18,600 --> 00:40:21,120
Speaker 1: As you meditate on that, we'll be right back with

731
00:40:21,160 --> 00:40:37,640
Speaker 1: more too much information. After these messages, the first two

732
00:40:37,719 --> 00:40:40,759
Speaker 1: versions of Hotel California were recorded in LA. The third

733
00:40:40,760 --> 00:40:43,760
Speaker 1: and final one was cut in Miami, which is perfect

734
00:40:43,960 --> 00:40:47,600
Speaker 1: for a song about a bunch of not Californian's writing

735
00:40:47,600 --> 00:40:50,880
Speaker 1: about the California Mythos Simsic told Sound Out Sound the

736
00:40:50,960 --> 00:40:53,879
Speaker 1: first version we recorded was just a riff. However, once

737
00:40:53,960 --> 00:40:56,000
Speaker 1: Don Henley began to write the lyrics, it turned out

738
00:40:56,000 --> 00:40:59,160
Speaker 1: to be the wrong key. Felder elaborated to music Radar.

739
00:40:59,680 --> 00:41:01,400
Speaker 1: Don went out and start singing on it, and it

740
00:41:01,520 --> 00:41:04,959
Speaker 1: sounded like Barry Gibb in this high voice. I went, wait, wait,

741
00:41:05,080 --> 00:41:06,920
Speaker 1: that just doesn't work. So I went out to the

742
00:41:06,960 --> 00:41:09,680
Speaker 1: studio with a guitar, sat down with him and said, okay,

743
00:41:09,880 --> 00:41:12,279
Speaker 1: let's drop it down to D minor. But that was

744
00:41:12,320 --> 00:41:15,399
Speaker 1: still too high. C minor still too high. How about

745
00:41:15,440 --> 00:41:17,799
Speaker 1: A minor that was too low? So we wound up

746
00:41:17,840 --> 00:41:19,560
Speaker 1: having to play in the key of B minor, which

747
00:41:19,560 --> 00:41:21,920
Speaker 1: is not a particularly guitar friendly key, but it was

748
00:41:21,960 --> 00:41:24,760
Speaker 1: perfect for his voice. B minor is a very guitar

749
00:41:24,760 --> 00:41:26,879
Speaker 1: friendly key. What the hell are you talking about? Got

750
00:41:26,880 --> 00:41:29,480
Speaker 1: all the open strings in there? It's the relative minor

751
00:41:29,560 --> 00:41:32,920
Speaker 1: of D major. Have your open chords? And that wait,

752
00:41:33,320 --> 00:41:38,839
Speaker 1: talking about Franzy of Felder, It's kind of been better

753
00:41:38,840 --> 00:41:41,840
Speaker 1: f word, I can slide it. There was that Franzier,

754
00:41:41,920 --> 00:41:45,200
Speaker 1: was that sim Sick? That's Felder? I was Feller, half

755
00:41:45,200 --> 00:41:49,120
Speaker 1: of Hotel California's legacies. It's cryptic, ominous lyrics, which I

756
00:41:49,239 --> 00:41:51,319
Speaker 1: again I love, I actually do love the lyrics to

757
00:41:51,360 --> 00:41:53,400
Speaker 1: this song. And did it walk such a great line

758
00:41:53,440 --> 00:41:58,240
Speaker 1: between like very specific imagery and vague turns of phrase

759
00:41:58,320 --> 00:42:00,400
Speaker 1: that have gone on to just enter the life xicon

760
00:42:00,800 --> 00:42:09,240
Speaker 1: great writing and Frogman Felder frog mouth for freck frickin

761
00:42:09,320 --> 00:42:13,120
Speaker 1: frack Felder, What do I just keep riffing? Felder described

762
00:42:13,160 --> 00:42:15,120
Speaker 1: the writing of the words to Howard Stern in two

763
00:42:15,160 --> 00:42:18,000
Speaker 1: thousand and eight, Don Henley and Glenn wrote most of

764
00:42:18,040 --> 00:42:20,279
Speaker 1: the words. All of us kind of drove into La

765
00:42:20,320 --> 00:42:23,080
Speaker 1: at night. Nobody was from California, And if you drive

766
00:42:23,120 --> 00:42:25,120
Speaker 1: into LA at night, you can just see this glow

767
00:42:25,120 --> 00:42:27,520
Speaker 1: on the horizon of lights and the images that start

768
00:42:27,600 --> 00:42:29,600
Speaker 1: running through your head of Hollywood and all the dreams

769
00:42:29,600 --> 00:42:31,520
Speaker 1: that you have, and so it was kind of about that.

770
00:42:31,800 --> 00:42:33,920
Speaker 1: They also said that it was about the myth making

771
00:42:33,920 --> 00:42:36,520
Speaker 1: of Southern California and also the myth making of the

772
00:42:36,560 --> 00:42:40,920
Speaker 1: American dream in general, because as Don Henley sagely observes,

773
00:42:41,480 --> 00:42:44,239
Speaker 1: it's a fine line between the American dream and the

774
00:42:44,280 --> 00:42:49,440
Speaker 1: American nightmare. Yeah. I mean he was an English major,

775
00:42:49,520 --> 00:42:52,560
Speaker 1: right they I didn't know that that's what that, Bill

776
00:42:52,600 --> 00:42:55,840
Speaker 1: Simmons Pece said. Henley told author Mark Elliott Into the Limit,

777
00:42:55,920 --> 00:42:58,520
Speaker 1: the Untold Story of the Eagles. The concept had to

778
00:42:58,560 --> 00:43:00,239
Speaker 1: do with taking a look at all the band had

779
00:43:00,239 --> 00:43:02,920
Speaker 1: gone through personally and professionally. While it was still happening

780
00:43:02,960 --> 00:43:06,800
Speaker 1: to them. We were getting an extensive education in life,

781
00:43:06,960 --> 00:43:09,960
Speaker 1: in love, in business. Beverly Hills was still a mythical

782
00:43:10,000 --> 00:43:12,520
Speaker 1: place to us. In that sense, it became something of

783
00:43:12,520 --> 00:43:15,080
Speaker 1: a symbol, and the hotel the locus of all that

784
00:43:15,200 --> 00:43:17,880
Speaker 1: HeLa had come to mean for us. In a sentence,

785
00:43:18,000 --> 00:43:22,920
Speaker 1: I'd sum it up as the end of innocence Round one.

786
00:43:24,040 --> 00:43:26,560
Speaker 1: Even worse, that took a page from the Boto playbook,

787
00:43:26,600 --> 00:43:30,200
Speaker 1: calling the song quote a journey from innocence to experience.

788
00:43:30,560 --> 00:43:33,000
Speaker 1: Henley and I were listening to the Hotel California demo

789
00:43:33,040 --> 00:43:35,520
Speaker 1: tape together on an airplane, and we were talking about

790
00:43:35,520 --> 00:43:37,160
Speaker 1: what we would write and how we wanted to be

791
00:43:37,200 --> 00:43:40,120
Speaker 1: more cinematic. I told Cameron Crowe, we wanted this song

792
00:43:40,120 --> 00:43:42,359
Speaker 1: to open like an episode of the Twilight Zone, just

793
00:43:42,400 --> 00:43:45,759
Speaker 1: one shot after another. That's kind of cool. I like, yeah,

794
00:43:45,800 --> 00:43:48,440
Speaker 1: I actually like what he says here, And he added

795
00:43:48,440 --> 00:43:50,640
Speaker 1: that they wanted the song's narrator to be like a

796
00:43:50,719 --> 00:43:54,160
Speaker 1: character in John Fowl's novel The Magus, where every time

797
00:43:54,200 --> 00:43:56,759
Speaker 1: he walks through a door, there's a new version of reality.

798
00:43:57,160 --> 00:43:58,759
Speaker 1: We wanted to write a song just like it was

799
00:43:58,760 --> 00:44:01,800
Speaker 1: a movie. The guys having across the desert. He's tired,

800
00:44:02,000 --> 00:44:05,160
Speaker 1: he's smoking, comes up over a hill, sees some lights,

801
00:44:05,239 --> 00:44:07,560
Speaker 1: pulls in. First thing he sees is a really strange

802
00:44:07,560 --> 00:44:09,839
Speaker 1: guy at the front door, welcoming him come on in,

803
00:44:10,480 --> 00:44:14,560
Speaker 1: walks in. Then it becomes Felini esque strange women, effeminate men,

804
00:44:14,840 --> 00:44:20,520
Speaker 1: shadowy corridors, disembodied voices, debauchery, illusion, weirdness. So we thought,

805
00:44:20,680 --> 00:44:22,719
Speaker 1: let's really take some chances. Let's try to write in

806
00:44:22,760 --> 00:44:25,799
Speaker 1: a way that we've never written before. And then Don

807
00:44:25,840 --> 00:44:29,719
Speaker 1: Henley comes in with just a home run of pretension

808
00:44:29,960 --> 00:44:33,920
Speaker 1: two camera Crow. I've always been interested in architecture and

809
00:44:34,000 --> 00:44:36,680
Speaker 1: the language of architecture, and at that time I was

810
00:44:36,760 --> 00:44:42,040
Speaker 1: particularly keen on the mission style of early California. I

811
00:44:42,040 --> 00:44:44,600
Speaker 1: thought there was a certain mystery in romance about it.

812
00:44:45,680 --> 00:44:47,040
Speaker 1: I don't know why I'm doing my time? Is that

813
00:44:47,120 --> 00:44:49,200
Speaker 1: Tom Ford? That's the voice I thought it was, mister

814
00:44:49,280 --> 00:44:55,000
Speaker 1: hands could be yeah, yeah, he continued huffing his own farts.

815
00:44:55,320 --> 00:44:58,000
Speaker 1: Then there are all the great movies and plays in

816
00:44:58,000 --> 00:45:01,040
Speaker 1: which hotels figure prominently, not only as a structure but

817
00:45:01,120 --> 00:45:04,440
Speaker 1: as a dramatic device, films such as Grand Hotel, The

818
00:45:04,600 --> 00:45:08,520
Speaker 1: Night Porter, and even Psycho Motel's Count two. There are

819
00:45:08,520 --> 00:45:12,120
Speaker 1: plays like Neil Simon's Plaza Suite and California Suite, which

820
00:45:12,200 --> 00:45:14,200
Speaker 1: Glenn and I went to see while writing the song.

821
00:45:16,680 --> 00:45:19,400
Speaker 1: But there are also less lofty concerns at play in

822
00:45:19,440 --> 00:45:22,160
Speaker 1: the song's lyrics. The line they stab it with their

823
00:45:22,200 --> 00:45:24,799
Speaker 1: steely knives, but they just can't kill the beast was,

824
00:45:25,239 --> 00:45:28,080
Speaker 1: in Fry's words to Crow, a little post it back

825
00:45:28,120 --> 00:45:31,720
Speaker 1: to Steely Dan. Apparently, Walter Becker's girlfriend loved the Eagles

826
00:45:31,960 --> 00:45:33,880
Speaker 1: and she played them all the time. I think it

827
00:45:33,960 --> 00:45:37,080
Speaker 1: drove him nuts. Yeah, sure. So the story goes that

828
00:45:37,080 --> 00:45:38,960
Speaker 1: they were having a fight one day and that was

829
00:45:39,000 --> 00:45:41,480
Speaker 1: the genesis of the line turn up the Eagles. The

830
00:45:41,520 --> 00:45:44,680
Speaker 1: neighbors are listening in Everything You Did from Steely Dan's

831
00:45:44,680 --> 00:45:47,920
Speaker 1: The Royal Scam album. During the writing of Hotel California,

832
00:45:48,000 --> 00:45:50,880
Speaker 1: we decided to volley. We just wanted to allude to

833
00:45:50,880 --> 00:45:54,120
Speaker 1: Steely Dan rather than mentioning them outright, So Dan got

834
00:45:54,200 --> 00:46:00,560
Speaker 1: changed to knives, which is still you know, a penile metaphor, stabbing, thrusting, etc. Well,

835
00:46:00,640 --> 00:46:04,040
Speaker 1: Steely Dan, the band name is famously named after the

836
00:46:04,280 --> 00:46:07,839
Speaker 1: dildo from William burrows Naked Lunch. So yeah, he's right,

837
00:46:07,960 --> 00:46:11,239
Speaker 1: I gotta give it to him. A penile metaphor. The

838
00:46:11,800 --> 00:46:15,400
Speaker 1: man knows a penile metaphor, you gotta hand it to him.

839
00:46:15,520 --> 00:46:19,400
Speaker 1: As for kalitas, the word is the diminutive feminine plural

840
00:46:19,480 --> 00:46:22,440
Speaker 1: of the Spanish word cola or tail. Fry has said

841
00:46:22,480 --> 00:46:24,239
Speaker 1: that it's slaying for the very tip top of a

842
00:46:24,280 --> 00:46:26,919
Speaker 1: marijuana bud, where all the sap I guess kengeals, making

843
00:46:26,920 --> 00:46:29,480
Speaker 1: it the most potent part to smoke, according to the

844
00:46:29,520 --> 00:46:32,040
Speaker 1: site The Straight Dope, which is a famous weekly column

845
00:46:32,080 --> 00:46:34,319
Speaker 1: in the pages of the all weekly The Chicago Reader,

846
00:46:34,360 --> 00:46:37,719
Speaker 1: written by a journalist named Cecil Adams. I guess he

847
00:46:37,760 --> 00:46:41,000
Speaker 1: wrote an email to Irving as Off in nineteen ninety

848
00:46:41,000 --> 00:46:45,480
Speaker 1: seven asking about that word, and Irving a'sof to his credit,

849
00:46:45,520 --> 00:46:47,880
Speaker 1: wrote him back, said, in response to your recent memo,

850
00:46:48,040 --> 00:46:50,440
Speaker 1: in nineteen seventy six, during the writing of the song

851
00:46:50,640 --> 00:46:55,040
Speaker 1: Hotel California by Messrs Henley and Fry, the word Kalidas

852
00:46:55,160 --> 00:46:57,880
Speaker 1: was translated for them by their Mexican American road manager

853
00:46:57,960 --> 00:47:02,200
Speaker 1: as little Buds. You have obvious already done the necessary extrapolation.

854
00:47:02,920 --> 00:47:09,760
Speaker 1: Thank you for your inquiry. Incredible. The line her mind

855
00:47:09,920 --> 00:47:13,600
Speaker 1: is Tiffany twisted, she got the Mercedes Bends, she got

856
00:47:13,640 --> 00:47:16,000
Speaker 1: a lot of pretty boys that she call friends. Is

857
00:47:16,040 --> 00:47:20,200
Speaker 1: about Henley's relationship with actress Laurie Rodkin. Tiffany Twisted, I

858
00:47:20,200 --> 00:47:22,320
Speaker 1: have to assume, is a reference to Tiffany. The brand

859
00:47:22,800 --> 00:47:27,680
Speaker 1: and Mercedes Benz is actually quite clever because it's wordplay

860
00:47:27,760 --> 00:47:29,839
Speaker 1: like alluding to like, you know, the car, but it's

861
00:47:29,840 --> 00:47:33,319
Speaker 1: also referring to the you know, a derangement that you

862
00:47:33,360 --> 00:47:37,279
Speaker 1: get if you surface too fast from being underwater. They

863
00:47:37,480 --> 00:47:40,440
Speaker 1: call that the Bends, which is the Radiohead album's famously

864
00:47:40,520 --> 00:47:42,920
Speaker 1: named after that. That's a clever line. I gotta give

865
00:47:42,960 --> 00:47:47,200
Speaker 1: him that. It's no pinot. I'm out of form, but okay, begrudgingly,

866
00:47:47,320 --> 00:47:51,479
Speaker 1: I have to give it to them. But Henley told

867
00:47:51,480 --> 00:47:54,960
Speaker 1: Mark Elliott, I wouldn't be crowing if I were miss Rodkin.

868
00:47:55,840 --> 00:47:58,520
Speaker 1: As far as I'm concerned, She's the Norma Desmond of

869
00:47:58,560 --> 00:48:05,360
Speaker 1: her generation. Oh he's a mean man. Henley was famously

870
00:48:05,360 --> 00:48:07,840
Speaker 1: one of the great swinging dick bachelors of the seventies

871
00:48:07,840 --> 00:48:10,560
Speaker 1: in la leaving a behind a trail of x's that

872
00:48:10,640 --> 00:48:13,759
Speaker 1: included Rodkin, who he would call to get back together with,

873
00:48:14,080 --> 00:48:16,919
Speaker 1: only to find out that she'd reconciled with her ex

874
00:48:17,000 --> 00:48:21,520
Speaker 1: before him, Elton John's lyricist Bernie Taupin, and also, as

875
00:48:21,520 --> 00:48:24,239
Speaker 1: you mentioned before, Stevie Nicks. A lot of the best

876
00:48:24,280 --> 00:48:28,000
Speaker 1: lines in Hotel California are quite specifically about Don's relationship

877
00:48:28,040 --> 00:48:31,000
Speaker 1: with Lorie, someone close to both of them told Elliott

878
00:48:31,040 --> 00:48:33,840
Speaker 1: for the book. In an interview with the Dutch magazine

879
00:48:33,920 --> 00:48:38,200
Speaker 1: Zigzag shortly before Hotel California's release, Don Henley said this

880
00:48:38,280 --> 00:48:40,960
Speaker 1: is a concept album. There's no way to hide it.

881
00:48:41,360 --> 00:48:43,799
Speaker 1: But it's not set in the Old West, the cowboy thing,

882
00:48:44,040 --> 00:48:47,640
Speaker 1: you know, it's more urban this time. It's our bi centennia,

883
00:48:47,719 --> 00:48:50,200
Speaker 1: the year, you know, the country is two hundred years old.

884
00:48:50,480 --> 00:48:52,400
Speaker 1: So we figured, since we are the Eagles, and the

885
00:48:52,400 --> 00:48:55,440
Speaker 1: Eagles our national symbol, that we were obliged to make

886
00:48:55,480 --> 00:48:58,000
Speaker 1: some kind of a little bi centennial statement us in California,

887
00:48:58,120 --> 00:49:00,560
Speaker 1: as the micro calls them, of the whole United States

888
00:49:00,680 --> 00:49:02,920
Speaker 1: or the whole world, if you will, and try to

889
00:49:02,960 --> 00:49:05,480
Speaker 1: wake people up and say, we've been okay so far

890
00:49:05,680 --> 00:49:07,480
Speaker 1: for two hundred years, but we're going to have to

891
00:49:07,600 --> 00:49:10,520
Speaker 1: change if we're going to continue to be around. We

892
00:49:10,520 --> 00:49:17,480
Speaker 1: were obliged to make some kind of statement. Oh, Henley,

893
00:49:17,480 --> 00:49:20,640
Speaker 1: this is this is where we've finally reached. The native

894
00:49:20,800 --> 00:49:23,959
Speaker 1: of Henley quotes that I dug up. I'm so glad

895
00:49:24,000 --> 00:49:26,400
Speaker 1: you found us. He was asked in two thousand and

896
00:49:26,480 --> 00:49:29,200
Speaker 1: nine by The Plain Dealer music critic John Satyr about

897
00:49:29,239 --> 00:49:31,560
Speaker 1: the line, So I called up the captain, please bring

898
00:49:31,600 --> 00:49:34,200
Speaker 1: me my wine, he said. We haven't had that spirit

899
00:49:34,239 --> 00:49:36,839
Speaker 1: here since nineteen sixty nine. Satyr pointed out to him

900
00:49:36,880 --> 00:49:41,280
Speaker 1: that wines are fermented while spirits are distilled. Henley's response

901
00:49:41,440 --> 00:49:46,040
Speaker 1: is breathtaking. Thanks for the tutorial, and no, you're not

902
00:49:46,080 --> 00:49:48,400
Speaker 1: the first person to bring this to my attention, and

903
00:49:48,520 --> 00:49:50,839
Speaker 1: you're not the first to completely misinterpret the lyric and

904
00:49:50,840 --> 00:49:54,560
Speaker 1: miss the metaphor. Believe me, I've consumed enough alcoholic beverages

905
00:49:54,560 --> 00:49:56,239
Speaker 1: of my time to know how they are made and

906
00:49:56,320 --> 00:49:59,160
Speaker 1: what the proper nomenclature is. But that line in the

907
00:49:59,200 --> 00:50:02,160
Speaker 1: song has little nothing to do with alcoholic beverages. It's

908
00:50:02,160 --> 00:50:05,839
Speaker 1: a socio political statement. My only regret in writing about

909
00:50:05,840 --> 00:50:08,160
Speaker 1: writing it would be having to explain it in detail

910
00:50:08,200 --> 00:50:10,520
Speaker 1: to you, which would defeat the purpose of using literary

911
00:50:10,520 --> 00:50:13,560
Speaker 1: devices and songwriting and lower the discussion to some silly

912
00:50:13,600 --> 00:50:19,279
Speaker 1: and irrelevant argument about chemical processes. In his defense, that

913
00:50:19,360 --> 00:50:22,839
Speaker 1: line has always seemed very obvious to be as word play,

914
00:50:23,239 --> 00:50:27,840
Speaker 1: so that it was a boner question. But wow, thanks

915
00:50:27,880 --> 00:50:31,880
Speaker 1: for the tutorial. Yeah, that's that's really But with lyrics

916
00:50:31,920 --> 00:50:36,360
Speaker 1: these scrutinized, it's no wonder that three people were charged

917
00:50:36,440 --> 00:50:40,520
Speaker 1: in July twenty twenty two after allegedly conspiring to steal

918
00:50:40,640 --> 00:50:43,399
Speaker 1: Henley's handwritten lyrics to the song, as well as two

919
00:50:43,400 --> 00:50:45,879
Speaker 1: others from this album. One of them is a high

920
00:50:45,920 --> 00:50:48,279
Speaker 1: ranking curator from the Rock and Roll Hall of Fame

921
00:50:48,400 --> 00:50:51,080
Speaker 1: who I actually met a few months before his arrest.

922
00:50:52,200 --> 00:50:57,719
Speaker 1: He looks shifty a little bit. Yeah. I don't think

923
00:50:57,719 --> 00:50:59,279
Speaker 1: they were trying to steal it. I think they were

924
00:50:59,320 --> 00:51:01,160
Speaker 1: trying to sell it. I think it was like part

925
00:51:01,160 --> 00:51:04,320
Speaker 1: of the rock Hall archives. I forgot, I don't. I

926
00:51:04,320 --> 00:51:06,399
Speaker 1: didn't follow the case that closely, but yeah, I think

927
00:51:06,400 --> 00:51:09,280
Speaker 1: it was like something even weirder. Prosecutors from the Manhattan

928
00:51:09,320 --> 00:51:12,560
Speaker 1: District Attorney's Office claim the lyrics were improperly obtained and

929
00:51:12,640 --> 00:51:15,360
Speaker 1: could be worth over one million dollars at auction. The

930
00:51:15,400 --> 00:51:18,200
Speaker 1: three men pleaded not guilty and were released without bail

931
00:51:18,320 --> 00:51:21,960
Speaker 1: pending trial. Eagles manager Irving Azoffs had the case exposed

932
00:51:22,200 --> 00:51:26,320
Speaker 1: the truth about music memorabilia, sales of highly personal stolen

933
00:51:26,400 --> 00:51:32,759
Speaker 1: items hidden behind a facade of legitimacy. Okay, man, I

934
00:51:32,800 --> 00:51:34,759
Speaker 1: will recite this header because I was proud of it,

935
00:51:35,040 --> 00:51:37,719
Speaker 1: to the tune of Benny and the Jets, Fingers and

936
00:51:37,840 --> 00:51:48,960
Speaker 1: the Walsh Don Don Don Don but Smithsmismismiz Bill Smith.

937
00:51:49,840 --> 00:51:53,560
Speaker 1: Producer Bill Smiths told Sound on Sound that the recording

938
00:51:53,600 --> 00:51:57,320
Speaker 1: of the extended Felder Walsh twin guitar coda that concludes

939
00:51:57,400 --> 00:52:00,799
Speaker 1: Hotel California was quote one of the most amazing times

940
00:52:00,840 --> 00:52:03,040
Speaker 1: I've had as a producer. Don and Joe were with

941
00:52:03,120 --> 00:52:04,879
Speaker 1: me in the control room and we ran their mic

942
00:52:04,920 --> 00:52:06,719
Speaker 1: chords out to amps in the studio so they could

943
00:52:06,719 --> 00:52:09,359
Speaker 1: hear exactly what was happening. Don Felder was on one

944
00:52:09,400 --> 00:52:11,960
Speaker 1: side of me, Joe Walsh was on the other, and

945
00:52:12,080 --> 00:52:14,080
Speaker 1: I'm stuck in the middle with you. No needing that

946
00:52:14,600 --> 00:52:16,879
Speaker 1: we were punching in all these incredible guitar parts which

947
00:52:16,920 --> 00:52:18,759
Speaker 1: had not been written before we started to do it.

948
00:52:19,040 --> 00:52:20,319
Speaker 1: So we were doing a lot of what we called

949
00:52:20,400 --> 00:52:23,279
Speaker 1: search and destroy. Well let's try this, and let's try that.

950
00:52:23,520 --> 00:52:25,080
Speaker 1: If I did that, then the harmony would be this.

951
00:52:25,640 --> 00:52:28,560
Speaker 1: Just overdubbing all these leads was a basic two day process,

952
00:52:28,840 --> 00:52:31,279
Speaker 1: and man, what a ball that was. They're both great,

953
00:52:31,320 --> 00:52:33,400
Speaker 1: great players, and the two of them were on fire.

954
00:52:34,000 --> 00:52:36,200
Speaker 1: I have a question to you, as somebody who's recorded

955
00:52:36,320 --> 00:52:41,319
Speaker 1: in professional recording studios two days to nale solo, it's

956
00:52:41,360 --> 00:52:45,200
Speaker 1: seventies for sure. But yeah, actually, you know what, I

957
00:52:45,239 --> 00:52:48,360
Speaker 1: have the perfect I have the perfect analog for this.

958
00:52:49,040 --> 00:52:52,480
Speaker 1: When during the making of Wheezer's blue album Rivers, Cuomo

959
00:52:52,560 --> 00:52:56,279
Speaker 1: fired the guy who was playing guitar with the other

960
00:52:56,360 --> 00:52:58,640
Speaker 1: guitarists in the band, the guy who actually wrote that

961
00:52:59,320 --> 00:53:03,600
Speaker 1: fingerpicking intro to My Name is Jonas. He fired that

962
00:53:03,680 --> 00:53:07,680
Speaker 1: guy and then rerecorded all of that guy's guitar parts

963
00:53:07,880 --> 00:53:14,280
Speaker 1: himself in one day. Yes, that's right. So the seventies

964
00:53:14,400 --> 00:53:17,120
Speaker 1: versus the nineties versus now when they would be like, Ah,

965
00:53:17,239 --> 00:53:19,680
Speaker 1: you don't get to do that, sorry, or actually you'd

966
00:53:19,719 --> 00:53:26,160
Speaker 1: probably do it by yourself in your bedroom crying. Felder

967
00:53:26,280 --> 00:53:29,279
Speaker 1: told Music Radar in twenty twelve of the parts, I

968
00:53:29,360 --> 00:53:31,680
Speaker 1: had a fifty nine Less Paul Sunburst and I plugged

969
00:53:31,719 --> 00:53:35,080
Speaker 1: into a fifties Tweed Deluxe, a narrow paneled model. It

970
00:53:35,200 --> 00:53:37,839
Speaker 1: was probably a fifty five or fifty six. That's he's

971
00:53:37,880 --> 00:53:41,960
Speaker 1: describing like ten thousand dollars worth of gear in that sentence.

972
00:53:42,719 --> 00:53:44,839
Speaker 1: Joe played a telecaster, but I'm not sure what amp

973
00:53:44,880 --> 00:53:46,800
Speaker 1: he was using, and I think I had an echo plex,

974
00:53:46,840 --> 00:53:49,239
Speaker 1: which is a delay unit in the loop at the time.

975
00:53:49,360 --> 00:53:52,360
Speaker 1: But that was about it. Ranked by Guitar World readers

976
00:53:52,440 --> 00:53:54,560
Speaker 1: as the fifth greatest guitar soul of all time in

977
00:53:54,600 --> 00:53:58,200
Speaker 1: twenty twenty one. Those leads were not planned out, as

978
00:53:58,280 --> 00:54:02,040
Speaker 1: Walsh echoed an interview with The mag he said, Don

979
00:54:02,120 --> 00:54:03,960
Speaker 1: Felder and I sat down and we worked out all

980
00:54:04,000 --> 00:54:06,600
Speaker 1: the descending lines. After the basic track was done and

981
00:54:06,719 --> 00:54:09,360
Speaker 1: Don Henley had sung, it was our turn. We agreed

982
00:54:09,440 --> 00:54:11,200
Speaker 1: on who was going to play when at the end,

983
00:54:11,280 --> 00:54:13,680
Speaker 1: at the big solo, and we tried to compliment each

984
00:54:13,680 --> 00:54:16,000
Speaker 1: other and build up to the very last part. So

985
00:54:16,120 --> 00:54:18,600
Speaker 1: the solos were not planned. They were spontaneous playing off

986
00:54:18,640 --> 00:54:20,400
Speaker 1: of each other. We were really good at that, and

987
00:54:20,520 --> 00:54:22,120
Speaker 1: the rest of the song was kind of planned out.

988
00:54:22,360 --> 00:54:24,400
Speaker 1: We put these descending lines on that because that was

989
00:54:24,440 --> 00:54:27,919
Speaker 1: the first set of overdubs. And one interesting thing about

990
00:54:27,920 --> 00:54:30,759
Speaker 1: the song's composition is that the chord progression, which is

991
00:54:31,160 --> 00:54:35,239
Speaker 1: a fairly common flamenco chord progression in the shrugian mood,

992
00:54:35,880 --> 00:54:38,520
Speaker 1: is that what it is? Yeah? Oh, I didn't know that. Yeah,

993
00:54:38,520 --> 00:54:41,360
Speaker 1: it's something that's not often heard in rock music. So

994
00:54:41,560 --> 00:54:45,400
Speaker 1: when Jethro Tall multi instrumentalist An Anderson heard it, his

995
00:54:45,520 --> 00:54:48,800
Speaker 1: ears perked up because he thought it was weirdly similar

996
00:54:48,880 --> 00:54:51,520
Speaker 1: to his own composition, a song called We Used to

997
00:54:51,680 --> 00:54:55,799
Speaker 1: Know from Jethro Talls nineteen sixty nine. Sophomore albums stand up.

998
00:54:56,120 --> 00:55:01,040
Speaker 1: So that's a little suspicious. We might have a little

999
00:55:01,080 --> 00:55:06,759
Speaker 1: bit of a led Zeppelin obspirit our bands spirit. Thank

1000
00:55:06,840 --> 00:55:10,160
Speaker 1: you that led Zeppelins. Randy California. How can you forget

1001
00:55:10,239 --> 00:55:13,600
Speaker 1: Randy California? Dude. Yes, another great bass player named Randy.

1002
00:55:15,560 --> 00:55:18,640
Speaker 1: It's maybe the most bass player name it is. Yeah.

1003
00:55:20,360 --> 00:55:22,600
Speaker 1: The fact that the Eagles and Jethro Tall toured together

1004
00:55:22,680 --> 00:55:25,880
Speaker 1: in nineteen seventy two was certainly an argument in Jethro

1005
00:55:26,000 --> 00:55:29,320
Speaker 1: Tall's favor. Ian Anderson of Jethro Tall said maybe it

1006
00:55:29,400 --> 00:55:31,359
Speaker 1: was just something that kind of picked up. But Ian

1007
00:55:31,440 --> 00:55:37,239
Speaker 1: Anderson took a very gracious view of all this. He's

1008
00:55:37,280 --> 00:55:39,320
Speaker 1: quoted as saying, maybe it was just something that the

1009
00:55:39,400 --> 00:55:42,520
Speaker 1: band just kind of picked up on subconsciously and introduced

1010
00:55:42,560 --> 00:55:46,680
Speaker 1: that chord sequence into their famous song Hotel California sometime later.

1011
00:55:47,200 --> 00:55:50,880
Speaker 1: This is Ian Anderson talking tosongfax dot Com. But in

1012
00:55:50,920 --> 00:55:53,919
Speaker 1: the Eagles defense, this tour with Jethro Tall took place

1013
00:55:54,000 --> 00:55:58,080
Speaker 1: some two years before Don Felder, Hotel California's primary composer,

1014
00:55:58,320 --> 00:56:01,840
Speaker 1: officially joined the band in nineteen seventy four, though he

1015
00:56:02,239 --> 00:56:05,279
Speaker 1: was a friend of founding guitarist Bernie laden at the time.

1016
00:56:05,400 --> 00:56:08,200
Speaker 1: So maybe he went to one of the shows where

1017
00:56:08,320 --> 00:56:10,880
Speaker 1: the Eagles were opening for Jethro Tall and heard the

1018
00:56:11,000 --> 00:56:14,799
Speaker 1: song and just subconsciously filed it away. Who knows. Don

1019
00:56:14,880 --> 00:56:17,279
Speaker 1: Felder himself later denied having ever heard the song. We

1020
00:56:17,440 --> 00:56:19,799
Speaker 1: used to know at the time. He wrote Hotel California,

1021
00:56:20,080 --> 00:56:22,640
Speaker 1: and he said he knew next to nothing about Jethro

1022
00:56:22,719 --> 00:56:25,200
Speaker 1: Tall other than the fact that they used a flutist.

1023
00:56:26,360 --> 00:56:28,239
Speaker 1: Maybe I'll punch in that song now and you can

1024
00:56:28,440 --> 00:56:48,920
Speaker 1: listen for yourself. Whenever a thing either way. Ian Anderson

1025
00:56:49,000 --> 00:56:51,680
Speaker 1: of Jethro Tall didn't take it further than just musing

1026
00:56:51,760 --> 00:56:53,880
Speaker 1: on it in the press. He said, it's just the

1027
00:56:53,920 --> 00:56:56,960
Speaker 1: same chord sequence, it's in a different time signature, different key,

1028
00:56:57,080 --> 00:57:00,480
Speaker 1: different context, and it's a very very very fine song

1029
00:57:00,600 --> 00:57:02,880
Speaker 1: they wrote. So I can't feel anything other than a

1030
00:57:02,960 --> 00:57:05,960
Speaker 1: sense of happiness for their sake. There's certainly no bitterness

1031
00:57:06,080 --> 00:57:08,520
Speaker 1: or any sense of plagiarism attached to my view on it,

1032
00:57:08,800 --> 00:57:11,200
Speaker 1: although I do sometimes allude in a joking way to

1033
00:57:11,360 --> 00:57:14,120
Speaker 1: accepting it as a kind of tribute. Yeah, I mean,

1034
00:57:15,160 --> 00:57:19,360
Speaker 1: you can't copyright chord progressions. It's like just basic you know,

1035
00:57:19,560 --> 00:57:24,080
Speaker 1: music facts. Have you heard the song is Jethro Tulsa. Yeah,

1036
00:57:24,320 --> 00:57:29,400
Speaker 1: no have you? Yeah. I have a hard time seeing

1037
00:57:29,840 --> 00:57:32,360
Speaker 1: how it would relate. Yeah. I mean, there's probably not

1038
00:57:32,520 --> 00:57:37,080
Speaker 1: a more polar opposite of the Eagles than Jethro tull Like, Yeah,

1039
00:57:38,040 --> 00:57:41,520
Speaker 1: dance around the may Pole, a giant long flute solo

1040
00:57:41,840 --> 00:57:47,640
Speaker 1: versus immaculate five part harmonies, and about California. Another fun fact,

1041
00:57:47,880 --> 00:57:52,439
Speaker 1: Hotel California also contains a bassline and a drum part.

1042
00:57:57,520 --> 00:57:59,439
Speaker 1: It's a little bit of a joke because I find

1043
00:57:59,560 --> 00:58:03,640
Speaker 1: those parts underwhelming. Oh the base though, well, I mean

1044
00:58:03,680 --> 00:58:08,439
Speaker 1: it's just bad white boy reggae. I guess Mexican reggae, please,

1045
00:58:08,800 --> 00:58:13,640
Speaker 1: electric Mexican reggae please. Once mixing was complete, Don Felder

1046
00:58:13,720 --> 00:58:16,240
Speaker 1: told Ultimate Classic Rock in twenty seventeen, we had a

1047
00:58:16,280 --> 00:58:19,760
Speaker 1: playback party for the record company. After Hotel California played,

1048
00:58:19,960 --> 00:58:22,520
Speaker 1: Henley turned around and said, that's gonna be our single.

1049
00:58:23,040 --> 00:58:25,240
Speaker 1: In those days, AM radio would only play something that

1050
00:58:25,360 --> 00:58:27,480
Speaker 1: was under three minutes and thirty seconds long, and it

1051
00:58:27,560 --> 00:58:29,720
Speaker 1: had to be a rock track, or danceable track or

1052
00:58:29,760 --> 00:58:32,720
Speaker 1: ballad of some kind. Hotel California was none of those.

1053
00:58:33,200 --> 00:58:35,840
Speaker 1: It was the absolute wrong format for radio. So I

1054
00:58:35,880 --> 00:58:38,320
Speaker 1: said to Don, I think that's an FM cut. It's

1055
00:58:38,360 --> 00:58:42,440
Speaker 1: something that'll play on FM radio, not AM radio. Don said, Nope,

1056
00:58:42,640 --> 00:58:44,600
Speaker 1: this is going to be our single. We all went

1057
00:58:44,680 --> 00:58:46,720
Speaker 1: with it, and I've never been so happy to have

1058
00:58:46,840 --> 00:58:49,880
Speaker 1: been so wrong. For the single release of Hotel California,

1059
00:58:50,000 --> 00:58:52,680
Speaker 1: the bands went with a version of the album's cover

1060
00:58:52,920 --> 00:58:56,120
Speaker 1: art for the sleeve. The Hotel California album art was

1061
00:58:56,200 --> 00:59:00,280
Speaker 1: the work of British art director Cosh aka Josh Hash,

1062
00:59:00,720 --> 00:59:03,560
Speaker 1: the man responsible for the Beatles Abbey Road album cover,

1063
00:59:03,760 --> 00:59:06,960
Speaker 1: the Who's Whose Next Album cover, the Rolling Stones Get

1064
00:59:07,000 --> 00:59:09,560
Speaker 1: Your Yah Yahs Out album cover, and many others. The

1065
00:59:09,600 --> 00:59:12,640
Speaker 1: guys a real legend, Cosh recalled in a two thousand

1066
00:59:12,640 --> 00:59:15,520
Speaker 1: and seven interview with Rock and Roll Report, Don Henley

1067
00:59:15,560 --> 00:59:18,680
Speaker 1: wanted me to find and portray Hotel California and portray

1068
00:59:18,760 --> 00:59:22,440
Speaker 1: it with a slightly sinister edge. So Cash scouted locations

1069
00:59:22,440 --> 00:59:25,560
Speaker 1: with photographer David Alexander, and they arrived at the Beverly

1070
00:59:25,640 --> 00:59:30,400
Speaker 1: Hills Hotel on Sunset Boulevard. But even after finding this location,

1071
00:59:30,920 --> 00:59:34,800
Speaker 1: achieving the requisite air of menace was a little challenging.

1072
00:59:35,640 --> 00:59:38,200
Speaker 1: Cosh said, to get the perfect picture, David and I

1073
00:59:38,480 --> 00:59:42,440
Speaker 1: perched nervously atop a sixty foot cherry picker dangling over

1074
00:59:42,600 --> 00:59:46,520
Speaker 1: Sunset Boulevard and rush Hour shooting blindly into the sun.

1075
00:59:47,200 --> 00:59:49,240
Speaker 1: Both of us but our Nikon cameras up in the

1076
00:59:49,280 --> 00:59:52,880
Speaker 1: basket and we took turns shooting, ducking, and reloading. We

1077
00:59:53,080 --> 00:59:56,000
Speaker 1: used high speed etchechrome film as the light began to fade,

1078
00:59:56,280 --> 00:59:58,800
Speaker 1: and this film gave us the remarkable graininess of the

1079
00:59:58,880 --> 01:00:02,400
Speaker 1: final shot, and the chosen shot captured at Golden Hour

1080
01:00:02,520 --> 01:00:08,200
Speaker 1: just before Sunset, became iconic. Though its subject was initially displeased,

1081
01:00:09,720 --> 01:00:12,160
Speaker 1: Caush is quoted as saying, as the sales of Hotel

1082
01:00:12,240 --> 01:00:15,320
Speaker 1: California went through the roof, lawyers for the Beverly Hills

1083
01:00:15,360 --> 01:00:18,840
Speaker 1: Hotel threatened me with a cease and desist action, and

1084
01:00:18,960 --> 01:00:21,520
Speaker 1: then it was gently pointed out by my attorney that

1085
01:00:21,600 --> 01:00:25,000
Speaker 1: the hotel's requests for bookings had tripled since the release

1086
01:00:25,040 --> 01:00:29,680
Speaker 1: of the Eagles album, so it was quietly dropped. Meanwhile,

1087
01:00:29,760 --> 01:00:31,600
Speaker 1: the rear of the album cover was shot in the

1088
01:00:31,680 --> 01:00:35,439
Speaker 1: lobby of the Lido Hotel in Hollywood, which I'm gonna

1089
01:00:35,440 --> 01:00:42,600
Speaker 1: see if that's still around Lido. Oh oh, Is that

1090
01:00:43,440 --> 01:00:45,960
Speaker 1: it's an apartment building? Yeah, of course it is the

1091
01:00:46,000 --> 01:00:47,680
Speaker 1: only thing more la would be if it was like

1092
01:00:47,760 --> 01:00:52,280
Speaker 1: a Starbucks or some shot coffee bean. Yeah it's a

1093
01:00:52,400 --> 01:00:57,520
Speaker 1: fine album cover. Yeah, I don't mind. Cash also designed

1094
01:00:57,560 --> 01:01:02,480
Speaker 1: the Hotel California logo, initially as a neon sign, but

1095
01:01:02,560 --> 01:01:05,120
Speaker 1: it proved difficult to bend real neon tubings into the

1096
01:01:05,200 --> 01:01:07,920
Speaker 1: desired shape of the script, so they ended up airbrushing it.

1097
01:01:08,320 --> 01:01:11,280
Speaker 1: Rumors have persisted for ages about the sinister double meaning

1098
01:01:11,400 --> 01:01:15,400
Speaker 1: of the lyrics and in turn the title. There is

1099
01:01:15,440 --> 01:01:18,680
Speaker 1: actually a literal Hotel California in total CentOS, a town

1100
01:01:18,760 --> 01:01:21,920
Speaker 1: on Mexicans Baja California peninsula, but none of the Eagles

1101
01:01:22,000 --> 01:01:25,400
Speaker 1: ever stayed there. The two most persistent theories about the

1102
01:01:25,440 --> 01:01:27,760
Speaker 1: song's title are that it's a reference to the nickname

1103
01:01:27,800 --> 01:01:31,120
Speaker 1: of the Camaro State Hospital, a state run psychiatric hospital

1104
01:01:31,200 --> 01:01:34,240
Speaker 1: near Los Angeles, which housed thousands of patients across its

1105
01:01:34,280 --> 01:01:37,160
Speaker 1: sixty year history before it closed nine ninety seven. And

1106
01:01:37,280 --> 01:01:42,160
Speaker 1: then it's about Satan. Satan. Is that is that a

1107
01:01:42,200 --> 01:01:47,200
Speaker 1: metalocalypse reference? No, it's it's Church O Church Lady, There's

1108
01:01:47,560 --> 01:01:51,240
Speaker 1: there's a Great Metalocalypse A bit with the Church of say,

1109
01:01:51,360 --> 01:01:53,560
Speaker 1: where the preacher had just keeps saying it in this

1110
01:01:53,840 --> 01:01:58,920
Speaker 1: He's just like, hold on Satin. It's so funny. The

1111
01:01:59,000 --> 01:02:02,040
Speaker 1: Satanic panic, I think this dated back to the It

1112
01:02:02,200 --> 01:02:05,480
Speaker 1: started like right away, right because people were just had

1113
01:02:05,520 --> 01:02:07,760
Speaker 1: the lyrics and were immediately scrutinizing it because it's a

1114
01:02:07,800 --> 01:02:10,240
Speaker 1: long song and it's a lot of going on in it.

1115
01:02:10,400 --> 01:02:12,400
Speaker 1: But I think it kind of they were caught up

1116
01:02:12,400 --> 01:02:14,600
Speaker 1: in the Satanic panic of the eighties and the whole

1117
01:02:14,640 --> 01:02:19,040
Speaker 1: backmasking thing that ensnared like Judas Priest and led Zeppelin everybody.

1118
01:02:20,160 --> 01:02:22,400
Speaker 1: But you know, there was some stuff that there was

1119
01:02:22,560 --> 01:02:25,320
Speaker 1: ample fodder for this theory. There's the line trying to

1120
01:02:25,440 --> 01:02:28,760
Speaker 1: kill the beast's popularly you know, the name of Satan

1121
01:02:30,640 --> 01:02:33,800
Speaker 1: and not having that spirit here since nineteen sixty nine,

1122
01:02:34,000 --> 01:02:37,280
Speaker 1: Like it's a like a whole possession of witchcraft thing. Nice,

1123
01:02:37,680 --> 01:02:39,200
Speaker 1: But also is that the air that the Church of

1124
01:02:39,240 --> 01:02:42,280
Speaker 1: Satan was founded? I thought it was older than that.

1125
01:02:42,360 --> 01:02:45,400
Speaker 1: Anton LaVey was, I know, he was in a nineteen

1126
01:02:45,480 --> 01:02:49,440
Speaker 1: sixty seven documentary like Mondo movie called Mondo Hollywood. Ah

1127
01:02:49,600 --> 01:02:52,840
Speaker 1: found in sixty six, Okay, so that, yeah, that doesn't

1128
01:02:52,920 --> 01:02:55,600
Speaker 1: hold up. The inner gatefold of the record is has

1129
01:02:55,640 --> 01:02:58,080
Speaker 1: like a shadowy figure on the balcony, and people were like, Oh,

1130
01:02:58,160 --> 01:03:00,680
Speaker 1: that's supposed to be Anton LaVey, the founder of the

1131
01:03:00,760 --> 01:03:05,720
Speaker 1: Church of Satan. The other various rumors that Snopes collected

1132
01:03:05,760 --> 01:03:07,560
Speaker 1: included that the song is a tribute to the place

1133
01:03:07,600 --> 01:03:11,640
Speaker 1: where the Satanic Bible was written, that of devil worshippers

1134
01:03:11,640 --> 01:03:14,560
Speaker 1: bought an old church and christened it the Hotel California,

1135
01:03:15,280 --> 01:03:17,920
Speaker 1: some or all of the Eagles were heavily involved with

1136
01:03:18,000 --> 01:03:21,760
Speaker 1: the occult or were disciples of Lavay. The album photographs

1137
01:03:21,760 --> 01:03:23,560
Speaker 1: were taken in and around a building that used to

1138
01:03:23,600 --> 01:03:26,160
Speaker 1: be LaVey's headquarters for the Church of Satan. And then

1139
01:03:26,200 --> 01:03:29,480
Speaker 1: the fun and false fact that in California, the Church

1140
01:03:29,520 --> 01:03:33,920
Speaker 1: of Satan is registered under the name Hotel California. So

1141
01:03:34,080 --> 01:03:37,120
Speaker 1: that's all fun, that's just harmless. Nobody's getting hurt there.

1142
01:03:37,800 --> 01:03:40,000
Speaker 1: When I wish John Henley had talked about that, he

1143
01:03:40,040 --> 01:03:45,320
Speaker 1: would probably quote in Milton or Dante. The writing of

1144
01:03:45,400 --> 01:03:48,480
Speaker 1: Hotel California placed us in a lineage of those describing

1145
01:03:48,560 --> 01:03:52,680
Speaker 1: Satanism and Hell. Like John Milton, I thought of myself

1146
01:03:52,720 --> 01:03:55,920
Speaker 1: as Dante, and Fingers Felder thought of himself as John Milton.

1147
01:03:57,080 --> 01:04:02,480
Speaker 1: Clearly Joe Walsh was Thomas aquinas, No, I'm just in

1148
01:04:02,600 --> 01:04:06,240
Speaker 1: all the fact that your voice in that voice sounds

1149
01:04:06,480 --> 01:04:10,880
Speaker 1: less congested and sick than your actual voice, which is

1150
01:04:11,000 --> 01:04:12,600
Speaker 1: I have a part of me. He's like, just do

1151
01:04:12,720 --> 01:04:15,880
Speaker 1: that the rest of it out. Maybe. The song Hotel

1152
01:04:15,920 --> 01:04:19,600
Speaker 1: California entered the Billboard Hot one hundred chart on February

1153
01:04:19,640 --> 01:04:23,160
Speaker 1: twenty six, seventy seven, topped the Hot one hundred Singles

1154
01:04:23,240 --> 01:04:25,880
Speaker 1: chart for one week, and by May peaked at number

1155
01:04:25,920 --> 01:04:28,200
Speaker 1: ten on the Easy Listening chart. In April, and three

1156
01:04:28,280 --> 01:04:30,800
Speaker 1: months after it was first release certified gold by the

1157
01:04:30,920 --> 01:04:34,240
Speaker 1: riable A representing one million copies shipped. The band won

1158
01:04:34,440 --> 01:04:36,800
Speaker 1: the Grammy for Record of the Year for Hotel California

1159
01:04:36,920 --> 01:04:39,600
Speaker 1: at the twentieth Grammy Awards in nineteen seventy eight, a

1160
01:04:39,720 --> 01:04:42,880
Speaker 1: ceremony that manager Irving Azoff told the Recording Academy they

1161
01:04:42,880 --> 01:04:46,600
Speaker 1: wouldn't attend unless they were guaranteed to win, so they

1162
01:04:46,640 --> 01:04:51,320
Speaker 1: watched it live from their rehearsal room. Short an amazing story. Yeah,

1163
01:04:51,720 --> 01:04:54,880
Speaker 1: the Recording Academy wanted the Eagles to perform, and that's

1164
01:04:54,880 --> 01:04:57,960
Speaker 1: I guess what's set this whole thing off, And Irvasoff said,

1165
01:04:58,000 --> 01:04:59,960
Speaker 1: not only will we not perform without some sort of

1166
01:05:00,080 --> 01:05:02,480
Speaker 1: guarantee that we're winners, but we won't even show up,

1167
01:05:03,480 --> 01:05:05,800
Speaker 1: and azof one so far as to suggest that the

1168
01:05:05,920 --> 01:05:09,680
Speaker 1: band hide in a secret dressing room at the auditorium

1169
01:05:09,720 --> 01:05:12,400
Speaker 1: where the Grammys were taking place, where they would emerge

1170
01:05:12,600 --> 01:05:15,520
Speaker 1: only if and when their name was called for Record

1171
01:05:15,600 --> 01:05:19,920
Speaker 1: of the Year winner. They're Hubris man Se Cocaine's a

1172
01:05:19,920 --> 01:05:22,880
Speaker 1: hell of a drug. Yeah, this idea was rejected on

1173
01:05:22,960 --> 01:05:26,800
Speaker 1: the grounds that it was completely insane. They also toyed

1174
01:05:26,840 --> 01:05:29,000
Speaker 1: with the idea of having one of their artist friends

1175
01:05:29,240 --> 01:05:32,560
Speaker 1: except the award for them, maybe Jackson Brown or Lynda Ronstadt.

1176
01:05:32,880 --> 01:05:35,240
Speaker 1: This seemed like a better idea, but for whatever reason,

1177
01:05:35,320 --> 01:05:38,360
Speaker 1: they decided against it. So when the Eagles ultimately did

1178
01:05:38,480 --> 01:05:42,560
Speaker 1: win their Grammy, host Andy Williams just stood there expectantly

1179
01:05:42,720 --> 01:05:46,760
Speaker 1: waiting for someone to come forward. Not the band cared

1180
01:05:46,880 --> 01:05:49,800
Speaker 1: much about their image, but manager Irving Azoff tried to

1181
01:05:49,840 --> 01:05:52,000
Speaker 1: do damage control the next day by putting out a

1182
01:05:52,040 --> 01:05:54,959
Speaker 1: press release saying that the band were in Miami working

1183
01:05:55,040 --> 01:05:57,280
Speaker 1: on the new album, and he ended this statement with

1184
01:05:57,320 --> 01:06:01,720
Speaker 1: a dismissive that's the future. This is the past, So

1185
01:06:02,000 --> 01:06:06,520
Speaker 1: piss on your Grammy. If they were disappointed that they

1186
01:06:06,560 --> 01:06:08,959
Speaker 1: were there to accept the award in person, they didn't

1187
01:06:09,000 --> 01:06:12,000
Speaker 1: show it. Don Henley told the La Times the whole

1188
01:06:12,080 --> 01:06:14,480
Speaker 1: idea of a contest to see who is best just

1189
01:06:14,800 --> 01:06:17,800
Speaker 1: doesn't appeal to us, except for as the way I've

1190
01:06:17,840 --> 01:06:21,720
Speaker 1: lived my entire life. Yes, poor Eddy Williams. This was

1191
01:06:21,760 --> 01:06:25,160
Speaker 1: like a year or two after Stevie Wonder one the Grammy,

1192
01:06:25,160 --> 01:06:26,760
Speaker 1: and he wasn't there to accept it, so he had

1193
01:06:26,800 --> 01:06:30,160
Speaker 1: to like be beamed in via satellite and and yeah,

1194
01:06:30,240 --> 01:06:32,840
Speaker 1: he said, can you see us? Steovie? Yeah, put his

1195
01:06:32,880 --> 01:06:35,400
Speaker 1: foot in his mouth by asking Stevie Wonder if he

1196
01:06:35,400 --> 01:06:38,240
Speaker 1: could see them. I just watched, um whatever happened to

1197
01:06:38,280 --> 01:06:40,960
Speaker 1: baby Jane for like the first time in like two decades.

1198
01:06:41,720 --> 01:06:47,040
Speaker 1: And did you ever hear about the oscar thing with that? No,

1199
01:06:48,240 --> 01:06:52,640
Speaker 1: the feud with um. Yeah, it's Joan Crawford and Betty Davis. Yeah,

1200
01:06:52,840 --> 01:06:58,480
Speaker 1: And so Betty Davis was nominated and a Bancroft won

1201
01:06:58,840 --> 01:07:04,040
Speaker 1: in sixties the Miracle Worker. Yeah, and Joan Crawford accepted

1202
01:07:04,160 --> 01:07:07,840
Speaker 1: Anne Bancroft's Oscar as like a few to her, as

1203
01:07:07,960 --> 01:07:12,280
Speaker 1: few to Betty Davis. And Betty Davis was furious about it. Yeah,

1204
01:07:12,360 --> 01:07:15,920
Speaker 1: she never forgave her for that Back to Hotel California.

1205
01:07:16,080 --> 01:07:19,440
Speaker 1: Rolling Stone has permanently placed it somewhere on there ever

1206
01:07:19,600 --> 01:07:22,360
Speaker 1: changing five hundred Greatest Songs of All Time list. It's

1207
01:07:22,360 --> 01:07:23,920
Speaker 1: been named one of the Rock and Roll Hall of

1208
01:07:24,000 --> 01:07:26,600
Speaker 1: Fame's five hundred Songs That Shaped rock and Roll. The

1209
01:07:26,760 --> 01:07:30,440
Speaker 1: album has been certified twenty six times platinum in the

1210
01:07:30,600 --> 01:07:35,280
Speaker 1: US has sold over thirty two million copies worldwide, not

1211
01:07:35,480 --> 01:07:39,360
Speaker 1: even their best selling record. Again, that would be the

1212
01:07:39,440 --> 01:07:44,200
Speaker 1: Greatest Hits, good Lord, that will always just be the

1213
01:07:44,320 --> 01:07:48,000
Speaker 1: most random choice for a best selling album of all

1214
01:07:48,040 --> 01:07:51,080
Speaker 1: time in the United States. Eagles Greatest Hits seventy one

1215
01:07:51,120 --> 01:07:54,200
Speaker 1: to seventy five. All you know what, It's just every

1216
01:07:54,280 --> 01:07:57,919
Speaker 1: song on it. It's a Hotel California is an epic song. Yeah,

1217
01:07:58,040 --> 01:08:01,520
Speaker 1: Thriller is an epic song. All the songs on their

1218
01:08:01,560 --> 01:08:04,960
Speaker 1: Greatest Hits are just like taken individually. I'm just kind

1219
01:08:05,000 --> 01:08:08,200
Speaker 1: of like, ah, I guess it's just it was easy

1220
01:08:08,280 --> 01:08:12,840
Speaker 1: and accessible, and I just, yeah, I don't understand how

1221
01:08:13,320 --> 01:08:16,240
Speaker 1: they had that kind of juice to be the best

1222
01:08:16,320 --> 01:08:20,080
Speaker 1: selling album in the United States history. People people love

1223
01:08:21,720 --> 01:08:26,240
Speaker 1: taking it easy. Yeah, but oh man, I thought I

1224
01:08:26,360 --> 01:08:29,600
Speaker 1: was listening to Joe Walsh earlier and I forgot my

1225
01:08:29,720 --> 01:08:32,880
Speaker 1: all time favorite lyric of his from a Life's Been

1226
01:08:32,920 --> 01:08:35,120
Speaker 1: Good to Me, where he says, they say I'm lazy,

1227
01:08:35,200 --> 01:08:40,680
Speaker 1: but it takes up all my time. Ah. Despite all

1228
01:08:40,720 --> 01:08:44,640
Speaker 1: of these plottits surrounding Hotel California, the album failed to

1229
01:08:44,720 --> 01:08:47,559
Speaker 1: earn them critical cred from the rock bible of the era,

1230
01:08:47,960 --> 01:08:52,160
Speaker 1: Rolling Stone. The Eagles were a favorite target for the publication.

1231
01:08:52,920 --> 01:08:55,760
Speaker 1: One review of a nineteen seventy seven show read, in part,

1232
01:08:55,880 --> 01:08:59,840
Speaker 1: the Eagles flaunt no athletic grace, if anything, they loiter

1233
01:09:00,160 --> 01:09:04,760
Speaker 1: on stage. But critic Charles M. Young went too far,

1234
01:09:04,920 --> 01:09:08,200
Speaker 1: and the Rolling Stone issue dated September eighth, nineteen seventy seven,

1235
01:09:08,560 --> 01:09:11,880
Speaker 1: he included the small, seemingly innocuous line in the random

1236
01:09:11,960 --> 01:09:15,679
Speaker 1: notes section of the magazine criticizing the amateur softball team

1237
01:09:15,720 --> 01:09:18,719
Speaker 1: made up of the Eagles and their organization, the Eagles

1238
01:09:18,800 --> 01:09:21,280
Speaker 1: you have to understand we're big fans of softball because

1239
01:09:21,320 --> 01:09:24,559
Speaker 1: they felt it helped them relieve their tensions. Glen Fryes

1240
01:09:24,640 --> 01:09:26,720
Speaker 1: said at the time, if we can yell at each

1241
01:09:26,760 --> 01:09:28,840
Speaker 1: other on the baseball field, we don't yell at each

1242
01:09:28,880 --> 01:09:33,360
Speaker 1: other in the studio. This probably was not true. And

1243
01:09:33,720 --> 01:09:35,960
Speaker 1: my guess is this goes a long way and explaining

1244
01:09:36,000 --> 01:09:39,200
Speaker 1: why music journalists had an inherent disliked the Eagles. It

1245
01:09:39,320 --> 01:09:43,240
Speaker 1: goes back to the old geeks versus jocks thing. Everything

1246
01:09:43,280 --> 01:09:46,879
Speaker 1: goes back to high school anyway. After referencing Joe Walsh's

1247
01:09:46,920 --> 01:09:50,320
Speaker 1: new solo album, Rolling Stone journalist Charles M. Young wrote

1248
01:09:50,360 --> 01:09:52,880
Speaker 1: in his Little Random Notes column, the Eagles, on their

1249
01:09:52,920 --> 01:09:56,240
Speaker 1: first vacation in three years, seymore interested in finding a

1250
01:09:56,320 --> 01:09:59,320
Speaker 1: softball team they can beat, having lost in recent weeks

1251
01:09:59,360 --> 01:10:03,679
Speaker 1: the teams by Andrew Gold aka the guy who sang

1252
01:10:03,720 --> 01:10:06,040
Speaker 1: the Golden Girls theme. Thank you for being a friend,

1253
01:10:06,560 --> 01:10:10,600
Speaker 1: Jimmy Buffett, employees of several San Francisco radio stations, and

1254
01:10:10,800 --> 01:10:14,640
Speaker 1: their own road crew. Glen Fry, you know you can.

1255
01:10:14,920 --> 01:10:18,200
Speaker 1: You can insult Glen Fry's stage presence, you can insult

1256
01:10:18,360 --> 01:10:21,120
Speaker 1: Glen Fry's songs, you can insult a lot about Glen Fry,

1257
01:10:21,280 --> 01:10:25,400
Speaker 1: but you cannot insult Glen Fry's softball skills. So he

1258
01:10:25,560 --> 01:10:29,880
Speaker 1: took this criticism personally, and he wrote a furious letter

1259
01:10:29,960 --> 01:10:32,840
Speaker 1: to the editors of Rolling Stone, clarifying, what you have

1260
01:10:32,960 --> 01:10:35,280
Speaker 1: failed to mention is that the Eagles won two out

1261
01:10:35,320 --> 01:10:39,240
Speaker 1: of three games against Jimmy Buffett. Anytime you pencil pushing

1262
01:10:39,320 --> 01:10:42,000
Speaker 1: desk jockeys want to put on your spikes, we'll kick

1263
01:10:42,080 --> 01:10:46,759
Speaker 1: your ass too. Oh shut up, God, it's so petty.

1264
01:10:47,040 --> 01:10:51,639
Speaker 1: It's a fighting baseball game. Dude. You're like you sold

1265
01:10:51,760 --> 01:10:55,439
Speaker 1: thirty two million albums. You were red asked about Rolling

1266
01:10:55,520 --> 01:10:59,080
Speaker 1: Stone saying that you were more interested in softball and

1267
01:10:59,280 --> 01:11:03,000
Speaker 1: crowing about and then and then crowing about beating Joe

1268
01:11:03,040 --> 01:11:05,160
Speaker 1: Jimmy Buffett is some kind of a trump card of that,

1269
01:11:05,600 --> 01:11:08,559
Speaker 1: not like you know, uh yeah, well I fished, fought.

1270
01:11:09,439 --> 01:11:12,240
Speaker 1: I don't know Jackie Wilson, who is like a boxer.

1271
01:11:12,560 --> 01:11:16,240
Speaker 1: You beat Jimmy Buffett in softball. That doesn't make you

1272
01:11:16,479 --> 01:11:20,400
Speaker 1: like an alpha male, and getting red asked about it

1273
01:11:20,520 --> 01:11:24,679
Speaker 1: makes you so much more beta. Oh, not to speak

1274
01:11:24,720 --> 01:11:28,759
Speaker 1: ill of the dead. Well Glen Fry challenged the staff

1275
01:11:28,800 --> 01:11:32,000
Speaker 1: at Rolling Stone to a softball match, and the staff

1276
01:11:32,000 --> 01:11:35,519
Speaker 1: at Rolling Stone accepted the challenge. The showdown took place

1277
01:11:35,560 --> 01:11:38,639
Speaker 1: the following May in nineteen seventy eight at Dodoux Field

1278
01:11:38,760 --> 01:11:41,400
Speaker 1: on the campus at the University of Southern California, and

1279
01:11:41,560 --> 01:11:43,799
Speaker 1: the stakes were that the loser would pay five thousand

1280
01:11:43,880 --> 01:11:46,200
Speaker 1: dollars to UNI staff, so Lisa was all for a

1281
01:11:46,280 --> 01:11:49,080
Speaker 1: good cause. The Eagles team had the band themselves with

1282
01:11:49,280 --> 01:11:52,640
Speaker 1: Don Henley as the pitcher naturally, and their roadies and

1283
01:11:52,920 --> 01:11:55,760
Speaker 1: various members of their tour crew, and the Rolling Stone team,

1284
01:11:55,800 --> 01:11:58,960
Speaker 1: who were called the Gonzos appropriately enough, had writers like

1285
01:11:59,040 --> 01:12:01,880
Speaker 1: Cameron Crowe and Fong Torres and Charles M. Young the

1286
01:12:01,960 --> 01:12:04,280
Speaker 1: guy who set off the whole rivalry in the first place.

1287
01:12:04,920 --> 01:12:08,080
Speaker 1: Jan Winner, the Rolling Stone editor and owner, flew in

1288
01:12:08,240 --> 01:12:10,280
Speaker 1: his staff all the way from New York to la

1289
01:12:10,800 --> 01:12:13,479
Speaker 1: and Eagles, of course had the hometown advantage. The bleachers

1290
01:12:13,520 --> 01:12:17,080
Speaker 1: were packed with fans like Chevy Chase, Joni Mitchell, and

1291
01:12:17,280 --> 01:12:21,080
Speaker 1: California Governor Jerry Brown, who apparently had nothing better to

1292
01:12:21,240 --> 01:12:24,640
Speaker 1: do that day. The Rolling Stone riders thought, you know,

1293
01:12:25,200 --> 01:12:27,960
Speaker 1: he's a politician. Jerry Brown's going to be neutral about this,

1294
01:12:28,200 --> 01:12:33,120
Speaker 1: but since the Eagles defined California so strongly, Jerry Brown

1295
01:12:33,320 --> 01:12:36,760
Speaker 1: was very blatantly on the band's side in this game.

1296
01:12:37,560 --> 01:12:39,560
Speaker 1: And Charles M. Young said, I felt like I was

1297
01:12:39,680 --> 01:12:42,320
Speaker 1: walking into the Roman Colisseum and was about to be

1298
01:12:42,400 --> 01:12:45,519
Speaker 1: eaten by lions when I walked onto the field. My

1299
01:12:45,600 --> 01:12:47,880
Speaker 1: favorite part about all this is that. Before the game started,

1300
01:12:47,880 --> 01:12:50,439
Speaker 1: a voice came over the loudspeaker and said, ladies and gentlemen,

1301
01:12:50,720 --> 01:12:53,759
Speaker 1: please stand for the national anthem, and then they played

1302
01:12:53,840 --> 01:12:57,559
Speaker 1: life in the fast Land. The Eagles, as you can

1303
01:12:57,600 --> 01:13:01,280
Speaker 1: probably believe, were predictably cutthroat for this game. They wore

1304
01:13:01,360 --> 01:13:04,320
Speaker 1: metal cleats, which riled up the Rolling Stone team to

1305
01:13:04,439 --> 01:13:07,960
Speaker 1: no end. Yon Winner yelled to Irving Asof the Eagles

1306
01:13:08,000 --> 01:13:12,480
Speaker 1: manager Somewhay might get hurt. Irving Asof replied, how exciting.

1307
01:13:14,120 --> 01:13:17,240
Speaker 1: He also wore a jersey that read Yon Winner is

1308
01:13:17,320 --> 01:13:23,280
Speaker 1: tragically hip, which barely counts as trash talk. But okay,

1309
01:13:23,720 --> 01:13:26,080
Speaker 1: I don't even really know what that means. Is is

1310
01:13:26,120 --> 01:13:28,840
Speaker 1: that where the Banning got their name? No? I think

1311
01:13:28,880 --> 01:13:32,240
Speaker 1: that was an expression. Okay, I'm pretty sure. Yeah. The

1312
01:13:32,320 --> 01:13:35,800
Speaker 1: Eagles crushed the Gonzos fifteen to eight. Yeah. Wow, that's

1313
01:13:36,080 --> 01:13:39,200
Speaker 1: pretty bad. And as Don Henley and Glenfry wrote in

1314
01:13:39,240 --> 01:13:41,559
Speaker 1: a letter to the magazine a few weeks after the game,

1315
01:13:42,000 --> 01:13:44,519
Speaker 1: in the end, it was the errors that cost Rolling

1316
01:13:44,600 --> 01:13:47,040
Speaker 1: Stone the game. Their first error was to call the

1317
01:13:47,120 --> 01:13:50,600
Speaker 1: Eagles sissies in the random notes section, which they didn't do.

1318
01:13:51,520 --> 01:13:54,559
Speaker 1: He just said they cared more about softball than making

1319
01:13:54,600 --> 01:13:57,840
Speaker 1: a record or something like that, which, honestly, this whole

1320
01:13:57,880 --> 01:14:02,800
Speaker 1: event bears that out. Yeah exactly, Oh my god, what

1321
01:14:03,160 --> 01:14:08,519
Speaker 1: tremendous asshole. Well, the Eagles won the game because their

1322
01:14:08,640 --> 01:14:12,439
Speaker 1: organization was a well oiled machine. They are no strangers

1323
01:14:12,520 --> 01:14:15,320
Speaker 1: to physical prowess, especially on the road, and this is

1324
01:14:15,439 --> 01:14:18,599
Speaker 1: partially because Don Henley ensured that the roadies were toned

1325
01:14:19,200 --> 01:14:22,280
Speaker 1: by forcing them to lug his mattress around from tour

1326
01:14:22,439 --> 01:14:25,599
Speaker 1: stop to tour stop. This is one of my favorite

1327
01:14:25,600 --> 01:14:29,400
Speaker 1: Eagles anecdotes ever. The Eagles had Electrician, a guy by

1328
01:14:29,439 --> 01:14:32,000
Speaker 1: the name of Joe Barry told author Mark Elliott in

1329
01:14:32,040 --> 01:14:34,360
Speaker 1: his book To the Limit, The Untold Story of the Eagles.

1330
01:14:34,720 --> 01:14:37,719
Speaker 1: Don Henley insisted on having a kingsize bed and mattress

1331
01:14:37,760 --> 01:14:40,599
Speaker 1: available at all times, which the crew had to drag

1332
01:14:40,680 --> 01:14:44,240
Speaker 1: around everywhere. The tour seemstress made a special cover for

1333
01:14:44,360 --> 01:14:46,560
Speaker 1: it with handles to make it easier to pack in

1334
01:14:46,600 --> 01:14:50,120
Speaker 1: the truck. Every night it was Don's bed. It went everywhere,

1335
01:14:51,600 --> 01:14:54,439
Speaker 1: and Don Henley defended himself in later years by saying

1336
01:14:54,520 --> 01:14:57,559
Speaker 1: that this was crucial for his drumming, which, given what's

1337
01:14:57,600 --> 01:15:00,320
Speaker 1: going on with Phil Collins these days, I guess seems fair.

1338
01:15:00,520 --> 01:15:05,280
Speaker 1: Drummers have notoriously temperamental backs. Don Henley explained to Modern Drummer,

1339
01:15:05,320 --> 01:15:06,960
Speaker 1: I used to have to hold my body in such

1340
01:15:07,000 --> 01:15:09,799
Speaker 1: a position that my spine got out of alignment between

1341
01:15:09,880 --> 01:15:11,720
Speaker 1: playing the drums and keeping my mouth in front of

1342
01:15:11,760 --> 01:15:14,720
Speaker 1: the microphone. It really twisted my whole body. I got

1343
01:15:14,760 --> 01:15:16,760
Speaker 1: to a point in the seventies where I literally could

1344
01:15:16,840 --> 01:15:21,200
Speaker 1: not sleep, he added to Mark Elliott. Hotel mattresses are awful,

1345
01:15:21,479 --> 01:15:26,280
Speaker 1: the worst damn thing in the room. Bitch, bitch. Levon

1346
01:15:26,400 --> 01:15:29,280
Speaker 1: Helm had been cancer and he got back behind the kit.

1347
01:15:29,880 --> 01:15:32,040
Speaker 1: The best part of all of this, According to the

1348
01:15:32,160 --> 01:15:35,840
Speaker 1: tours electrician Joe Berry, the mattress quote never once got

1349
01:15:36,080 --> 01:15:38,960
Speaker 1: used because no hotel would allow us to bring it in.

1350
01:15:40,560 --> 01:15:43,040
Speaker 1: I'm guessing I don't know how bedbugs concerned. I mean,

1351
01:15:43,080 --> 01:15:45,160
Speaker 1: I'm not sure which of the many reasons they chose

1352
01:15:45,240 --> 01:15:50,040
Speaker 1: not to allow this mattress in. In addition to this expenditure,

1353
01:15:50,120 --> 01:15:53,680
Speaker 1: Glenn Fry also supposedly brought along his tennis coach on

1354
01:15:53,800 --> 01:15:57,360
Speaker 1: this tour, and there were also times when Don Henley

1355
01:15:57,400 --> 01:16:00,679
Speaker 1: would squire his girlfriend Stevie Nicks around a lerid jet.

1356
01:16:01,200 --> 01:16:04,000
Speaker 1: The expression at the time among the alpha males of

1357
01:16:04,080 --> 01:16:07,920
Speaker 1: the Eagles was love Them and Lirium, which I hate.

1358
01:16:09,000 --> 01:16:11,800
Speaker 1: Don Felder, Poor Don Felder resented all of this because

1359
01:16:11,840 --> 01:16:15,120
Speaker 1: apparently all these expenses were paid for evenly by the group.

1360
01:16:15,400 --> 01:16:21,280
Speaker 1: Oh that's so bad again, the guy being like, you know,

1361
01:16:21,479 --> 01:16:23,680
Speaker 1: oh we've been We've got a lot more daunt if

1362
01:16:23,680 --> 01:16:26,960
Speaker 1: people didn't care about credit. But also the entire bander

1363
01:16:27,040 --> 01:16:30,000
Speaker 1: is responsible for my bed that will be carted with us,

1364
01:16:30,120 --> 01:16:39,360
Speaker 1: that I will never use. That's pretty good. We're gonna

1365
01:16:39,400 --> 01:16:41,800
Speaker 1: take a quick break, but we'll be right back with more.

1366
01:16:41,920 --> 01:16:57,440
Speaker 1: Too much information in just a moment. Hotel California's popularity

1367
01:16:57,520 --> 01:17:00,839
Speaker 1: even caught the eyes of Hollywood, notably the eyes belonging

1368
01:17:00,920 --> 01:17:03,320
Speaker 1: to Julia Phillips, the first female producer to win an

1369
01:17:03,360 --> 01:17:05,840
Speaker 1: Oscar in nineteen seventy seven. She was coming off of

1370
01:17:05,920 --> 01:17:09,120
Speaker 1: hits like The Sting and Taxi Driver, with her latest project,

1371
01:17:09,280 --> 01:17:12,479
Speaker 1: Close Encounters of the Third Kind, poised to continue the streak.

1372
01:17:13,040 --> 01:17:14,760
Speaker 1: Phillips died in two thousand and two, but she wrote

1373
01:17:14,800 --> 01:17:16,960
Speaker 1: in a nineteen ninety one memoir called You'll Never Eat

1374
01:17:17,040 --> 01:17:19,920
Speaker 1: Lunch in this Town Again, and she explained that she

1375
01:17:20,040 --> 01:17:23,960
Speaker 1: had this project kicking around called the third Man through

1376
01:17:24,040 --> 01:17:27,679
Speaker 1: the Door. I was unable to find anything else about

1377
01:17:27,720 --> 01:17:30,280
Speaker 1: this other than in her book. The third Man through

1378
01:17:30,320 --> 01:17:33,320
Speaker 1: the Door is a something Sam Peckinpass said about Westerns

1379
01:17:33,360 --> 01:17:36,679
Speaker 1: where he said, that's the character. There's the bad guy

1380
01:17:36,880 --> 01:17:40,160
Speaker 1: or the hero, and then the sidekick or the b guy,

1381
01:17:40,520 --> 01:17:42,600
Speaker 1: and then the third guy through the door is the

1382
01:17:42,640 --> 01:17:45,519
Speaker 1: guy who holds the door and usually dies, and he

1383
01:17:45,640 --> 01:17:47,200
Speaker 1: doesn't have a name. And he said, I wanted to

1384
01:17:47,240 --> 01:17:49,680
Speaker 1: make films about the third man through the door. And

1385
01:17:49,840 --> 01:17:52,200
Speaker 1: so this thing Phillips was envisioning was this crazy like

1386
01:17:52,400 --> 01:17:57,320
Speaker 1: meta meta narrative about like the movie industry and itself

1387
01:17:57,479 --> 01:18:01,400
Speaker 1: and myth making blah blah blah. And she got in

1388
01:18:01,520 --> 01:18:05,640
Speaker 1: touch with Irving A's Off for a preliminator meeting and

1389
01:18:05,760 --> 01:18:08,320
Speaker 1: explained this to him, and she wrote in her book

1390
01:18:08,320 --> 01:18:10,519
Speaker 1: that he said, I don't have the vaguest idea of

1391
01:18:10,600 --> 01:18:12,080
Speaker 1: what you have in mind, but you seem like a

1392
01:18:12,160 --> 01:18:17,519
Speaker 1: crazy creative person. Let me put this together. The seventies, Phillips,

1393
01:18:18,120 --> 01:18:20,880
Speaker 1: like some of the band, it must be pointed out,

1394
01:18:21,040 --> 01:18:24,679
Speaker 1: had a prodigious cocaine habit, and she recalled the meeting

1395
01:18:24,840 --> 01:18:28,200
Speaker 1: with the band at her Beverly Hills home, and she

1396
01:18:28,680 --> 01:18:31,040
Speaker 1: said she brought out a big pile of coke. She said,

1397
01:18:31,080 --> 01:18:34,720
Speaker 1: everyone but Irving partakes throughout. I do my riff. John

1398
01:18:34,800 --> 01:18:37,920
Speaker 1: Henley seems bright and responsive. I get kind of hung

1399
01:18:38,000 --> 01:18:41,320
Speaker 1: up on his ears, though, which stick out. I love

1400
01:18:41,439 --> 01:18:44,599
Speaker 1: that he probably read that and seethed for days afterwards.

1401
01:18:44,880 --> 01:18:47,519
Speaker 1: A recalcitrant Glenn Fry does a lot of blow and

1402
01:18:47,680 --> 01:18:52,280
Speaker 1: seems angry about it. The seventies they seem sparked by

1403
01:18:52,320 --> 01:18:55,800
Speaker 1: the idea, but then everyone except Irving is pretty lit

1404
01:18:55,880 --> 01:18:58,479
Speaker 1: by the blow. They agreed to think about it. In

1405
01:18:58,560 --> 01:19:01,519
Speaker 1: the Mark Elliot Eagles book recalled his version of the

1406
01:19:01,600 --> 01:19:04,519
Speaker 1: same meeting. Both Glenn and I remember that day quite vividly.

1407
01:19:04,960 --> 01:19:07,320
Speaker 1: We had gone to her house reluctantly. We'd already had

1408
01:19:07,360 --> 01:19:10,360
Speaker 1: some bad experiences with movie people. They always thought we

1409
01:19:10,360 --> 01:19:12,439
Speaker 1: should be excited or flattered because they wanted to make

1410
01:19:12,520 --> 01:19:15,160
Speaker 1: movies out of our songs. In fact, we really didn't

1411
01:19:15,200 --> 01:19:17,000
Speaker 1: want anything to do with it. We were pretty sure

1412
01:19:17,000 --> 01:19:19,200
Speaker 1: they'd take our songs and ruin them. We knew enough

1413
01:19:19,240 --> 01:19:20,800
Speaker 1: about the film business to know that you'd have to

1414
01:19:20,880 --> 01:19:23,960
Speaker 1: relinquish all control, and that it's somebody else's vision just

1415
01:19:24,120 --> 01:19:29,640
Speaker 1: like rock videos are today. Okay, Coke, Henley continued, was

1416
01:19:29,680 --> 01:19:32,160
Speaker 1: at the peak of its popularity in Hollywood, and Phillips

1417
01:19:32,240 --> 01:19:34,320
Speaker 1: was in the process of flaming out her career on it.

1418
01:19:34,840 --> 01:19:37,760
Speaker 1: We sat there, polite, but not terribly friendly. We were

1419
01:19:37,800 --> 01:19:40,599
Speaker 1: too wary to be friendly. In an effort to loosen

1420
01:19:40,720 --> 01:19:43,000
Speaker 1: us up, she dragged out this huge ashtray filled with

1421
01:19:43,000 --> 01:19:45,720
Speaker 1: amount of coke. She offered us some and we said no.

1422
01:19:46,120 --> 01:19:47,560
Speaker 1: We didn't know her that well and it was a

1423
01:19:47,600 --> 01:19:51,000
Speaker 1: business meeting. Afterwards, Azof gave her the brush off, and

1424
01:19:51,080 --> 01:19:53,280
Speaker 1: in short order she was fired from close encounters and

1425
01:19:53,360 --> 01:19:56,280
Speaker 1: wound up living with her drug dealer, in her words,

1426
01:19:56,640 --> 01:19:59,240
Speaker 1: to cut out the middleman. But the project was probably

1427
01:19:59,280 --> 01:20:01,400
Speaker 1: ill fated from the art. As someone close to the

1428
01:20:01,439 --> 01:20:04,280
Speaker 1: band told Elliott for the book, the band didn't really

1429
01:20:04,320 --> 01:20:07,200
Speaker 1: want to see Hotel California made into a movie. They

1430
01:20:07,240 --> 01:20:10,040
Speaker 1: were suspicious of the film business, after all, that was

1431
01:20:10,120 --> 01:20:13,639
Speaker 1: what Hotel California was about. To that end, the band

1432
01:20:13,640 --> 01:20:16,200
Speaker 1: has infrequently allowed their music to appear in TV shows

1433
01:20:16,320 --> 01:20:18,599
Speaker 1: or movies, and consequently, one of the best known covers

1434
01:20:18,720 --> 01:20:20,400
Speaker 1: of the song is their version of the song that

1435
01:20:20,439 --> 01:20:23,200
Speaker 1: appears in The Big Lebowski, which is a Gypsy king's

1436
01:20:23,600 --> 01:20:28,120
Speaker 1: flamenco rendition, which is hilarious because that film obviously gives

1437
01:20:28,200 --> 01:20:31,040
Speaker 1: us the iconic line I've had a rough night and

1438
01:20:31,160 --> 01:20:34,760
Speaker 1: I hate the Eagles. Other notable covers came from the

1439
01:20:34,800 --> 01:20:39,000
Speaker 1: British electronic duo The Orb, whose version charted at number

1440
01:20:39,040 --> 01:20:41,760
Speaker 1: sixty two in the UK in nineteen ninety Great Band

1441
01:20:41,840 --> 01:20:46,320
Speaker 1: Name Love a band just called the Orb a Hawaiian

1442
01:20:46,479 --> 01:20:50,400
Speaker 1: artist named Mike Piranha who wrote a parody called Hotel Honolulu,

1443
01:20:50,880 --> 01:20:54,479
Speaker 1: satirizing the over development, crime and other issues in Oahu.

1444
01:20:54,920 --> 01:20:57,360
Speaker 1: The song became a local hit in Hawaiian nineteen ninety eight,

1445
01:20:58,000 --> 01:21:01,320
Speaker 1: and one of the most famous ones is Frank Ocean

1446
01:21:01,439 --> 01:21:04,840
Speaker 1: released a song that samples the entire instrumental track of

1447
01:21:04,920 --> 01:21:07,920
Speaker 1: Hotel California, which must be said is a pretty lazy

1448
01:21:08,000 --> 01:21:12,120
Speaker 1: way of sampling stuff on his seminal mixtape Nostalgia Ultra

1449
01:21:12,280 --> 01:21:15,120
Speaker 1: in twenty eleven, so I was called American Wedding and

1450
01:21:15,280 --> 01:21:19,439
Speaker 1: Don Henley, who hates sampling and rap, threatened Ocean with

1451
01:21:19,520 --> 01:21:22,120
Speaker 1: a lawsuit for copyright refringement. I found out what he

1452
01:21:22,200 --> 01:21:25,760
Speaker 1: said about Frank Ocean. Oh will you say? I thought

1453
01:21:25,800 --> 01:21:30,120
Speaker 1: he was a talentless little prick ah anymore. I mean

1454
01:21:30,880 --> 01:21:35,920
Speaker 1: the thought seems to imply, but nope again, like I

1455
01:21:36,000 --> 01:21:37,920
Speaker 1: get it. It's a pretty egregious sample. He said, you

1456
01:21:37,960 --> 01:21:40,360
Speaker 1: can't rewrite the lyrics to somebody else's songs, record it

1457
01:21:40,400 --> 01:21:42,360
Speaker 1: and put it on the internet. Some of these young

1458
01:21:42,479 --> 01:21:44,280
Speaker 1: kids have grown up in a world that doesn't understand

1459
01:21:44,360 --> 01:21:47,559
Speaker 1: or respect copyright material or intellectual property. They look at

1460
01:21:47,600 --> 01:21:53,240
Speaker 1: songs as interactive playthings. Okay, sure, I would have accepted

1461
01:21:53,280 --> 01:21:56,600
Speaker 1: the explanation had he not used such soulless terms like

1462
01:21:57,000 --> 01:22:01,800
Speaker 1: intellectual copyright and yeah, like songs are my children like

1463
01:22:02,360 --> 01:22:05,240
Speaker 1: like that kind of description, I would be like, okay, fine, Yeah,

1464
01:22:05,320 --> 01:22:08,760
Speaker 1: I mean, songs are playthings. It's the folk music dude,

1465
01:22:08,840 --> 01:22:15,519
Speaker 1: like jazz jazz like well, the best thing or the

1466
01:22:15,600 --> 01:22:19,000
Speaker 1: worst thing to make up, you know, choices. Yours about

1467
01:22:19,040 --> 01:22:21,600
Speaker 1: the song Hotel California is that it basically spelled the

1468
01:22:21,760 --> 01:22:25,719
Speaker 1: end of the Eagles. Bassist and founding member Randy Meisner

1469
01:22:25,840 --> 01:22:29,400
Speaker 1: quit the band formally in nineteen seventy seven, citing exhaustion.

1470
01:22:30,120 --> 01:22:32,240
Speaker 1: In truth, he was just really not cut out for

1471
01:22:32,320 --> 01:22:35,240
Speaker 1: life with Henley and Fry. Simply put, he wasn't as

1472
01:22:35,320 --> 01:22:39,400
Speaker 1: Joe Walsh put it, and Alpha. There's this heartbreaking vintage

1473
01:22:39,439 --> 01:22:41,519
Speaker 1: interview with him back in the seventies in the History

1474
01:22:41,520 --> 01:22:44,240
Speaker 1: of the Eagles documentary. He says, all they want to

1475
01:22:44,240 --> 01:22:48,160
Speaker 1: see is five guys happy playing together. Narrator voice, that

1476
01:22:48,320 --> 01:22:51,160
Speaker 1: was not going to happen in the Eagles. To use

1477
01:22:51,240 --> 01:22:54,840
Speaker 1: the Godfather law of interpersonal dynamics. I always saw Randy

1478
01:22:54,880 --> 01:22:57,920
Speaker 1: as the freighto to Glenn's Sonny. You know, he's loud,

1479
01:22:58,080 --> 01:23:00,840
Speaker 1: quick tempered, the nominal leader, not afraid to look like

1480
01:23:00,920 --> 01:23:04,840
Speaker 1: a jerk. And Don Henley's Michael just the cold fury.

1481
01:23:05,080 --> 01:23:08,760
Speaker 1: It's a great side by side image is Alpacino as

1482
01:23:08,800 --> 01:23:15,679
Speaker 1: Michael Corleone had Andy's punchable little face. But Randy Meisner,

1483
01:23:16,200 --> 01:23:18,599
Speaker 1: he just wasn't cut out for this. Confrontations were really

1484
01:23:18,640 --> 01:23:20,600
Speaker 1: hard for him, and he felt that as soon as

1485
01:23:20,680 --> 01:23:24,280
Speaker 1: the band started all taking separate limos, the camaraderie was lost.

1486
01:23:24,960 --> 01:23:26,600
Speaker 1: In addition to the strain of living out of a

1487
01:23:26,680 --> 01:23:29,240
Speaker 1: suitcase ran he was also coping with the collapse of

1488
01:23:29,320 --> 01:23:33,599
Speaker 1: his marriage, which he did by partying, and his major

1489
01:23:33,720 --> 01:23:36,599
Speaker 1: discomfort about touring with the Eagles. Really concerned the song

1490
01:23:36,840 --> 01:23:40,760
Speaker 1: Take It to the Limit, which features his soaring falsetto

1491
01:23:40,880 --> 01:23:43,840
Speaker 1: It's Really Beautiful. The song became an instant staple in

1492
01:23:43,880 --> 01:23:47,160
Speaker 1: the Eagles set and served as their concert encore. And

1493
01:23:47,360 --> 01:23:50,040
Speaker 1: this moment in the spotlight just didn't sit well with Randy.

1494
01:23:50,120 --> 01:23:52,280
Speaker 1: He wasn't cut out for it. He was just fundamentally

1495
01:23:52,360 --> 01:23:55,120
Speaker 1: a shy, humble guy, and the pressure of having him

1496
01:23:55,120 --> 01:23:57,680
Speaker 1: do the solo spot really wore on him, and he

1497
01:23:57,960 --> 01:24:00,280
Speaker 1: just dreaded it. He was always terrified that he wasn't

1498
01:24:00,280 --> 01:24:02,519
Speaker 1: gonna be able to hit that high note and let

1499
01:24:02,600 --> 01:24:06,000
Speaker 1: everyone down. And you've heard that high note, it's pretty screaming.

1500
01:24:06,160 --> 01:24:10,320
Speaker 1: That's a very real concern. So all this anxiety came

1501
01:24:10,360 --> 01:24:12,599
Speaker 1: to a head at a gig in Knoxville in June

1502
01:24:12,720 --> 01:24:16,479
Speaker 1: nineteen seventy seven, after eleven straight months on the road.

1503
01:24:17,120 --> 01:24:20,799
Speaker 1: They were a little fried. Yeah, there are differing accounts

1504
01:24:20,840 --> 01:24:23,400
Speaker 1: as to what happened exactly. According to Glenn Fry and

1505
01:24:23,479 --> 01:24:26,160
Speaker 1: Don Henley, Randy but out with some ladies in a

1506
01:24:26,200 --> 01:24:28,519
Speaker 1: bottle of vodka the night before and his voice was

1507
01:24:28,600 --> 01:24:30,839
Speaker 1: pretty shot by the time they were ready to perform.

1508
01:24:31,920 --> 01:24:35,160
Speaker 1: According to Randy, his ulcer was acting up and he

1509
01:24:35,240 --> 01:24:39,240
Speaker 1: had a bad case of the flu. Either way. Right

1510
01:24:39,280 --> 01:24:41,560
Speaker 1: before the show, Randy told the tour manager that he

1511
01:24:41,640 --> 01:24:44,040
Speaker 1: wasn't well enough to do his big spotlight moment and

1512
01:24:44,200 --> 01:24:46,000
Speaker 1: WO would take it to the limit. Removed from the

1513
01:24:46,080 --> 01:24:49,519
Speaker 1: set list. Glenn Fry learns of this, and he's unhappy,

1514
01:24:49,640 --> 01:24:52,080
Speaker 1: to say the least, I feel like he's fundamentally unhappy.

1515
01:24:52,680 --> 01:24:55,479
Speaker 1: He wants Randy to provide that big encore moment. He

1516
01:24:55,560 --> 01:24:57,719
Speaker 1: tells him, you know, there's people in the audience who've

1517
01:24:57,720 --> 01:25:00,120
Speaker 1: been waiting something, you know, for years, to see you

1518
01:25:00,240 --> 01:25:02,559
Speaker 1: do this song. This is our big moment, it's our

1519
01:25:02,600 --> 01:25:05,920
Speaker 1: big encore. We can't let them down. Randy doesn't want

1520
01:25:05,960 --> 01:25:08,960
Speaker 1: to do it. This all results in a backstage scuffle,

1521
01:25:09,040 --> 01:25:12,320
Speaker 1: with Randy throwing Glen up against the wall, which is

1522
01:25:12,560 --> 01:25:15,559
Speaker 1: kind of nuts considering he's this mild manner again. It's

1523
01:25:15,600 --> 01:25:19,040
Speaker 1: like Fredo and the Godfather fighting Sonny. It's sorry to imagine.

1524
01:25:19,680 --> 01:25:23,000
Speaker 1: Security starts to swarm, but Don Henley warns them off

1525
01:25:23,040 --> 01:25:26,240
Speaker 1: by screaming, stay out of this. This is personal and private,

1526
01:25:26,640 --> 01:25:32,559
Speaker 1: real private, amazing a white man yelling at the police

1527
01:25:32,920 --> 01:25:35,880
Speaker 1: stay out of this, like talk about what a what

1528
01:25:36,000 --> 01:25:43,280
Speaker 1: a perfect image. It's private, real fucking private. From that point, on. Yeah,

1529
01:25:44,640 --> 01:25:49,639
Speaker 1: who do you think is worse kimono and big curly

1530
01:25:49,760 --> 01:25:56,120
Speaker 1: perm era Lindsey Buckingham Or it's definitely Henley, Just definitely Henley. Okay, yeah,

1531
01:25:56,120 --> 01:25:59,160
Speaker 1: I mean he who would win in a fight? Oh,

1532
01:25:59,400 --> 01:26:03,479
Speaker 1: great question? Probably Henley. He would want it more Lindsay

1533
01:26:03,520 --> 01:26:06,959
Speaker 1: Bucky at least, see his credit was like genuinely interested

1534
01:26:07,120 --> 01:26:11,080
Speaker 1: in like innovating and being weird like tusk you know

1535
01:26:11,160 --> 01:26:14,560
Speaker 1: they like eagles would never make tusk um. I'd like

1536
01:26:14,640 --> 01:26:17,799
Speaker 1: to think Lindsay could throw some hands. But yeah, Henley,

1537
01:26:17,920 --> 01:26:20,080
Speaker 1: he's too much. He would and he would. He would

1538
01:26:20,120 --> 01:26:23,840
Speaker 1: fight like Sonny too. He would. He would smash you.

1539
01:26:24,479 --> 01:26:27,280
Speaker 1: He would bite the garments can he would? He's a biter.

1540
01:26:28,040 --> 01:26:32,200
Speaker 1: I see that in his eyes. Wait did Sonny bite?

1541
01:26:32,240 --> 01:26:34,400
Speaker 1: I don't remember, Sonny. When the guy's like, when the

1542
01:26:34,439 --> 01:26:37,840
Speaker 1: guy's like holding his hands on the on the rail,

1543
01:26:37,920 --> 01:26:40,040
Speaker 1: he like leans down in his fury and like bites

1544
01:26:40,080 --> 01:26:42,000
Speaker 1: in his hands to get him to stop. Oh yeah,

1545
01:26:43,400 --> 01:26:45,320
Speaker 1: I like this metaphor. I like this metaphor. Is the

1546
01:26:45,400 --> 01:26:49,479
Speaker 1: Eagles is guys for the Godfathers. But poor Randy from

1547
01:26:49,520 --> 01:26:51,720
Speaker 1: that point on, he was basically iced out and at

1548
01:26:51,760 --> 01:26:54,080
Speaker 1: the end of the tour, he quit. He later said

1549
01:26:54,120 --> 01:26:56,880
Speaker 1: those last days on the road were the worst. Nobody

1550
01:26:57,000 --> 01:26:59,160
Speaker 1: was talking to me or would hang out after shows

1551
01:26:59,320 --> 01:27:02,479
Speaker 1: or do anything. I was made an outcast of the band.

1552
01:27:02,640 --> 01:27:06,519
Speaker 1: I'd help start. He later added, this was the end.

1553
01:27:06,680 --> 01:27:08,360
Speaker 1: I really felt like I was just a member of

1554
01:27:08,400 --> 01:27:11,040
Speaker 1: the group and not a part of it. And the

1555
01:27:11,080 --> 01:27:14,120
Speaker 1: band ultimately replaced him with bassist Timothy B. Schmidt, who

1556
01:27:14,479 --> 01:27:17,360
Speaker 1: oddly enough, had replaced Meisner in the country rock band

1557
01:27:17,479 --> 01:27:22,200
Speaker 1: Poco seven years earlier, and his second Bird related contribution

1558
01:27:22,240 --> 01:27:23,880
Speaker 1: to Rock and Roll. As we covered, he also coined

1559
01:27:23,920 --> 01:27:28,000
Speaker 1: the term parrot heads for Jimmy Buffett fans. Oh that's right, Yes,

1560
01:27:28,120 --> 01:27:31,120
Speaker 1: that's right, Timothy B. Schmidt, friend of the Birds. Yes,

1561
01:27:31,680 --> 01:27:34,200
Speaker 1: Poco have any members of the Birds in it? Oh?

1562
01:27:34,280 --> 01:27:37,080
Speaker 1: I don't think so. I was Buffalo Springfield, never mind,

1563
01:27:37,360 --> 01:27:40,560
Speaker 1: would have been amazing, a lot of layers. No, I

1564
01:27:40,600 --> 01:27:42,519
Speaker 1: thought it seems I thought of someone in lall Kenny

1565
01:27:42,520 --> 01:27:45,600
Speaker 1: who probably didn't suck as Jackson Brown. Oh yeah, no,

1566
01:27:45,760 --> 01:27:51,040
Speaker 1: he seems awesome. Yeah. Randy Meiser's later years are pretty gothic.

1567
01:27:51,760 --> 01:27:53,559
Speaker 1: He joined the Eagles at the Rock and Roll Hall

1568
01:27:53,560 --> 01:27:56,040
Speaker 1: of Fame induction in nineteen ninety eight, but his attempt

1569
01:27:56,120 --> 01:27:58,360
Speaker 1: to join the band on stage when the two thousand

1570
01:27:58,360 --> 01:28:01,800
Speaker 1: and eight tour came through LA were rebuffed. He said,

1571
01:28:01,840 --> 01:28:04,080
Speaker 1: I didn't get much response. I thought it would be

1572
01:28:04,200 --> 01:28:06,320
Speaker 1: nice to sit with Timothy bie Schmidt and saying take

1573
01:28:06,360 --> 01:28:08,479
Speaker 1: it to the limit, but they pretty much gave me

1574
01:28:08,560 --> 01:28:11,479
Speaker 1: a no. In a roundabout way. I can't blame them.

1575
01:28:11,720 --> 01:28:13,320
Speaker 1: They have to keep their band the way it is,

1576
01:28:14,280 --> 01:28:18,120
Speaker 1: and his story, it just gets bad. He founded the band,

1577
01:28:18,360 --> 01:28:23,000
Speaker 1: they have to keep the band. This makes me so sad. Sorry, well,

1578
01:28:23,200 --> 01:28:26,720
Speaker 1: it gets even sadder. In twenty thirteen, I guess they

1579
01:28:26,800 --> 01:28:29,240
Speaker 1: finally did reach out to him to join their History

1580
01:28:29,240 --> 01:28:32,800
Speaker 1: of the Eagles tour alongside prior Eagles member Bernie Leaden,

1581
01:28:33,560 --> 01:28:36,559
Speaker 1: but Randy Meister had a serious health scare that prohibited

1582
01:28:36,640 --> 01:28:39,840
Speaker 1: him from going out on tour after thirty six years

1583
01:28:39,920 --> 01:28:42,759
Speaker 1: of waiting. He missed his chance to rejoin the band

1584
01:28:42,840 --> 01:28:46,400
Speaker 1: that he helped found. And I guess somehow this health

1585
01:28:46,439 --> 01:28:49,400
Speaker 1: scare involved him losing consciousness after a piece of food

1586
01:28:49,479 --> 01:28:52,160
Speaker 1: obstructed his breathing, and he was in a coma for

1587
01:28:52,240 --> 01:28:55,920
Speaker 1: a time. And he also dealt with alcoholism and mental

1588
01:28:55,960 --> 01:29:00,040
Speaker 1: health issues, including bipolar disorder. And in twenty fifteen I

1589
01:29:00,160 --> 01:29:01,920
Speaker 1: read it he threatened to kill his wife with an

1590
01:29:01,960 --> 01:29:06,240
Speaker 1: AK forty seven during an episode of what I assumed

1591
01:29:06,240 --> 01:29:09,280
Speaker 1: to be his bipolar disorder, and on another occasion he

1592
01:29:09,400 --> 01:29:12,760
Speaker 1: threatened to take all of his medication at once. And

1593
01:29:13,160 --> 01:29:15,240
Speaker 1: I think he was placed in a conservative ship for

1594
01:29:15,320 --> 01:29:18,200
Speaker 1: a time, but then his wife ended up getting killed

1595
01:29:18,280 --> 01:29:21,960
Speaker 1: what a rifle she was handling accidentally discharged in some

1596
01:29:22,160 --> 01:29:26,400
Speaker 1: freak accident. So all in all, Randy Meiser's later years

1597
01:29:26,520 --> 01:29:29,400
Speaker 1: have been pretty bleak. So prayers up for him. And

1598
01:29:29,760 --> 01:29:32,320
Speaker 1: you know, I feel compelled to back up my soft spoken,

1599
01:29:32,600 --> 01:29:36,360
Speaker 1: gentle bass playing brethren. And I think there was a

1600
01:29:36,479 --> 01:29:39,400
Speaker 1: time our friend of the real life friend of the Pot,

1601
01:29:39,479 --> 01:29:43,639
Speaker 1: Andrew Bank, told me about this wild story about how

1602
01:29:43,960 --> 01:29:47,720
Speaker 1: somebody went out and toured under Randy Meiser's name for

1603
01:29:47,840 --> 01:29:52,439
Speaker 1: many years just impersonated him. Yeah, a weird story there.

1604
01:29:52,520 --> 01:29:55,280
Speaker 1: There's a lot there. And to continue on the gradual,

1605
01:29:55,520 --> 01:29:59,000
Speaker 1: slow dissolution of the Eagles, we got to talk about

1606
01:29:59,120 --> 01:30:02,520
Speaker 1: Dawn Finger Felder, which is a schism we've been foreshadowing

1607
01:30:02,560 --> 01:30:06,759
Speaker 1: this entire episode now, as with Fleetwood Mac with rumors

1608
01:30:06,920 --> 01:30:10,120
Speaker 1: the Eagles struggled to follow Hotel California and its huge

1609
01:30:10,160 --> 01:30:12,720
Speaker 1: success and sessions for the album that would become their

1610
01:30:12,760 --> 01:30:16,000
Speaker 1: follow up. The Long Run stretched on for a punishing

1611
01:30:16,160 --> 01:30:20,519
Speaker 1: eighteen months, just torturous sessions, and by this point no

1612
01:30:20,640 --> 01:30:22,920
Speaker 1: one in the Eagles liked each other. But Don Felder

1613
01:30:23,120 --> 01:30:26,680
Speaker 1: was especially aggrieved. He was increasingly at odds with Don

1614
01:30:26,800 --> 01:30:29,599
Speaker 1: Henley and Glen Fry, who he derissively referred to as

1615
01:30:29,720 --> 01:30:32,200
Speaker 1: the gods, hanging out in the back of their private

1616
01:30:32,280 --> 01:30:34,759
Speaker 1: plane and discussing the future of the bands while everyone

1617
01:30:34,840 --> 01:30:37,519
Speaker 1: else was left out in the cold. There are stories

1618
01:30:37,560 --> 01:30:40,360
Speaker 1: about Don Felder being bullied on the road for wearing

1619
01:30:40,439 --> 01:30:44,160
Speaker 1: the quote wrong colored shoes and being told where to stand,

1620
01:30:44,560 --> 01:30:47,559
Speaker 1: lots of foot criticism. Once Glenn Fry mimicked his walk

1621
01:30:47,640 --> 01:30:51,320
Speaker 1: on stage and Don Felder kind of understandably flipped out

1622
01:30:51,400 --> 01:30:56,240
Speaker 1: and shoved Glenn against the wall. So resentment boiling for many,

1623
01:30:56,280 --> 01:30:59,559
Speaker 1: many years, And this resentment boiled over on July thirty first,

1624
01:30:59,680 --> 01:31:02,719
Speaker 1: nineteen eighty, the night the Eagles played a benefit concert

1625
01:31:02,760 --> 01:31:06,880
Speaker 1: for California Senator Alan Cranston at Long Beach Arena. This

1626
01:31:07,160 --> 01:31:12,679
Speaker 1: is a truly historic moment in Eagles lore. Don Felder

1627
01:31:12,760 --> 01:31:15,120
Speaker 1: was pretty a political so he was frustrated about having

1628
01:31:15,200 --> 01:31:17,519
Speaker 1: to go along with Don Hanley and Glenn Fries wishes

1629
01:31:17,600 --> 01:31:20,920
Speaker 1: to make a grand statement, And then when the Senator

1630
01:31:21,080 --> 01:31:24,080
Speaker 1: went around thanking each musician individually at a pre show

1631
01:31:24,160 --> 01:31:26,920
Speaker 1: meet and greet, Don Felder replied to his thank you

1632
01:31:27,040 --> 01:31:32,759
Speaker 1: with a very Kurt, you're welcome, Senator. I guess Glenn

1633
01:31:32,840 --> 01:31:36,840
Speaker 1: Fry was outraged by his surliness and let Felder have

1634
01:31:37,000 --> 01:31:39,640
Speaker 1: it as soon as the Senator left. Felder said in

1635
01:31:39,720 --> 01:31:41,760
Speaker 1: his two thousand and eight memoir Heaven and Hell, My

1636
01:31:41,880 --> 01:31:44,320
Speaker 1: Life and the Eagles, Glenn found me in the dressing

1637
01:31:44,400 --> 01:31:46,400
Speaker 1: room and started yelling at me. I don't know if

1638
01:31:46,439 --> 01:31:48,200
Speaker 1: it was the drugs so the fact that we've been

1639
01:31:48,240 --> 01:31:50,360
Speaker 1: on tour for so long, but he just blew up.

1640
01:31:50,760 --> 01:31:52,840
Speaker 1: Just before we stepped on stage. I turned to him

1641
01:31:52,840 --> 01:31:54,720
Speaker 1: and said, you know, Glenn, you know what she did

1642
01:31:54,760 --> 01:31:57,839
Speaker 1: back there. You're a real ass for doing that. Glenn replied,

1643
01:31:58,040 --> 01:32:02,200
Speaker 1: that's an honor coming from you. The threats continued on

1644
01:32:02,520 --> 01:32:07,519
Speaker 1: Mike in the middle of the night's performance. Glenn Fry recalled,

1645
01:32:07,880 --> 01:32:10,040
Speaker 1: now we're on stage, and Felder looks back at me

1646
01:32:10,120 --> 01:32:12,679
Speaker 1: and says, only three more songs to like, kick your ass.

1647
01:32:12,760 --> 01:32:16,840
Speaker 1: Pal and I'm saying great, I can't wait. We're out

1648
01:32:16,880 --> 01:32:19,559
Speaker 1: there singing best of my love and inside we're both thinking,

1649
01:32:19,640 --> 01:32:21,680
Speaker 1: as soon as this is over, I'm going to kill him.

1650
01:32:22,520 --> 01:32:24,760
Speaker 1: And there is audio of this that's you can hear

1651
01:32:24,800 --> 01:32:26,880
Speaker 1: in the History of the Eagles documentary, and what was

1652
01:32:26,920 --> 01:32:29,439
Speaker 1: said on the mic was you're a real pro gun.

1653
01:32:30,600 --> 01:32:35,479
Speaker 1: Yeah you are too. The way you hand I've been

1654
01:32:35,520 --> 01:32:48,880
Speaker 1: paying you for seven years. Sound technicians, who feared that

1655
01:32:48,960 --> 01:32:51,920
Speaker 1: the crowd might overhear these taunts, worked overtime to make

1656
01:32:51,920 --> 01:32:55,439
Speaker 1: sure that Glenfryes mike was turned down, but Don Felder

1657
01:32:55,560 --> 01:32:58,639
Speaker 1: said after each song, Glenn would come over and approach

1658
01:32:58,760 --> 01:33:01,400
Speaker 1: me to quote rant rave curse and let me know

1659
01:33:01,560 --> 01:33:05,880
Speaker 1: how many songs remains before our fight? Three more songs,

1660
01:33:05,960 --> 01:33:09,679
Speaker 1: asked I'm gonna kill you. I can't wait. That's my favorite.

1661
01:33:10,920 --> 01:33:13,240
Speaker 1: Counting down the songs you have left on stage before

1662
01:33:13,240 --> 01:33:17,599
Speaker 1: you want to get a fight with your co band member. Incredible. Oh,

1663
01:33:17,880 --> 01:33:20,080
Speaker 1: that story goes out to our friend of the pod, Dora.

1664
01:33:20,200 --> 01:33:23,320
Speaker 1: I know she loves that one. I'd rather than assault

1665
01:33:23,400 --> 01:33:26,200
Speaker 1: Glen Fry. Don Felder asked a roadie after the show

1666
01:33:26,280 --> 01:33:29,040
Speaker 1: to hand over his acoustic guitar, which he then smashed

1667
01:33:29,040 --> 01:33:32,679
Speaker 1: against the concrete column backstage, an old trick he learned

1668
01:33:32,720 --> 01:33:36,320
Speaker 1: from bandmate Joe Walsh, feller out in his memoir. By

1669
01:33:36,360 --> 01:33:38,479
Speaker 1: the time I was finished, it was kindling on the floor.

1670
01:33:39,000 --> 01:33:41,800
Speaker 1: I turned and saw the Cranstons the Senator standing right

1671
01:33:41,880 --> 01:33:44,599
Speaker 1: behind me, their mouths and gape. A few feet away

1672
01:33:44,640 --> 01:33:47,360
Speaker 1: stood a stony faced Glenn Fry. This had little or

1673
01:33:47,439 --> 01:33:49,600
Speaker 1: nothing to do with the Cranstons, but Glenn thought I

1674
01:33:49,640 --> 01:33:51,160
Speaker 1: did that right in front of them to drive it

1675
01:33:51,240 --> 01:33:54,200
Speaker 1: up as but typical of you to break your cheapest guitar,

1676
01:33:54,360 --> 01:33:56,800
Speaker 1: Glenn told me. After the Cranstons hurried off to their car,

1677
01:33:57,439 --> 01:33:59,120
Speaker 1: afraid of what I might do if I opened my

1678
01:33:59,200 --> 01:34:02,000
Speaker 1: mouth to respond, I jumped into my limo and sped off.

1679
01:34:03,200 --> 01:34:06,320
Speaker 1: And as master of understatement Joe Walsh would later say,

1680
01:34:07,040 --> 01:34:09,040
Speaker 1: when that kind of stuff is on stage and you're

1681
01:34:09,040 --> 01:34:13,840
Speaker 1: in front of people, you got problems. Yes, Don Henley

1682
01:34:14,320 --> 01:34:17,519
Speaker 1: kicked a fan out of a show in twenty fifteen,

1683
01:34:17,560 --> 01:34:22,880
Speaker 1: fore yelling Don Felder's name, Wow, What did he say?

1684
01:34:22,920 --> 01:34:24,080
Speaker 1: I mean? I feel like you need to give an

1685
01:34:24,080 --> 01:34:27,320
Speaker 1: experiences introducing. He was introducing the band and as he

1686
01:34:27,439 --> 01:34:30,080
Speaker 1: was introducing them. Someone in the crowd goes Don Felder

1687
01:34:30,880 --> 01:34:34,200
Speaker 1: and the guy continues, which is a curious assertion. Don

1688
01:34:34,320 --> 01:34:39,200
Speaker 1: Felder taught Tom Petty how to play guitar that I knew. Yeah, well,

1689
01:34:39,280 --> 01:34:41,600
Speaker 1: that pissed on him. Don Henley off. He said he

1690
01:34:41,760 --> 01:34:48,160
Speaker 1: had a security escort the guy out. He's a scary dude.

1691
01:34:48,800 --> 01:34:50,799
Speaker 1: I found out he just suited. One of his lawsuits

1692
01:34:50,880 --> 01:34:54,040
Speaker 1: was for the clothing company or Duluth Trading Co. For

1693
01:34:54,640 --> 01:34:58,080
Speaker 1: using they had an ad for their Henley's which is

1694
01:34:58,120 --> 01:35:01,760
Speaker 1: a you know, a style of and the ad read

1695
01:35:02,120 --> 01:35:05,280
Speaker 1: don Or Henley and take it easy. And he sued

1696
01:35:05,280 --> 01:35:09,080
Speaker 1: them over that. Oh okay, I mean that's okay. I

1697
01:35:09,120 --> 01:35:11,200
Speaker 1: would annoy me too. I guess I thought he was

1698
01:35:11,280 --> 01:35:13,800
Speaker 1: like trying to claim ownership of the term Henley No,

1699
01:35:14,120 --> 01:35:18,080
Speaker 1: which is only a matter of time. So all right,

1700
01:35:18,360 --> 01:35:21,000
Speaker 1: Randy Miser's out of the picture. Fingers Fell, there's living

1701
01:35:21,000 --> 01:35:24,440
Speaker 1: on borrowed time and the Eagles. Even the seemingly indestructible

1702
01:35:24,479 --> 01:35:27,720
Speaker 1: partnership between Don Henley and Glenn Frye is starting to

1703
01:35:27,840 --> 01:35:31,240
Speaker 1: splinter by nineteen eighty, and this partially had to do

1704
01:35:31,280 --> 01:35:35,240
Speaker 1: with their very different personalities. Don Henley's generally been portrayed

1705
01:35:35,280 --> 01:35:38,880
Speaker 1: as the more likable of the two, more personable, gregarious,

1706
01:35:38,920 --> 01:35:42,000
Speaker 1: and magnetic, whereas Glenn Frye was basically seen as edgy,

1707
01:35:42,120 --> 01:35:45,559
Speaker 1: attention seeking and generally less afraid of being seen as

1708
01:35:45,560 --> 01:35:49,360
Speaker 1: an asshole and making them popular calls. Don meanwhile, could

1709
01:35:49,400 --> 01:35:52,360
Speaker 1: just sit back and be liked. Someone who knew them

1710
01:35:52,439 --> 01:35:55,840
Speaker 1: both has said that quote, Don Henley has extraordinary charisma

1711
01:35:56,360 --> 01:36:00,760
Speaker 1: and Glenn Frye has charisma, which is a great Yeah. Yeah,

1712
01:36:01,320 --> 01:36:03,559
Speaker 1: I guess they used to live together in the early

1713
01:36:03,720 --> 01:36:07,360
Speaker 1: years and they had kind of an odd couple situation going,

1714
01:36:07,439 --> 01:36:09,439
Speaker 1: with Don Henley being kind of a neat freak and

1715
01:36:09,600 --> 01:36:13,880
Speaker 1: Glenn fry as the slab. So I just love imagining

1716
01:36:13,960 --> 01:36:16,920
Speaker 1: them as Felix and Oscar and the odd couple. Again,

1717
01:36:16,960 --> 01:36:19,160
Speaker 1: they were very different people, and then initially they were

1718
01:36:19,200 --> 01:36:21,760
Speaker 1: bonded more out of a mutual ambition than any sense

1719
01:36:21,800 --> 01:36:25,320
Speaker 1: of genuine friendship. And when they kind of achieved that

1720
01:36:25,600 --> 01:36:29,160
Speaker 1: goal of you know, having the best, biggest selling album

1721
01:36:29,160 --> 01:36:32,560
Speaker 1: of all time, that common ground was gone, and what

1722
01:36:32,680 --> 01:36:35,120
Speaker 1: little camaraderie they did enjoy it was eroded by the

1723
01:36:35,200 --> 01:36:37,960
Speaker 1: constant pressure of having to bang out songs and lead

1724
01:36:38,000 --> 01:36:40,519
Speaker 1: the band. Glenn Frye would say, we had to worry

1725
01:36:40,520 --> 01:36:43,040
Speaker 1: about doing this or living up to that. We could

1726
01:36:43,080 --> 01:36:45,360
Speaker 1: talk about girls or football for a while, but it

1727
01:36:45,400 --> 01:36:47,479
Speaker 1: wouldn't be long before we remember we had to make

1728
01:36:47,520 --> 01:36:49,800
Speaker 1: a decision about this, or that we had to get

1729
01:36:49,840 --> 01:36:52,800
Speaker 1: another song written for the next album. And Don Henley

1730
01:36:52,840 --> 01:36:56,000
Speaker 1: felt similarly, one saying every minute I'm awake and even

1731
01:36:56,040 --> 01:36:58,400
Speaker 1: when I'm asleep, I'm worried about the next album and

1732
01:36:58,520 --> 01:37:00,439
Speaker 1: what's going to be written on it, how it's going

1733
01:37:00,520 --> 01:37:02,240
Speaker 1: to do, and how it's going to be accepted, and

1734
01:37:02,320 --> 01:37:04,320
Speaker 1: how my peers are going to react, and how it's

1735
01:37:04,320 --> 01:37:05,920
Speaker 1: going to be better than the last one, and how

1736
01:37:06,000 --> 01:37:08,320
Speaker 1: the record companies on our case about hurry up, we

1737
01:37:08,360 --> 01:37:10,280
Speaker 1: didn't get an album for you in nineteen seventy eight,

1738
01:37:10,320 --> 01:37:11,639
Speaker 1: and it's not going to look good on our stock

1739
01:37:11,720 --> 01:37:14,439
Speaker 1: report and what about the profit sharing plan? But yeah,

1740
01:37:14,520 --> 01:37:17,000
Speaker 1: for Glenn and Don, the tension that had kind of

1741
01:37:17,040 --> 01:37:20,720
Speaker 1: been president in their relationships since day one was exacerbated

1742
01:37:20,800 --> 01:37:23,759
Speaker 1: by years of pressure, and instead of discussing their feelings,

1743
01:37:24,360 --> 01:37:27,120
Speaker 1: they'd simply storm out and nothing would ever get resolved.

1744
01:37:27,560 --> 01:37:29,400
Speaker 1: Throw a bunch of cocaine into the mix, and these

1745
01:37:29,479 --> 01:37:32,320
Speaker 1: feelings are heightened, and the pattern is repeated for years

1746
01:37:32,360 --> 01:37:37,080
Speaker 1: and years and years. Something's got to give. The Long

1747
01:37:37,160 --> 01:37:39,840
Speaker 1: Beach incident, though with Don Felder, was really the end

1748
01:37:39,880 --> 01:37:42,840
Speaker 1: of the band, though, But unfortunately the Eagles owed their

1749
01:37:42,920 --> 01:37:46,840
Speaker 1: label another album, so they decided to release a double

1750
01:37:46,880 --> 01:37:50,000
Speaker 1: album of live tracks. But it required a little sweetening,

1751
01:37:50,400 --> 01:37:54,120
Speaker 1: and as producer Bill Simsk later admitted, Glenn fries refusal

1752
01:37:54,240 --> 01:37:56,640
Speaker 1: to join them for overdubs or even speak to his

1753
01:37:56,760 --> 01:37:59,679
Speaker 1: former bandmates meant that they had to take a piecemeal approach.

1754
01:38:00,360 --> 01:38:02,880
Speaker 1: He's quoted as saying, I had my assistant in Los

1755
01:38:02,920 --> 01:38:04,640
Speaker 1: Angeles with Glenn, and I had the rest of the

1756
01:38:04,680 --> 01:38:07,760
Speaker 1: band fot in Miami. We were fixing three part harmonies

1757
01:38:07,800 --> 01:38:12,360
Speaker 1: courtesy of Federal Express, and the Eagles just were so

1758
01:38:12,800 --> 01:38:15,920
Speaker 1: done with being the Eagles that they refused to record

1759
01:38:16,040 --> 01:38:19,120
Speaker 1: new songs for this live album, even after being offered

1760
01:38:19,200 --> 01:38:22,920
Speaker 1: two million dollars just for two songs. But yeah, they

1761
01:38:23,000 --> 01:38:25,559
Speaker 1: were done. As Glenn Fry would later say, we had

1762
01:38:25,600 --> 01:38:28,280
Speaker 1: come to a point where we were running out of gas. Artistically.

1763
01:38:28,640 --> 01:38:30,400
Speaker 1: We had gone from being a band that could make

1764
01:38:30,439 --> 01:38:32,519
Speaker 1: an album in three weeks to a band that couldn't

1765
01:38:32,560 --> 01:38:36,120
Speaker 1: finish an album in three years, and Don Henley would

1766
01:38:36,160 --> 01:38:37,920
Speaker 1: later come to agree one of the few things they

1767
01:38:37,920 --> 01:38:40,160
Speaker 1: could agree on at this time. I'm very proud of

1768
01:38:40,240 --> 01:38:42,080
Speaker 1: what we did. We put everything we had into it,

1769
01:38:42,160 --> 01:38:44,840
Speaker 1: at the expense of our health, friendships and everything else.

1770
01:38:45,160 --> 01:38:47,640
Speaker 1: But Glenn was right, it was time for it to end.

1771
01:38:48,120 --> 01:38:51,240
Speaker 1: This was nineteen eighty and that was basically how the

1772
01:38:51,280 --> 01:38:54,400
Speaker 1: Eagles story ended until nineteen ninety four, when they reconvened

1773
01:38:54,479 --> 01:38:58,320
Speaker 1: for the Health Freeze's overtour, an album and an MTV special.

1774
01:38:58,560 --> 01:39:02,479
Speaker 1: But that is another story. I just found out they

1775
01:39:02,560 --> 01:39:05,920
Speaker 1: sued the actual Hotel California. Where is there an actual

1776
01:39:05,960 --> 01:39:13,360
Speaker 1: Hotel California in Mexico? Oh wow, twist Yeah yeah, founded

1777
01:39:13,360 --> 01:39:16,320
Speaker 1: in nineteen fifty but changed the name multiple times in

1778
01:39:16,360 --> 01:39:19,400
Speaker 1: the Canadian couple bought it in two thousand and one

1779
01:39:19,800 --> 01:39:23,599
Speaker 1: and changed the name back to Hotel California and started

1780
01:39:23,760 --> 01:39:27,800
Speaker 1: using you know, obviously playing up on it. And they

1781
01:39:27,880 --> 01:39:30,960
Speaker 1: sued them, And that feels like a perfect place to

1782
01:39:31,200 --> 01:39:35,400
Speaker 1: end episode on the Eagle Sudes Up California. Yeah, this

1783
01:39:35,560 --> 01:39:38,400
Speaker 1: song casts a long shadow and pop culture, and I'm

1784
01:39:38,439 --> 01:39:41,280
Speaker 1: sure Don Henley is sad that he can't sue every

1785
01:39:41,360 --> 01:39:43,439
Speaker 1: person who uses the phrase you can check out any

1786
01:39:43,520 --> 01:39:46,880
Speaker 1: time you like, but you can never leave. Because that's

1787
01:39:46,920 --> 01:39:50,160
Speaker 1: been used, it's passed into economics, which is really interesting

1788
01:39:50,200 --> 01:39:53,080
Speaker 1: to me. It refers to how the appeal of an

1789
01:39:53,120 --> 01:39:58,200
Speaker 1: attractive host country to ford investors maybe countered by the

1790
01:39:58,320 --> 01:40:01,640
Speaker 1: cost of exit on leaving the country. So you can

1791
01:40:01,720 --> 01:40:03,400
Speaker 1: check out in time length, but you can't leave because

1792
01:40:03,400 --> 01:40:05,840
Speaker 1: you've sunk too much money into the country. They talk

1793
01:40:05,840 --> 01:40:08,840
Speaker 1: about with foreign investors in China. It's called the Hotel

1794
01:40:08,880 --> 01:40:13,200
Speaker 1: California effect. It's also used to talk about the negative

1795
01:40:13,200 --> 01:40:18,200
Speaker 1: effects of financial regulations on investment and problems with leaving

1796
01:40:18,320 --> 01:40:21,639
Speaker 1: like a service and Internet service provider, or social network

1797
01:40:21,800 --> 01:40:24,479
Speaker 1: or cloud computing. People have even applied it to bregsit

1798
01:40:25,040 --> 01:40:28,720
Speaker 1: and hell, there was even a clandestine operation named after

1799
01:40:28,800 --> 01:40:32,559
Speaker 1: the song by the CIA and special Forces in Iraqi,

1800
01:40:32,680 --> 01:40:35,800
Speaker 1: Kurdistan in the lead up to the Iraq War. So

1801
01:40:36,479 --> 01:40:39,920
Speaker 1: presumably the one entity that John Henley could not sue.

1802
01:40:40,640 --> 01:40:44,040
Speaker 1: But my head grows heavy and my psycros dim. So

1803
01:40:44,120 --> 01:40:48,000
Speaker 1: we're going to stop for the night. Thanks for listening everyone.

1804
01:40:48,200 --> 01:40:50,679
Speaker 1: I'm Alex Sigel, and this has been too much information

1805
01:40:50,840 --> 01:40:54,320
Speaker 1: where we remain just prisoners here of our own device

1806
01:40:56,040 --> 01:40:58,800
Speaker 1: and I'm Jordan run Tag. We'll catch you next time.

1807
01:41:03,920 --> 01:41:07,080
Speaker 1: Too Much Information was a production of iHeartRadio. The show's

1808
01:41:07,120 --> 01:41:10,519
Speaker 1: executive producers are Noel Brown and Jordan Runtalk. The show's

1809
01:41:10,520 --> 01:41:14,799
Speaker 1: supervising producer is Michael Alder June. The show was researched, written,

1810
01:41:14,840 --> 01:41:17,879
Speaker 1: and hosted by Jordan Runtalg and Alex Heigel, with original

1811
01:41:18,040 --> 01:41:21,000
Speaker 1: music by Seth Applebaum. I'm a Ghost Funk Orchestra. If

1812
01:41:21,040 --> 01:41:23,080
Speaker 1: you like what you heard, please subscribe and leave us

1813
01:41:23,080 --> 01:41:26,920
Speaker 1: a review. For more podcasts on iHeartRadio, visit the iHeartRadio app,

1814
01:41:27,080 --> 01:41:29,960
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows