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Speaker 1: Rivals is a production of I Heart Radio. Hello everyone,

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Speaker 1: and welcome to Rivals, the show about music, beefs and

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Speaker 1: feuds and long simmering resentments between musicians. I'm Steve and

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Speaker 1: I'm Jordan's and today we're back for part two of

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Speaker 1: our three part exploration of the Eagles and the battle

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Speaker 1: royal within their ranks when they were at the height

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Speaker 1: of their fame in the late seventies. If you tune

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Speaker 1: in for peaceful, easy feelings, well, have you got the

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Speaker 1: wrong show. Yes. In the first part of our series,

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Speaker 1: we discussed the feuds between the two leaders of the Eagles,

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Speaker 1: Done Henley and Glenn Fry, and the other two guys

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Speaker 1: in the band in the early seventies, Bernie Leaden and

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Speaker 1: Randy Meisner. In this episode, we'll be focusing on the

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Speaker 1: bitterest intromand feud in the Eagles, the one involving guitarist

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Speaker 1: Don Felder, which Drey down for more than twenty five

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Speaker 1: years now fingers. Felder is most famous for co writing

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Speaker 1: the eagle biggest hit, Hotel California, and it's safe to

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Speaker 1: say that for most of his time in the band

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Speaker 1: he was thinking to himself, this could be heaven. Or

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Speaker 1: this could be hell Well bold move burning that song

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Speaker 1: pun this early. I have to say this is the

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Speaker 1: Eagle series. Man, We're bringing out all the guns I mean,

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Speaker 1: and you're right there, I mean. Henley and Fry ultimately

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Speaker 1: mended fences with most of their ex band mates in

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Speaker 1: the early two thousand tens when they were putting together

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Speaker 1: their History of the Eagles documentary and the accompanying tour,

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Speaker 1: which this took a chronological look at their discography. They

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Speaker 1: extended invitations to Randy Meisner Bernie Leaden to play with them,

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Speaker 1: but notably, they did not ask Felder, despite from his

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Speaker 1: multimillion dollar lawsuits were just too great. And let's also

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Speaker 1: not forget his Tell All memoir. Yeah, an interesting wrinkle

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Speaker 1: of that book is that it also illuminates the tension

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Speaker 1: between Glenn Fry, the jock is energetic quarterback of the band,

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Speaker 1: and Don Henley, the taciturn perfectionist. So we'll be delving

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Speaker 1: to that as well. There's so much to cover here,

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Speaker 1: so without further ado, let's get into this mess. As

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Speaker 1: far as I'm concerned, the Eagles fate was sealed when

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Speaker 1: Don Felder enters the picture and he joined the group

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Speaker 1: in January nine four, apparently just one day after being

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Speaker 1: called in to add slide guitar to the tracks Good

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Speaker 1: Day in Hell and Already Gone. He assumed he was

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Speaker 1: just being brought on as a full member. He was

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Speaker 1: cut into the band's business organization, the Eagles Limited, which

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Speaker 1: we'll talk more about later. But he quickly realized that

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Speaker 1: Henley and Fry, uh, they had this alliance that ran

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Speaker 1: the band, as in Felder's terms, a benevolent dictatorship, and

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Speaker 1: this wasn't gonna work for him. He wanted to be

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Speaker 1: an equal Eagle, not a session player and employee. He

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Speaker 1: wanted equal say in the studio. And you know, I

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Speaker 1: see both sides of this. On one hand, if you're

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Speaker 1: as talented a guitarist as Don Felder, you might expect

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Speaker 1: to be treated with a certain amount of, you know, respect.

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Speaker 1: Maybe Fry on some level was jealous of his musical abilities,

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Speaker 1: I don't know. On the other hand, you know, seniority

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Speaker 1: matters in the Eagles and in any band, and no

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Speaker 1: one wants to like to have a new guy come

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Speaker 1: in and just start throwing his weight around. As Felder

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Speaker 1: tells it, he was being disrespected on a daily basis.

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Speaker 1: As Henley and Fry tell it, the new guy wasn't

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Speaker 1: accepting his place. Now in this episode, we're gonna be

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Speaker 1: frequently referencing Don Felders tell all book Heaven and Hell,

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Speaker 1: which is one of the pettiest rock memoirs ever, and

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Speaker 1: I can't think of a better endorsement of a rock

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Speaker 1: memoir than that. Uh. After reading this book, I had

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Speaker 1: two main takeaways. Number one, being in a band with

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Speaker 1: Glenn Fry and Don Henley sounds like it was hell.

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Speaker 1: I mean, Glenn Fry could be a bully and Don

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Speaker 1: Henley was an extremely controlling perfectionist. Fry himself once said

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Speaker 1: about his partner, no one can suck the fun out

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Speaker 1: of a room like Don Henley. But Fry himself, it

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Speaker 1: seems like he relished torturing Don Felder. So that's my

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Speaker 1: first takeaway. My second takeaway is that I'm not sure

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Speaker 1: exactly why Felder is complaining so much. I mean, he

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Speaker 1: joined the Eagles when they were already successful, and being

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Speaker 1: in that band caused him to make tens of millions

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Speaker 1: of dollars and that was due mainly to Don Henley

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Speaker 1: and Lenn Fry, who we're basically correct, and their management

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Speaker 1: at the band, even if they were tremendous jerks. Right.

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Speaker 1: I mentioned this in the last episode, but I'm always

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Speaker 1: reminded of the quote from The Big Lebowski when he

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Speaker 1: is having an argument and heated discussion with with his

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Speaker 1: friend Walter. You're not wrong, Walter, You're just an asshole.

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Speaker 1: I feel like Henley and Fry were very rarely, if

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Speaker 1: ever wrong. They were just assholes. They could have approached

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Speaker 1: things better. And that's why Jeff Lebeski hates You're right exactly.

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Speaker 1: And you know, if Fry and Henry would defend themselves

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Speaker 1: by saying that they were leaders, they weren't dictators, and

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Speaker 1: that bands aren't a perfect democracy. And the analogy they

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Speaker 1: always used in interviews is that the Eagles are a

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Speaker 1: sports team. You know, not everybody gets to touch the ball,

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Speaker 1: but if people play their positions, play their strengths, everything

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

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Speaker 1: of their parts. And they always took a view that

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Speaker 1: Felder was sort of, you know, an egotistical maniac who's

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Speaker 1: squabbling over credit. And it's a great Don Henley quote

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Speaker 1: where he's always saying, I think of how much could

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Speaker 1: be accomplished if no one cared about credit, which is,

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Speaker 1: you know, at some level true, but it's pretty rich

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Speaker 1: coming from him. Well, I was gonna say, like, yeah,

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Speaker 1: Don Henley, Mike mr. He never cared about credit at all.

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Speaker 1: Like you'll give me a break, They're done, Henley says

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Speaker 1: in the In the History of the Eagles documentary, Don

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Speaker 1: Felder was never ever satisfied, never ever happy, and all

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Speaker 1: this bleeds into the sessions for it would become Hotel California. Yes,

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Speaker 1: Hotel California comes out in nine and it's preceded by

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Speaker 1: the album One of These Nights, which was a big hit,

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Speaker 1: but it's kind of all over the place. I mean,

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Speaker 1: you have the title track, which is like this kind

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Speaker 1: of disco rock song. You have Lion Eyes, which is

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Speaker 1: like a throwback to their country rock era. You have

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Speaker 1: the power ballot take It to the Limit. And you

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Speaker 1: also have like that very weird Bernie Leaden track Journey

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Speaker 1: of the Sorcerer, Like I don't know if you know

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Speaker 1: that song, it's like the psychedelic bluegrass son. It really

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Speaker 1: shows the Eagles, I think, like in the last throws

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Speaker 1: of their like we're trying to be a real band

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Speaker 1: type thing, you know, everyone kind of gets their showcase

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Speaker 1: and that record is pretty good, but it really I

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Speaker 1: think suffers from being a little scatter shot. So heading

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Speaker 1: into Hotel California, you really see that like this is

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Speaker 1: gonna be We're done in Glann take the reins. It

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Speaker 1: feels a lot more like the work of our tours,

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Speaker 1: I think, than like their previous records. The other big

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Speaker 1: thing that happens before Hotel California is the release of

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Speaker 1: the Greatest Hits record, their Greatest Hits nineteen seventy one

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Speaker 1: and nineteen seventy which was actually like released against their

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Speaker 1: will as a parting shot from David Geffen, who again

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Speaker 1: we're gonna be covering him in the third part of

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Speaker 1: our episode, so we'll get more into how that album

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Speaker 1: came about, as well as all the problems they had

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Speaker 1: with Geffen during the Eagles and also after the Eagles.

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Speaker 1: But anyway, that Greatest Hits album, which they didn't want

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Speaker 1: to have put out, but it ends up being just

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Speaker 1: a huge hit. And then you have the lineup changes

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Speaker 1: that took place. Bernie leads out of the band, Joe

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Speaker 1: Walsh comes in, so there's a lot of uncertainty heading

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Speaker 1: into Hotel California, and you know, the Eagles want to

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Speaker 1: remake themselves as this arena rock behemoth that can compete

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Speaker 1: with like the led Zeppelins and the Kisses and the

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Speaker 1: Peter Frampton's of the world. But at this point it's

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Speaker 1: not clear if this evolution is going to work. And

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Speaker 1: you really see that the Eagles find a direction for

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Speaker 1: themselves with the title track from Hotel California, which was

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Speaker 1: the first song that they completed for that record, and

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Speaker 1: it really sets the tone for that album. And it's

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Speaker 1: also an example of like how collaborations worked in the

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Speaker 1: Eagles because Don Felder wrote basically the music for that song.

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Speaker 1: He put it on like a real wheel like four

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Speaker 1: track tape, and he sent it to Don and Glenn

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Speaker 1: for them to basically turn into a song, and Glenn

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Speaker 1: Fry came up with the concept of the Hotel California,

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Speaker 1: this sort of symbol of like lost youth, lost potential

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Speaker 1: in the sixties, and Don Henley wrote the lyrics, which

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Speaker 1: I think are pretty brilliant. I mean, I have to

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Speaker 1: say that, like, as a member of Generation X, I

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Speaker 1: hated this song for a long time just because I

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Speaker 1: resented the Eagles. They represent like kind of like the

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Speaker 1: most obnoxious parts of like baby boomer culture, I think

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Speaker 1: for like a lot of younger generations. But like, at

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Speaker 1: some point I just realized that you can't deny the

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Speaker 1: brilliance of Hotel California. I mean this, it's like a

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Speaker 1: pretty great song. I mean, don't you think, Yeah, I

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Speaker 1: mean I always just like the fact that there's this

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Speaker 1: the mystique around what the lyrics are actually about, you

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Speaker 1: know what I mean? Is it satan? Is it a

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Speaker 1: dig at Steely Dan? The Steely Dan twist in that

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Speaker 1: is always really interesting to me too, that they were

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Speaker 1: just like writing the lyrics essentially as like a mockery

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Speaker 1: of the like hyper specific Steely Dan lyrics, and and

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Speaker 1: even like the line about Steely knives was a dig

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Speaker 1: at them. It's a song that it's like I wish

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Speaker 1: I could almost hear for the first time because I

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Speaker 1: I'm so sick of it, and you know, you almost

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Speaker 1: don't even hear it anymore, but to actually sit back

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Speaker 1: and appreciate it and let it unfold, it really is

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Speaker 1: an incredible piece of work. So in terms of the

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Speaker 1: songwriting of Hotel California, because again this ended up being

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Speaker 1: the eagles most iconic song. It was a number one hit.

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Speaker 1: It was the showcase of like their most successful studio

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Speaker 1: like non compilation record. It makes me think about, like

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Speaker 1: we touched on this in our first episode in this series,

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Speaker 1: the songwriting for for Take It Easy, because again, that

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Speaker 1: was a song that Jackson Brown basically brought to the Eagles.

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Speaker 1: Glenn Fry added like a line to it, and then

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Speaker 1: he got a co songwriting credit, And it speaks to

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Speaker 1: how songwriting often worked in the Eagles because I think

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Speaker 1: from Don Felder's perspective, he looked at Hotel California as

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Speaker 1: his song. You know, even though he didn't write the lyrics,

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Speaker 1: he didn't come up with the concept. A lot of

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Speaker 1: the things that people love about that song, you know,

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Speaker 1: the majestic introduction and also like that guitar duel between

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Speaker 1: him and Joe Walsh at the end of the song,

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Speaker 1: all that was come up by Don Felder. From Don

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Speaker 1: and Glenn's perspective, however, they basically just like looked at

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Speaker 1: the demo that Don Felder recorded as just like like

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Speaker 1: a cool progression that they then turned into a song

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Speaker 1: that without them it just would have been like this

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Speaker 1: sort of like weird reggae sounding demo that Don Felder

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Speaker 1: came up. It didn't become an Eagle song until Don

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Speaker 1: and Glenn took it and they took it to a

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Speaker 1: different place. And uh, in a way, I think that's right.

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Speaker 1: I think it speaks to how collaborations worked in this band.

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Speaker 1: But it is the beginning I think of Don Felder

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Speaker 1: starting to feel presentful about his place in the Eagles,

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Speaker 1: and in later years to both Don and Glenn would

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Speaker 1: be really sort of dismissive of what Felder first presented

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Speaker 1: to him. I mean, I think Glenn Fry would say,

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Speaker 1: you would get these cassette tapes from Felder and with

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Speaker 1: the music on there, it's like, what are we supposed

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Speaker 1: to do with this? Where do you sing? It's just cluttered,

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Speaker 1: random guitar licks. And so over the years they were

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Speaker 1: kind of put for the story of like, you know,

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Speaker 1: Felder were given these tapes of kind of garbage, and

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Speaker 1: they noted this diamond in the rough, where, oh, I

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Speaker 1: see some potential in this, we can make something out

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Speaker 1: of this. So there would be sort of squabbles in

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Speaker 1: in the press and in memoirs and stuff over the

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Speaker 1: years about how much each person had you know in

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Speaker 1: in creating that song that would defined the Eagles legacy,

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Speaker 1: and I always thought that was really interesting. The other

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Speaker 1: Felder track on Hotel California also created a huge headaches

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Speaker 1: for him, and that's a victim of love. And on

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Speaker 1: the first album that he he worked on as a

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Speaker 1: full time Eagle, nineteen is one of these nights. Felder

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Speaker 1: was given lead vocal duties on his song Visions, which

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Speaker 1: is a song he co wrote with Henley, and as

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Speaker 1: far as he was concerned, I think he felt that

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Speaker 1: this sort of set a precedent and he would be

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Speaker 1: allowed to sing his own compositions on occasion. And this

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Speaker 1: created a huge problem when Hotel California came around, because

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Speaker 1: in addition to writing the instrumental passage for Hotel California,

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Speaker 1: he wrote probably I think he said he had like

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Speaker 1: sixteen or seventeen other pieces that were rejected by the band,

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Speaker 1: which I'm sure must have been infuriating at some some part.

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Speaker 1: Uh So, he has a victim of love which he

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Speaker 1: really wanted to sing himself, and he did apparently dozens

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Speaker 1: and dozens of takes of really trying to to to

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Speaker 1: nail this song. And these bandmates are less than pleased

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Speaker 1: with the results. I mean, you know, he's not He's

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Speaker 1: not Don Henley. He's not a good a singer, is

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Speaker 1: Don Henley? A few people are something to be ashamed of.

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Speaker 1: And so they say in the History of the Eagles documentary,

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Speaker 1: there was no space for Filler and Don Felder, for

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Speaker 1: all of his talents as a guitar player, was not

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Speaker 1: a singer. So they make Irving Hayes off, take him

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Speaker 1: out to to lunch, and while he's out to lunch,

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Speaker 1: they have Don Henley do the vocals for the song,

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Speaker 1: and over lunch, Irving tells Don Felder, you know this

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Speaker 1: isn't working. We gotta let Don sing the song. So

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Speaker 1: they come back from lunch they play the track that

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Speaker 1: they've been working on with Don Henley's vocals, and he

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Speaker 1: feels like, you know, okay, I can't deny it sounds

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Speaker 1: a lot better with Don Henley singing it. But hey,

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Speaker 1: it's it's it's my song. He felt in later years

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Speaker 1: that that song had been taken from him, and so

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Speaker 1: then you have really the two opposing viewpoints of what

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Speaker 1: a band should be. You know, this is my song,

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Speaker 1: I really want to do it, versus this is what's

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Speaker 1: best for the band. The hell with what you know,

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Speaker 1: your feelings and what you think you're entitled to. If

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Speaker 1: this is the guy who sounds best singing it, he's

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Speaker 1: gonna sing it. And that really stuck in his crawl,

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Speaker 1: I think, for you know, the rest of his time

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Speaker 1: in the band and in years later. It's a huge

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Speaker 1: part of the history of the Eagles documentary. See. One

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Speaker 1: thing that I find a little confusing about the Victim

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Speaker 1: of Love story is that you're right. In the documentary,

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Speaker 1: they make a big deal about how Don Felder wanted

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Speaker 1: to sing this song, and the implication is that because

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Speaker 1: the song was taken from him and they had Henley

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Speaker 1: sing it and like him and his offer at lunch,

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Speaker 1: and there's like this sort of like ruse going on

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Speaker 1: to keep Felder away from the studio, that like that

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Speaker 1: was the beginning of Felder feeling unhappy and that he

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Speaker 1: felt betrayed. But when you read Felder's book, which came

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Speaker 1: out about five years before the documentary, he really doesn't

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Speaker 1: make a big deal of the Victim of Love thing,

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Speaker 1: Like he mentions that, you know, he wrote the progression

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Speaker 1: that he wanted to sing it, and then he tried

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Speaker 1: to do it, but then Don Henley sang it, and

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Speaker 1: he was like, oh, yeah, Don Henley's obviously a better

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Speaker 1: singer than me. Let's let's keep it with Don Henley.

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Speaker 1: Like it's not like in the book, it's really downplayed

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Speaker 1: versus the movie. So like I'm not really clear im like,

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Speaker 1: like how big of a deal this is? If maybe,

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Speaker 1: you know, Don and Glenn were trying to make Don

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Speaker 1: Felder look bad in the documentary, or if maybe Felder

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Speaker 1: was like doing damage control in his own book, like

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Speaker 1: he didn't want to admit, like how much of a

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Speaker 1: baby he was like about this victim of love thing.

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Speaker 1: Because I think the thing that's undeniable is that, like, yeah,

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Speaker 1: Don Henley should have sang that song. He's the best

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Speaker 1: singer in the band. It sounds good when he's doing it.

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Speaker 1: That doesn't make sense for Felter to sing it. Yeah,

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Speaker 1: I think Henley was saying, like, you know, it's like

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Speaker 1: me wanting to play lead guitar on my song when

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Speaker 1: you've got Don Felder like that, it doesn't make any sense.

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Speaker 1: So yeah, I mean that's definitely interesting and I could

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Speaker 1: definitely see how uh you know, in in the in

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Speaker 1: the film, maybe maybe Henley and and Fry. I wanted

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Speaker 1: to to, you know, use this as an example and

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Speaker 1: really really hammer away at, you know, how possessive that

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Speaker 1: that he could be about his music. Felder also at

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Speaker 1: other reasons to be annoyed with Fry and Henley, whom

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Speaker 1: he dubbed the gods, which I always thought was really

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Speaker 1: funny for their their vaulted status in the band. And

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Speaker 1: he does that more and more as like the book

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Speaker 1: progresses like like once again to the reunion years. Like

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Speaker 1: he never calls them Henley or Fry. It's just strictly

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Speaker 1: the gods. It just gets more and more sarcastic as

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Speaker 1: the book goes along, and he's really annoyed by their

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Speaker 1: their habits on tour. He's annoyed by Henley and Fry.

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Speaker 1: They make these costly demands which he believes are coming

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Speaker 1: out of the band's collective coffers. I mean, Don Henley

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Speaker 1: demands on having his personal mattress be lugged around from

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Speaker 1: hotel to hotel because he's a bad back from playing

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Speaker 1: the drums, and they have to hire these guys to

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Speaker 1: you know, lug it out of a touring van into

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Speaker 1: the hotel and get it all set up, it's this

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Speaker 1: whole thing. And then he also, um, I guess sort

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Speaker 1: of was when he was dating um Stevie Nicks at

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Speaker 1: this period, would occasionally squire her around on lear jets

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Speaker 1: and felt the thought that was also coming out of

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Speaker 1: like tour expenses, which he wasn't happy about. And then

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Speaker 1: I don't know, both of those you could almost kind

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Speaker 1: of see apparently Glenn Fry paid to have his tennis

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Speaker 1: coach brought along, which is sort of slightly slightly less

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Speaker 1: excusable than like Don Henley wanting to get a good

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Speaker 1: night's sleep on his own mattress, but uh, yeah, the

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Speaker 1: tennis coach, that's definitely interesting. And he thought that, you know,

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Speaker 1: Glenn Fry and Don Henley had all these perks on

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Speaker 1: tour that he he wasn't entitled to, and he thought

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Speaker 1: that was unfair. It sounds too just in general that

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Speaker 1: like being in this band for as successful as they were,

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Speaker 1: and again and you know, like the Eagles were like

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Speaker 1: we're living it up. I mean, there's all those stories

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Speaker 1: about the Third Encore them like having access to tons

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Speaker 1: of drugs and beautiful women. It seems like they were

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Speaker 1: living the dream. But like as far as like performing

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Speaker 1: in this band. It sounds like it was not fun

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Speaker 1: at all. Like, you know, dun Felders talked about how,

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Speaker 1: you know, he was told where to stand on stage.

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Speaker 1: You know, he was told like what code shoes that

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Speaker 1: he should wear on stage. Yeah, he tells the story

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Speaker 1: in the book about how they were rehearsing one day

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Speaker 1: and Glenn Fry like made fun of like Don Felder's walk,

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Speaker 1: like how he would walk up to the microphone when

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Speaker 1: he sang, because Feather said, you know that he felt

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Speaker 1: a little insecure singing on stage because he knew that

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Speaker 1: he wasn't as good of a a singer as certainly Henley

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Speaker 1: or even Fry, and he felt like Fry was kind

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Speaker 1: of like finding his weak spot and exploiting it. And

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Speaker 1: this was another instance. I mean, we saw this in

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Speaker 1: our previous episode where Randy Meisner was pushed to the

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Speaker 1: point of like throwing Glenn Fry against the wall. Well,

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Speaker 1: now Dan Felder was throwing Glenn Fry against the wall.

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Speaker 1: Everyone was throwing Glenn Fry against the wall in the

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Speaker 1: late seventies because he was kind of an obnoxious guy.

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Speaker 1: It sounds like, and this was I think just compounded

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Speaker 1: again by Don Felder's feeling that he was not being

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Speaker 1: treated as an equal in the band, even though he

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Speaker 1: was a shareholder in the band, that he wasn't just

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Speaker 1: a hired hand like Joe Walsh and Timothy B. Schmidt were,

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Speaker 1: And uh, you know, I think that was really like

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Speaker 1: what was behind him being upset about these perks that

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Speaker 1: Henley and Fry were getting, because he felt like, you know,

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Speaker 1: if we're well, you shouldn't be, you know, getting these perks.

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Speaker 1: I should be getting them too, or none of us

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Speaker 1: should be getting them. And that seems kind of stupid

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Speaker 1: to me in a way, like it's kind of like

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Speaker 1: a petty thing to be complaining about. But the conversations

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Speaker 1: that were happening on those private planes, like where it

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Speaker 1: was Henley, Fry and as Off basically deciding the financial

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Speaker 1: future of the band, that does seem more subsidutive to me.

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Speaker 1: And I understand like my father would be upset about that,

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Speaker 1: and that really seems to be like another issue for him,

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Speaker 1: you know. As the seventies progress and attentions were so

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Speaker 1: high in the band at this point anyway, that even

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Speaker 1: the bond between Henley and Fry was starting to crumble.

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Speaker 1: And partially this had to do with this. They're very

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Speaker 1: different personalities, and we touched on this in the first episode.

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Speaker 1: They're very very different people, and Dawn's generally been portrayed

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Speaker 1: as sort of the more likable of the two, the

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Speaker 1: more personable and gregarious and magnetic, whereas Glenn is sort

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Speaker 1: of more edgy and attention seeking and kind of less

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Speaker 1: afraid of like being an asshole making unpopular calls, and

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Speaker 1: Dawn could just sort of sit back and be liked,

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Speaker 1: which I'm sure must have, you know, annoyed Glenn even

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Speaker 1: more that he was the one having to make the

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Speaker 1: difficult calls. Uh. Someone who knew them both famously said

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Speaker 1: that Don Henley had extraordinary charisma and that Glenn Fry

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Speaker 1: had Charison TMA, which is a brutal thing to say,

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Speaker 1: and I'm sure that that really really bothered Glem and

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Speaker 1: I guess also they would live together at different points

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Speaker 1: in the seventies, and it was kind of an odd

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Speaker 1: couple scenario going on where Don Henley was this like

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Speaker 1: controlling neat freak and Glenn was sort of the the

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Speaker 1: Oscar Madison slob figure. Minor tension, but still tension. And

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Speaker 1: you couple this with just the general stress of of

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Speaker 1: constantly being on the road. I mean some of their

401
00:19:40,760 --> 00:19:44,760
Speaker 1: tours were like eleven twelve months long and massive amounts

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Speaker 1: of cocaine that just heightens everyone's emotions. Anyway, something was

403
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Speaker 1: gonna blow. You know. It's interesting to me that, like

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Speaker 1: the Eagles have always been pretty candid about the tensions

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Speaker 1: in the band, and you watch that documentary and they're

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Speaker 1: very upfront about, you know, the problems with Bernie Leaden,

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Speaker 1: Randy Meisner, of course Don Felder, but like you don't

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Speaker 1: hear quite as much about the tensions between Henley and Fry.

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Speaker 1: And I feel like there's a bit of like protection

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Speaker 1: going on there, you know, because that's the power center

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Speaker 1: of the band, and it seems like some decision was

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Speaker 1: made somewhere along the line that no matter what went

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Speaker 1: down between those guys, that they were going to present

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Speaker 1: a unified front. But you know, I feel like those

415
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Speaker 1: guys must have had a lot more you know tension,

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Speaker 1: dislike flat out hatred you know, going on than has

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Speaker 1: been admitted to. I think because if you look at

418
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Speaker 1: the Eagles, you know, they started out as a band

419
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Speaker 1: that was essentially, you know, guided by Glenn Fry. He

420
00:20:43,600 --> 00:20:47,119
Speaker 1: called himself the quarter back at the band. He was

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Speaker 1: a big proponent of what he called song power. You know,

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Speaker 1: that this band should be about the songs, and I'm

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Speaker 1: going to be really pushing that. And all of the

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Speaker 1: tensions that we've talked about so far, I mean it

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Speaker 1: seems like Glenn Fry is always at the center of it.

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Speaker 1: You know, he was the one drove Bernie Leaden out,

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00:21:01,080 --> 00:21:03,720
Speaker 1: he drove Randy Meiser out. Pretty soon, He's going to

428
00:21:03,840 --> 00:21:06,880
Speaker 1: have the same sort of thing with Don Felder. Agressive

429
00:21:06,920 --> 00:21:10,040
Speaker 1: as he was. Yeah, Glenn John's so he was in

430
00:21:10,119 --> 00:21:12,399
Speaker 1: a way, he was like the CEO of the band.

431
00:21:12,480 --> 00:21:14,680
Speaker 1: But like by the end of the seventies, it was

432
00:21:14,680 --> 00:21:17,199
Speaker 1: pretty clear that like Don Henley was going to be

433
00:21:17,240 --> 00:21:21,439
Speaker 1: dominating this group creatively. And you know, as much as

434
00:21:21,440 --> 00:21:23,720
Speaker 1: I think Glen Fry, you know, he could make public

435
00:21:23,760 --> 00:21:27,280
Speaker 1: statements about how, you know, we should put Don Henley

436
00:21:27,320 --> 00:21:29,480
Speaker 1: to the front because that's best for the Eagles, that

437
00:21:29,600 --> 00:21:31,840
Speaker 1: must have rankled him on some level. I Mean, he

438
00:21:31,840 --> 00:21:33,960
Speaker 1: has a pretty big ego. I I find it hard

439
00:21:33,960 --> 00:21:36,879
Speaker 1: to believe that he just like accepted that, you know,

440
00:21:36,960 --> 00:21:40,159
Speaker 1: without any sort of like you know, discontent in his

441
00:21:40,240 --> 00:21:43,200
Speaker 1: heart over that. You know, like when I psycho analyze

442
00:21:43,600 --> 00:21:46,320
Speaker 1: Don Henley and Glenn Fry, and if it's not already clear,

443
00:21:46,600 --> 00:21:50,439
Speaker 1: I love to psychoanalyze Don Henley and Glenn Fry. You know.

444
00:21:50,880 --> 00:21:53,840
Speaker 1: I think that they were both ultimately like pretty insecure

445
00:21:54,320 --> 00:21:57,320
Speaker 1: about losing what they had, which prompted them to like

446
00:21:57,440 --> 00:22:00,919
Speaker 1: micro manage this band to an extreme degree. Like they

447
00:22:00,920 --> 00:22:04,320
Speaker 1: have this image as being like these cool above it all,

448
00:22:04,359 --> 00:22:07,240
Speaker 1: like slick rock stars, but I think deep down they're

449
00:22:07,240 --> 00:22:11,399
Speaker 1: both like extremely self conscious. Like there's this Rolling Stone

450
00:22:11,400 --> 00:22:16,080
Speaker 1: profile where Henley has I think a very revealing quote.

451
00:22:16,119 --> 00:22:18,560
Speaker 1: He says, every minute I'm awake, even when I'm asleep,

452
00:22:18,880 --> 00:22:20,919
Speaker 1: I'm worried about the next album and what's going to

453
00:22:20,960 --> 00:22:23,040
Speaker 1: be written on it, and how it's going to do,

454
00:22:23,240 --> 00:22:25,159
Speaker 1: and how it's going to be accepted, and how my

455
00:22:25,200 --> 00:22:26,840
Speaker 1: peers are going to react, and how we're going to

456
00:22:26,920 --> 00:22:29,560
Speaker 1: make it better than the last one, and how the

457
00:22:29,600 --> 00:22:32,479
Speaker 1: record company is on our case and about hurry up,

458
00:22:32,880 --> 00:22:35,080
Speaker 1: we didn't get our album from you in and it's

459
00:22:35,119 --> 00:22:36,959
Speaker 1: not going to be good on our soack report and

460
00:22:36,960 --> 00:22:40,240
Speaker 1: what about the proper sharing plan that's all like hyphenated

461
00:22:40,240 --> 00:22:42,479
Speaker 1: by the way, very long quote John Henley you know,

462
00:22:42,640 --> 00:22:44,800
Speaker 1: I know you're into s sainct songwriting. That's not a

463
00:22:44,880 --> 00:22:47,520
Speaker 1: very sistame quote, but I think you get the idea

464
00:22:47,600 --> 00:22:51,560
Speaker 1: here that you know, he thought constantly, not just about

465
00:22:51,560 --> 00:22:53,679
Speaker 1: his art, but like how he was being perceived and

466
00:22:53,720 --> 00:22:56,439
Speaker 1: how he was going to be accepted. And I think

467
00:22:56,520 --> 00:22:59,720
Speaker 1: that drove their behavior. It's like why they wouldn't let

468
00:22:59,760 --> 00:23:03,640
Speaker 1: Don felderstand where he wanted to stand, or let Joe

469
00:23:03,680 --> 00:23:06,040
Speaker 1: Walsh be as crazy in the Eagles as he was

470
00:23:06,080 --> 00:23:08,399
Speaker 1: outside of the Eagles. They felt that everything that this

471
00:23:08,440 --> 00:23:11,680
Speaker 1: band did ultimately reflected on them, and it just made

472
00:23:11,720 --> 00:23:15,120
Speaker 1: being in this band kind of a miserable experience. I think. Yeah.

473
00:23:15,160 --> 00:23:17,879
Speaker 1: And and Don Felder's memoir, he talks a lot about

474
00:23:18,280 --> 00:23:21,320
Speaker 1: It's it's probably the most revealing document I've seen about

475
00:23:21,359 --> 00:23:25,360
Speaker 1: the descent between Henley and Fry. And there's a moment

476
00:23:25,400 --> 00:23:31,320
Speaker 1: when he's talking about Henley studying promo photos endlessly, just

477
00:23:31,400 --> 00:23:33,240
Speaker 1: like looking at his hair and making sure it was

478
00:23:33,320 --> 00:23:35,480
Speaker 1: right and just and and Feller rights, like you know,

479
00:23:35,520 --> 00:23:37,199
Speaker 1: these were just gonna be on like T shirts and

480
00:23:37,240 --> 00:23:39,359
Speaker 1: given away to fans like these weren't. These weren't like

481
00:23:39,400 --> 00:23:42,239
Speaker 1: Mount Rushmore like this was and it just you're right.

482
00:23:42,320 --> 00:23:45,600
Speaker 1: It really like like shows just how image conscious even

483
00:23:45,680 --> 00:23:48,320
Speaker 1: begin to describe it, just how how meticulous he was

484
00:23:48,359 --> 00:23:50,800
Speaker 1: and how he presents himself and how the band would

485
00:23:50,800 --> 00:23:52,760
Speaker 1: be presented. So, yeah, you're you're right. I think that's

486
00:23:52,800 --> 00:23:55,280
Speaker 1: it's a wonderful way to put it. And also, these

487
00:23:55,320 --> 00:23:57,520
Speaker 1: were not like teenage friends. It's kind of like when

488
00:23:57,520 --> 00:24:00,480
Speaker 1: we were talking about the police. These like sort of

489
00:24:00,640 --> 00:24:03,280
Speaker 1: older guys who had several bands in their past. When

490
00:24:03,280 --> 00:24:05,080
Speaker 1: they got together and they were bonded more out of

491
00:24:05,119 --> 00:24:08,639
Speaker 1: mutual ambition than any kind of real genuine friendship, and

492
00:24:08,680 --> 00:24:11,680
Speaker 1: when they achieved that goal of you know, musical superstardom,

493
00:24:11,920 --> 00:24:14,000
Speaker 1: all that was really left between them was sort of

494
00:24:14,000 --> 00:24:16,520
Speaker 1: their differences, you know. I mean whatever common ground and

495
00:24:16,520 --> 00:24:19,680
Speaker 1: camaraderie they enjoyed was just eroded by the constant pressure

496
00:24:19,680 --> 00:24:23,200
Speaker 1: of having to to bang out songs or lead the band.

497
00:24:23,440 --> 00:24:25,439
Speaker 1: And I mean Glenn Fry would later say, you know,

498
00:24:25,480 --> 00:24:27,480
Speaker 1: we always had to worry about doing this or living

499
00:24:27,560 --> 00:24:30,000
Speaker 1: up to that. We could talk about girls or football

500
00:24:30,040 --> 00:24:32,080
Speaker 1: for a while, but it wouldn't be long before we'd

501
00:24:32,119 --> 00:24:34,879
Speaker 1: remember we had to make a decision about this. We

502
00:24:34,920 --> 00:24:37,520
Speaker 1: had to get another song written for the next album.

503
00:24:37,560 --> 00:24:39,840
Speaker 1: So the tension in their relationship that have been present

504
00:24:40,000 --> 00:24:42,720
Speaker 1: really from the very beginning just by their different personalities

505
00:24:42,880 --> 00:24:46,440
Speaker 1: was just exacerbated by these years of pressure, and instead

506
00:24:46,440 --> 00:24:49,760
Speaker 1: of discussing feelings, they would, you know, they took more

507
00:24:49,800 --> 00:24:52,040
Speaker 1: of approach of a path of least resistance and just

508
00:24:52,119 --> 00:24:54,879
Speaker 1: storming out, and now they would never get resolved. And

509
00:24:54,920 --> 00:24:56,760
Speaker 1: then with all the cocaine in the mix, it was

510
00:24:56,800 --> 00:24:59,479
Speaker 1: like pouring gas on the fire. So all of these

511
00:24:59,560 --> 00:25:03,120
Speaker 1: tensions really come ahead because of the album Hotel California,

512
00:25:03,240 --> 00:25:06,040
Speaker 1: which drops in nineteen seventy six, and of course it

513
00:25:06,119 --> 00:25:08,959
Speaker 1: becomes one of the most successful albums in rock history.

514
00:25:09,280 --> 00:25:11,280
Speaker 1: The band decides to release the title track as a

515
00:25:11,359 --> 00:25:14,040
Speaker 1: single in spite of it being six minutes long and

516
00:25:14,040 --> 00:25:16,560
Speaker 1: a ghost to number one. The album, of course has

517
00:25:16,920 --> 00:25:20,119
Speaker 1: rock radio staples like Life in the fast Lane, Wasted Time,

518
00:25:20,240 --> 00:25:23,359
Speaker 1: New Kid in Town, the before mentioned Victim of Love.

519
00:25:23,440 --> 00:25:25,200
Speaker 1: I mean pretty much like every song on that record,

520
00:25:25,240 --> 00:25:27,280
Speaker 1: I feel like has been played on the radio to

521
00:25:27,320 --> 00:25:29,600
Speaker 1: some degree. We're gonna take a quick break to get

522
00:25:29,600 --> 00:25:31,800
Speaker 1: a word from our sponsor before we get to more rivals.

523
00:25:41,920 --> 00:25:45,160
Speaker 1: In the late seventies, the Eagles just had an incredible

524
00:25:45,280 --> 00:25:48,399
Speaker 1: run of success because not only did they have Hotel California,

525
00:25:48,440 --> 00:25:53,240
Speaker 1: but they had their greatest hits seventy five, which dropped

526
00:25:53,320 --> 00:25:56,600
Speaker 1: like right before Hotel California. There was this eighteen month

527
00:25:56,720 --> 00:25:59,600
Speaker 1: run with the Eagles were selling one million albums per month.

528
00:25:59,720 --> 00:26:03,240
Speaker 1: I mean, just an incredible amount of records, just unprecedented

529
00:26:03,240 --> 00:26:06,480
Speaker 1: really in the record business at that time. And you know,

530
00:26:06,520 --> 00:26:09,720
Speaker 1: by then it was beyond a shadow of a doubt

531
00:26:09,720 --> 00:26:12,280
Speaker 1: that the Eagles were the most popular American rock group

532
00:26:12,640 --> 00:26:16,159
Speaker 1: of the nineteen seventies. And this all leads up to

533
00:26:16,280 --> 00:26:20,640
Speaker 1: the album The Long Run, which they start working on

534
00:26:20,840 --> 00:26:25,199
Speaker 1: I think that's about seventy eight or so, and it

535
00:26:25,320 --> 00:26:29,359
Speaker 1: proves to to be just like this torturous process. And

536
00:26:29,400 --> 00:26:32,960
Speaker 1: basically the problem is is that Henley feels burned out

537
00:26:32,960 --> 00:26:35,240
Speaker 1: because he feels like he's like kind of blown his

538
00:26:35,320 --> 00:26:39,120
Speaker 1: wad on Hotel California, Like all of his great themes

539
00:26:39,840 --> 00:26:41,920
Speaker 1: have come together on that record, and he really doesn't

540
00:26:41,960 --> 00:26:44,879
Speaker 1: have anything else to write about. And there's also that

541
00:26:44,920 --> 00:26:46,919
Speaker 1: thing you were talking about before that Glenn Fry was

542
00:26:46,920 --> 00:26:49,600
Speaker 1: talking about, where this band really felt a lot of

543
00:26:49,600 --> 00:26:53,920
Speaker 1: pressure to constantly live up to the previous album's success.

544
00:26:54,160 --> 00:26:56,600
Speaker 1: You know, this wasn't a situation say like with Fleetwood

545
00:26:56,640 --> 00:26:59,560
Speaker 1: Mac for instance, when they put out Rumors and Lindsey

546
00:26:59,560 --> 00:27:02,919
Speaker 1: Buckingham besides consciously that he's going to make an anti

547
00:27:02,920 --> 00:27:06,200
Speaker 1: commercial record with Tusk, you know, where they knew going

548
00:27:06,240 --> 00:27:08,560
Speaker 1: in that it wasn't going to be as successful as rumors,

549
00:27:08,840 --> 00:27:11,320
Speaker 1: and they were doing it by design. The Eagles didn't

550
00:27:11,320 --> 00:27:13,240
Speaker 1: think that way. You know. They really felt like with

551
00:27:13,280 --> 00:27:15,520
Speaker 1: the Long Run, that like, we have to make this

552
00:27:15,600 --> 00:27:20,639
Speaker 1: record as good and as commercial as the previous record,

553
00:27:20,720 --> 00:27:23,000
Speaker 1: and really that was going to be impossible, you know,

554
00:27:23,080 --> 00:27:26,760
Speaker 1: and it really kind of set up this, uh situation

555
00:27:26,800 --> 00:27:28,520
Speaker 1: with the Long One, where you know, they would get

556
00:27:28,560 --> 00:27:31,119
Speaker 1: into a studio and just stare at each other. You know.

557
00:27:31,200 --> 00:27:33,480
Speaker 1: Joe Walsh talks about how, you know, they were down

558
00:27:33,520 --> 00:27:35,520
Speaker 1: in Miami working on the record and they would have

559
00:27:35,560 --> 00:27:38,840
Speaker 1: tapes going, and they just sat around for months in

560
00:27:38,880 --> 00:27:41,000
Speaker 1: a day's you know, trying to figure out what to do,

561
00:27:41,200 --> 00:27:44,400
Speaker 1: which is really troubling considering that all five members were

562
00:27:44,480 --> 00:27:46,520
Speaker 1: songwriters too. I mean, you think that the fact that

563
00:27:46,560 --> 00:27:48,640
Speaker 1: like between the five of them they were having such

564
00:27:48,640 --> 00:27:51,560
Speaker 1: a hard time just probably just being the first one

565
00:27:51,600 --> 00:27:54,159
Speaker 1: to put an idea forward. I mean, as we mentioned earlier,

566
00:27:54,200 --> 00:27:56,680
Speaker 1: I mean they were not gentle in their criticism too,

567
00:27:56,760 --> 00:27:59,359
Speaker 1: So I'm sure for everybody who wasn't Don Henley and

568
00:27:59,400 --> 00:28:01,920
Speaker 1: Glenn Fry, it was probably a pretty daunting proposition to

569
00:28:01,960 --> 00:28:04,560
Speaker 1: put a song in front of them. But yeah, I

570
00:28:04,600 --> 00:28:06,720
Speaker 1: mean it just thought the sessions during those times, I

571
00:28:06,720 --> 00:28:09,560
Speaker 1: think it was eighteen months spread out over five studios,

572
00:28:09,600 --> 00:28:11,840
Speaker 1: and it was just a pressure cooker. I think I

573
00:28:11,920 --> 00:28:14,800
Speaker 1: read that Felder and Fry got into like actual like

574
00:28:14,880 --> 00:28:18,280
Speaker 1: physical tussles at certain points, and by the end of

575
00:28:18,280 --> 00:28:21,119
Speaker 1: the sessions even Fry and Hanley weren't even talking, and

576
00:28:21,160 --> 00:28:24,160
Speaker 1: I guess they were sending their assistance to relay messages

577
00:28:24,200 --> 00:28:26,040
Speaker 1: back to each other, which was, you know, making other

578
00:28:26,040 --> 00:28:28,720
Speaker 1: people's lives hell in the process. So this was not

579
00:28:28,840 --> 00:28:31,800
Speaker 1: a pleasant experience of making the long run. Now, it's

580
00:28:31,840 --> 00:28:34,760
Speaker 1: interesting with this record because I feel like it's often

581
00:28:34,800 --> 00:28:37,439
Speaker 1: looked at as a commercial failure, and like even the

582
00:28:37,440 --> 00:28:39,640
Speaker 1: band members themselves, they often talk about this like being

583
00:28:39,640 --> 00:28:43,880
Speaker 1: like their least favorite Eagles record. But like this record

584
00:28:43,920 --> 00:28:46,600
Speaker 1: sold like seven million copies. You know, it comes out

585
00:28:46,640 --> 00:28:48,280
Speaker 1: in the fall of seventy nine, and like there were

586
00:28:48,280 --> 00:28:50,520
Speaker 1: like three hits from this record. You had the title track,

587
00:28:50,920 --> 00:28:53,200
Speaker 1: you had I Can't tell You Why, and you had

588
00:28:53,240 --> 00:28:56,320
Speaker 1: Heartache Tonight. And I have to say that for myself,

589
00:28:56,400 --> 00:28:59,080
Speaker 1: like this is actually like one of my favorite Eagles records,

590
00:28:59,320 --> 00:29:01,240
Speaker 1: you know, maybe because I'm just like addicted to intra

591
00:29:01,320 --> 00:29:05,120
Speaker 1: band drama and like the exhaustion that the Eagles were

592
00:29:05,200 --> 00:29:07,240
Speaker 1: feeling at this time. I think it's very apparent when

593
00:29:07,240 --> 00:29:09,200
Speaker 1: you listen to the record, but I think there's like

594
00:29:09,280 --> 00:29:11,880
Speaker 1: some good deep cuts, like that song Those Shoes, which

595
00:29:12,200 --> 00:29:13,960
Speaker 1: is a song I first heard when it was sampled

596
00:29:13,960 --> 00:29:16,840
Speaker 1: by the Beastie Boys on Paul's boutique, Like look for

597
00:29:16,880 --> 00:29:19,640
Speaker 1: that sample on that record, and like King of Hollywood,

598
00:29:19,680 --> 00:29:21,440
Speaker 1: which is like one of their I think best like

599
00:29:21,520 --> 00:29:25,000
Speaker 1: Hollywood narratives. It kind of sounds like a darker sequel

600
00:29:25,280 --> 00:29:29,160
Speaker 1: to Hotel California. Um. It also has the song Disco Strangler,

601
00:29:29,520 --> 00:29:32,760
Speaker 1: which is like one of the dumbest Eagles songs, but

602
00:29:32,800 --> 00:29:35,960
Speaker 1: like at least it's like likably dumb. I'mli get over it,

603
00:29:36,160 --> 00:29:38,440
Speaker 1: which we're gonna talk about that song later in this episode.

604
00:29:38,640 --> 00:29:41,000
Speaker 1: Like that song is dumb and like a loathsome kind

605
00:29:41,000 --> 00:29:43,719
Speaker 1: of way, but like Disco Strangler, I think it's kind

606
00:29:43,760 --> 00:29:45,760
Speaker 1: of likably dumb. I want to call back to something

607
00:29:45,800 --> 00:29:48,520
Speaker 1: I said in our previous episode about the Eagles being

608
00:29:48,560 --> 00:29:51,719
Speaker 1: a microcosm for America in the seventies, because like The

609
00:29:51,720 --> 00:29:53,280
Speaker 1: Long Run to me, is like the end of the

610
00:29:53,280 --> 00:29:56,680
Speaker 1: decade disillusionment album, like the one where you really feel

611
00:29:57,360 --> 00:29:59,320
Speaker 1: like all that was lost in the band in spite

612
00:29:59,320 --> 00:30:01,240
Speaker 1: of the Grade six as Like I think of that

613
00:30:01,320 --> 00:30:04,440
Speaker 1: song the Sad Cafe, like where Henley sings, I don't

614
00:30:04,480 --> 00:30:07,200
Speaker 1: know why Fortune smiles on some and lets the rest

615
00:30:07,280 --> 00:30:10,320
Speaker 1: go free. You know, it's a similar kind of statement

616
00:30:10,520 --> 00:30:14,000
Speaker 1: to like the Last Resort from Hotel California. You know,

617
00:30:14,040 --> 00:30:17,080
Speaker 1: like Henley really became an expert at these like forlorn

618
00:30:17,680 --> 00:30:20,200
Speaker 1: end of the Innocence ballads. You know that I feel

619
00:30:20,200 --> 00:30:23,040
Speaker 1: like ended up on all of his subsequent records, culminating

620
00:30:23,040 --> 00:30:25,800
Speaker 1: with a song literally called the End of the Innocence,

621
00:30:26,280 --> 00:30:29,160
Speaker 1: you know, like like that Paradise Lost stuff. It really

622
00:30:29,200 --> 00:30:33,240
Speaker 1: became like Don Henley's overwriting theme. I think it's definitely

623
00:30:33,280 --> 00:30:35,120
Speaker 1: a darkness in the album. I mean even on the cover,

624
00:30:35,280 --> 00:30:37,800
Speaker 1: like it has this funereal cover and always reminded me

625
00:30:37,840 --> 00:30:40,640
Speaker 1: of of the Beatles. Let it be where it feel

626
00:30:40,640 --> 00:30:42,000
Speaker 1: like you knew that they were kind of at the

627
00:30:42,080 --> 00:30:43,880
Speaker 1: end of the road there. I mean, just even looking

628
00:30:43,880 --> 00:30:48,080
Speaker 1: at the cover alone, it seems very uh, just very dour.

629
00:30:48,680 --> 00:30:52,120
Speaker 1: And yeah, it looks like a tombstone, it does. Yeah,

630
00:30:52,240 --> 00:30:54,040
Speaker 1: and you know, and and that that's what it's sort

631
00:30:54,040 --> 00:30:55,520
Speaker 1: of in a lot of ways, proved to be for

632
00:30:55,840 --> 00:31:00,760
Speaker 1: fourteen years. Uh. There, Feuding reached a critical mass on

633
00:31:00,880 --> 00:31:03,800
Speaker 1: July thirty one night, which was the night that the

634
00:31:03,800 --> 00:31:07,600
Speaker 1: band played a benefit concert for California senator named Alan Cranston,

635
00:31:08,040 --> 00:31:11,600
Speaker 1: who also is notable in rock history for writing the

636
00:31:11,720 --> 00:31:15,720
Speaker 1: leaflet that had the phrase mega death, which inspired Dave

637
00:31:15,800 --> 00:31:18,840
Speaker 1: Mustain on his bus ride back from New York to

638
00:31:19,200 --> 00:31:24,240
Speaker 1: California after getting kicked out of Metality. So major, oh yeah,

639
00:31:24,720 --> 00:31:27,720
Speaker 1: major figure in rock history, Alan Cranston. Uh. He was

640
00:31:27,880 --> 00:31:31,200
Speaker 1: a lefty environmentalist, anti nuclear weapons, very much in line

641
00:31:31,240 --> 00:31:34,600
Speaker 1: with Don Henley and Glenn Fries's political leanings. Uh. Felder

642
00:31:35,000 --> 00:31:37,880
Speaker 1: preferred that the band steered clear of these political causes,

643
00:31:38,320 --> 00:31:40,560
Speaker 1: and he was really bitter about having to go along

644
00:31:40,760 --> 00:31:43,840
Speaker 1: and do this benefit. Henley and Fry put the notion

645
00:31:43,880 --> 00:31:46,160
Speaker 1: across that that Felder was just greedy and didn't like

646
00:31:46,240 --> 00:31:48,760
Speaker 1: not getting paid for gigs. It was probably more of

647
00:31:48,840 --> 00:31:51,880
Speaker 1: just not really liking being, you know, told to beat

648
00:31:51,920 --> 00:31:54,120
Speaker 1: a certain place at a certain time by the gods

649
00:31:54,200 --> 00:31:55,760
Speaker 1: to do this thing that he didn't really feel that

650
00:31:55,840 --> 00:32:00,160
Speaker 1: strongly for. So before the benefit concert, Senator Cranston's going

651
00:32:00,240 --> 00:32:02,560
Speaker 1: down sort of receiving line and thanking each of the

652
00:32:02,560 --> 00:32:05,400
Speaker 1: band members for for being there and putting the show on.

653
00:32:06,000 --> 00:32:09,320
Speaker 1: And he gets the Felder and thanks him and fell

654
00:32:09,400 --> 00:32:12,800
Speaker 1: the replies with a Kurt, you're welcome, Senator. I guess,

655
00:32:14,200 --> 00:32:17,680
Speaker 1: uh see. This is another instance where because Felder writes

656
00:32:17,680 --> 00:32:20,440
Speaker 1: about this in his book, and I think he's trying

657
00:32:20,440 --> 00:32:22,920
Speaker 1: to make Glenn Fry look like a dick, which he does,

658
00:32:23,360 --> 00:32:26,080
Speaker 1: but like I think Felter also comes off like pretty

659
00:32:26,120 --> 00:32:30,440
Speaker 1: poorly here because they're playing a benefit show. You're already

660
00:32:30,440 --> 00:32:33,200
Speaker 1: like a multimillionaire. You can play like a benefit show.

661
00:32:33,200 --> 00:32:34,760
Speaker 1: It's like not that big of a deal. Even though

662
00:32:35,600 --> 00:32:38,200
Speaker 1: I'm sure he resented it because Henley and Fry wanted

663
00:32:38,200 --> 00:32:40,000
Speaker 1: to do it. It had nothing to do with the cause.

664
00:32:40,800 --> 00:32:43,160
Speaker 1: Of course, you know, Glenn Fry, he hears this like

665
00:32:43,240 --> 00:32:46,479
Speaker 1: snarky comment from Felder and he like blows his stack.

666
00:32:46,880 --> 00:32:50,800
Speaker 1: He has like a confrontation backstage before this benefit concert,

667
00:32:51,440 --> 00:32:55,479
Speaker 1: and it's hilarious because they're walking on stage and like

668
00:32:55,920 --> 00:32:58,720
Speaker 1: Felda writes about this in his book and Felder turns

669
00:32:58,760 --> 00:33:01,120
Speaker 1: to Glenn. You know, Glenn, you did back there. You're

670
00:33:01,120 --> 00:33:03,680
Speaker 1: an asshole for doing that. He's calling him an asshole

671
00:33:03,720 --> 00:33:06,880
Speaker 1: for being disrespectful to this senator and Glenn Fry says,

672
00:33:07,080 --> 00:33:11,280
Speaker 1: that's an honor coming from you, and uh, it just

673
00:33:11,360 --> 00:33:14,120
Speaker 1: gets worse from there. Like these guys are just like

674
00:33:14,160 --> 00:33:17,760
Speaker 1: talking shipped to each other throughout this show, and pretty

675
00:33:17,800 --> 00:33:20,080
Speaker 1: much after every song, Glenn Fry is like pointing at

676
00:33:20,120 --> 00:33:22,800
Speaker 1: Felder and he's saying, you know, three more songs to go.

677
00:33:23,040 --> 00:33:25,240
Speaker 1: I'm gonna kick your ask when we get off the stage,

678
00:33:25,840 --> 00:33:29,080
Speaker 1: and uh, they're just exchanging insults and all this was

679
00:33:29,120 --> 00:33:31,480
Speaker 1: caught on tape and you can hear it in the documentary.

680
00:33:31,960 --> 00:33:36,080
Speaker 1: And uh, this is this part where he says you're

681
00:33:36,080 --> 00:33:38,360
Speaker 1: a real pro, done all the way, and then Don says, yeah,

682
00:33:38,360 --> 00:33:40,120
Speaker 1: you are too. The way you handle people except for

683
00:33:40,160 --> 00:33:42,560
Speaker 1: the people you pay, nobody gives a shit about it.

684
00:33:43,680 --> 00:33:46,280
Speaker 1: Fry says, fuck you. I've been paying you for seven years,

685
00:33:46,320 --> 00:33:53,400
Speaker 1: fuck head, And all on my all on Mike, this

686
00:33:53,480 --> 00:33:56,160
Speaker 1: is like the biggest, you know, American band in the world,

687
00:33:56,840 --> 00:33:59,360
Speaker 1: and like they're tearing each other apart on stage like

688
00:33:59,760 --> 00:34:04,000
Speaker 1: the Replacements, you know, and it's beautiful. And like, this

689
00:34:04,040 --> 00:34:06,080
Speaker 1: is the thing about the Eagles, because you know, if

690
00:34:06,120 --> 00:34:09,200
Speaker 1: they were just like this pleasant, easygoing band with all

691
00:34:09,239 --> 00:34:12,560
Speaker 1: these hits, they wouldn't be nearly as interesting. The fact

692
00:34:12,640 --> 00:34:15,200
Speaker 1: that they had these kinds of blow ups on stage,

693
00:34:15,800 --> 00:34:19,279
Speaker 1: to me makes them way more fascinating. And I think

694
00:34:19,280 --> 00:34:22,000
Speaker 1: that's why people relish this kind of stuff like can documentaries,

695
00:34:22,320 --> 00:34:24,400
Speaker 1: because yeah, without this, the Eagles are just kind of

696
00:34:24,400 --> 00:34:28,080
Speaker 1: like a boring seventies band, but now, yeah, they're like

697
00:34:28,280 --> 00:34:32,080
Speaker 1: the country rock Replacements with this kind of stuff. So

698
00:34:32,200 --> 00:34:36,160
Speaker 1: the show finally ends and Feller goes backstage and he

699
00:34:36,200 --> 00:34:39,040
Speaker 1: asks the roady to hand him an acoustic guitar, which

700
00:34:39,040 --> 00:34:42,400
Speaker 1: he then just smashes on the floor. It's kindling, uh,

701
00:34:42,800 --> 00:34:47,040
Speaker 1: he finishes. He looks behind him. Senator Crasson and his

702
00:34:47,080 --> 00:34:50,400
Speaker 1: wife are there looking horrified, like what the hell is

703
00:34:50,400 --> 00:34:53,479
Speaker 1: this guy doing? And Fry comes up to him and says,

704
00:34:53,880 --> 00:34:58,200
Speaker 1: typical of you to break your cheapest guitar, like you

705
00:34:58,239 --> 00:35:01,880
Speaker 1: can't even you can't even erupt in age, right, you dumbass.

706
00:35:01,920 --> 00:35:04,880
Speaker 1: So this becomes like an infamous moment in Eagles history.

707
00:35:04,920 --> 00:35:07,520
Speaker 1: It's called Long Night and Wrong Beach, that's like what

708
00:35:07,600 --> 00:35:12,560
Speaker 1: it's been dubbed, and it's basically blamed for the end

709
00:35:12,600 --> 00:35:14,600
Speaker 1: of the Eagles, although it really seems like it was

710
00:35:14,640 --> 00:35:17,640
Speaker 1: more like a catalyst, you know, for all the tensions

711
00:35:17,680 --> 00:35:19,239
Speaker 1: that were going on in the band, that it was

712
00:35:19,280 --> 00:35:22,280
Speaker 1: inevitable that something like this would happen because these guys

713
00:35:22,320 --> 00:35:25,000
Speaker 1: already hated each other. But before they could break up,

714
00:35:25,200 --> 00:35:29,760
Speaker 1: they were contractually obligated to deliver this live record, Eagles Live.

715
00:35:30,400 --> 00:35:33,280
Speaker 1: And it's crazy because, like the record label, they wanted

716
00:35:33,320 --> 00:35:36,600
Speaker 1: the band to record some new songs from from the record,

717
00:35:36,640 --> 00:35:39,720
Speaker 1: which is what record labels often want for live records

718
00:35:39,800 --> 00:35:42,919
Speaker 1: or for greatest hits albums, because it's more likely that

719
00:35:43,040 --> 00:35:46,960
Speaker 1: like hardcore fans will buy a record with new material

720
00:35:47,000 --> 00:35:49,759
Speaker 1: that they don't already own. And apparently, like the band

721
00:35:49,840 --> 00:35:53,239
Speaker 1: was offered like two million dollars a song, you know,

722
00:35:53,560 --> 00:35:55,160
Speaker 1: to put on this record, and they only wanted like

723
00:35:55,200 --> 00:35:57,680
Speaker 1: a couple of songs, but the Eagles refused to do it.

724
00:35:57,719 --> 00:36:00,160
Speaker 1: And it was really like Glenn Fry, like at this point,

725
00:36:00,160 --> 00:36:02,880
Speaker 1: Glenn Fry was like, I'm not going to be in

726
00:36:02,920 --> 00:36:05,879
Speaker 1: the vicinity of any of these guys anymore. And when

727
00:36:05,880 --> 00:36:09,440
Speaker 1: it came to mixing Eagles live, they basically, you know,

728
00:36:09,480 --> 00:36:11,319
Speaker 1: and this was like a long time ago, so well

729
00:36:11,360 --> 00:36:13,959
Speaker 1: before pro tools or drop box or anything like that.

730
00:36:14,239 --> 00:36:17,480
Speaker 1: They had to do the mixes via like Federal Express,

731
00:36:17,520 --> 00:36:20,360
Speaker 1: like because like wasn't Glenn Fry was he in l

732
00:36:20,400 --> 00:36:22,120
Speaker 1: A and the rest of the band was like in Miami.

733
00:36:23,000 --> 00:36:25,719
Speaker 1: They were like an opposite coast and like like just

734
00:36:25,800 --> 00:36:29,080
Speaker 1: total like rock star petulants. Basically at this point, you know,

735
00:36:29,640 --> 00:36:32,239
Speaker 1: mixing this like forgettable live record to fill out a

736
00:36:32,239 --> 00:36:35,160
Speaker 1: contractual obligation so that they can like finally break up

737
00:36:35,200 --> 00:36:38,120
Speaker 1: and do their own thing. Two million dollars two songs

738
00:36:38,440 --> 00:36:41,680
Speaker 1: wouldn't do it. It's incredible, and you know, and they

739
00:36:41,680 --> 00:36:45,719
Speaker 1: spent the eighties enjoying varying degrees of solo success. I

740
00:36:45,719 --> 00:36:47,719
Speaker 1: think it shook out pretty much like you'd expect. You

741
00:36:47,719 --> 00:36:51,040
Speaker 1: have Hemley navigating the transition to the MTV age really

742
00:36:51,080 --> 00:36:54,400
Speaker 1: the most successfully scoring a string of hits, including I

743
00:36:54,440 --> 00:36:56,560
Speaker 1: have to say one of my least favorite songs of

744
00:36:56,600 --> 00:36:59,279
Speaker 1: all time, The Boys of Summer, I absolutely to me,

745
00:36:59,840 --> 00:37:04,600
Speaker 1: I know it's not an unpopular hold on, hold the

746
00:37:04,600 --> 00:37:08,399
Speaker 1: phone here, that's insane to me. Look, I find Don

747
00:37:08,480 --> 00:37:11,520
Speaker 1: Henley to be like pretty hateable as a person, but

748
00:37:12,160 --> 00:37:15,320
Speaker 1: like I think he's written like a handful of perfect songs,

749
00:37:15,360 --> 00:37:17,560
Speaker 1: Like I would say Hotel California is a perfect song,

750
00:37:18,040 --> 00:37:20,359
Speaker 1: like Desperado is like pretty great. I love the end

751
00:37:20,360 --> 00:37:22,680
Speaker 1: of the Innocence because I'm a total sucker for Boomeer

752
00:37:22,760 --> 00:37:26,440
Speaker 1: rock apparently, and I think Boys of Summer is like

753
00:37:26,480 --> 00:37:29,399
Speaker 1: a perfect song personally to me, it's everything that that's

754
00:37:29,400 --> 00:37:33,000
Speaker 1: clinical about eighties production and everything that's clinical and soul

755
00:37:33,160 --> 00:37:35,759
Speaker 1: is about rock stars of a certain age. You've made

756
00:37:35,880 --> 00:37:38,520
Speaker 1: enough money, And I don't know, there's something and I

757
00:37:38,600 --> 00:37:40,799
Speaker 1: know what it's about. I know it's about the end

758
00:37:40,840 --> 00:37:43,000
Speaker 1: of the sixties, innocence and everything. I know it has

759
00:37:43,040 --> 00:37:45,440
Speaker 1: substantive lyrics, but I just I think it's mostly the

760
00:37:45,440 --> 00:37:48,160
Speaker 1: production to me, Like it's just even the way it begins,

761
00:37:48,200 --> 00:37:51,520
Speaker 1: it's it sounds stressful. The opening synth lines sound like

762
00:37:51,600 --> 00:37:53,880
Speaker 1: an ambulance siren to me, And it's just I don't know.

763
00:37:54,000 --> 00:37:57,000
Speaker 1: I never liked that song. I'm not a Henley solo

764
00:37:57,080 --> 00:38:00,279
Speaker 1: fan at all really, Actually, I like some of Len

765
00:38:00,320 --> 00:38:03,080
Speaker 1: Fries all that stuff a little better. I mean, no

766
00:38:03,160 --> 00:38:05,919
Speaker 1: fun allows a great record. Oh man. See Glenn fry

767
00:38:05,960 --> 00:38:08,759
Speaker 1: solo career to me is like way more hilarious. Like

768
00:38:08,840 --> 00:38:11,680
Speaker 1: to me, like his peak in the eighties, he was

769
00:38:11,719 --> 00:38:15,279
Speaker 1: like a second tier Kenny Laggins essentially, Like his best

770
00:38:15,320 --> 00:38:18,200
Speaker 1: gig was recording like yacht rock songs for soundtracks like

771
00:38:18,280 --> 00:38:20,959
Speaker 1: You Had the Heat Is On from Beverly Hills Cop

772
00:38:21,320 --> 00:38:23,520
Speaker 1: and You You Belong to the City and the Immortal

773
00:38:23,600 --> 00:38:27,319
Speaker 1: Smugglers Blues from Miami Vice Smugglers Blues. I was listening

774
00:38:27,320 --> 00:38:29,680
Speaker 1: to that song before recording this episode. That's like a

775
00:38:29,719 --> 00:38:31,920
Speaker 1: pretty violent song, Like when was the last time you

776
00:38:32,000 --> 00:38:35,520
Speaker 1: heard that. There's like people getting blown away in that track,

777
00:38:35,560 --> 00:38:37,719
Speaker 1: and like you know, there's like big drug deals. It's

778
00:38:37,760 --> 00:38:41,600
Speaker 1: like Scarface. You know Glenn Fry, right, Scarface. Wasn't he

779
00:38:41,680 --> 00:38:43,920
Speaker 1: in that Miami Vice Episode two? I think he had

780
00:38:44,040 --> 00:38:46,279
Speaker 1: a part in that too. He was pretty good. I

781
00:38:46,320 --> 00:38:48,600
Speaker 1: liked him my Miami Vice. But yeah, anyway, you know,

782
00:38:48,680 --> 00:38:51,120
Speaker 1: Don Henley, he was like a huge star in the eighties.

783
00:38:51,160 --> 00:38:54,040
Speaker 1: I think people kind of forget like how successful he was,

784
00:38:54,120 --> 00:38:57,080
Speaker 1: like building the Perfect Beast, his four record that had

785
00:38:57,120 --> 00:38:59,920
Speaker 1: Boys a Summer on it, that's sold three million copies.

786
00:39:00,440 --> 00:39:02,879
Speaker 1: The End of the Innocence which came out in eighty nine,

787
00:39:03,200 --> 00:39:06,239
Speaker 1: that sold six million copies. So like he was like

788
00:39:06,360 --> 00:39:10,640
Speaker 1: doing Eagles type numbers on his own, but eventually, like

789
00:39:10,719 --> 00:39:12,680
Speaker 1: he wanted to return to the band, like he's talked

790
00:39:12,719 --> 00:39:14,799
Speaker 1: about how like when you're a solo artist, you have

791
00:39:14,920 --> 00:39:17,200
Speaker 1: more pressure on you. You have to make all the decisions,

792
00:39:17,560 --> 00:39:20,200
Speaker 1: and he wanted like the relative ease of being in

793
00:39:20,239 --> 00:39:23,920
Speaker 1: a band, although like is being in the Eagles relatively easy?

794
00:39:24,000 --> 00:39:26,040
Speaker 1: I mean that this that doesn't make a whole lot

795
00:39:26,080 --> 00:39:28,320
Speaker 1: of sense to me. It seems like your your solo

796
00:39:28,400 --> 00:39:31,880
Speaker 1: career was probably less toxic than being in the Eagles.

797
00:39:31,920 --> 00:39:34,800
Speaker 1: But ultimately I think the businessman and Don Henley knew

798
00:39:35,120 --> 00:39:37,600
Speaker 1: that like if I get back together with with with

799
00:39:37,640 --> 00:39:40,280
Speaker 1: these guys and we just play our hits, we're gonna

800
00:39:40,320 --> 00:39:42,600
Speaker 1: make like a ton of money on the road. And

801
00:39:42,600 --> 00:39:46,080
Speaker 1: there are plans of foot as early as for a tentative,

802
00:39:46,320 --> 00:39:49,480
Speaker 1: like they didn't call a reunion resumption and uh, and

803
00:39:49,520 --> 00:39:53,040
Speaker 1: they had sessions. Were just hilarious that they held sessions

804
00:39:54,000 --> 00:39:56,520
Speaker 1: to refuel the band. Irving as Off put it together

805
00:39:57,080 --> 00:40:00,920
Speaker 1: and they had four of the five. H Glenn, who was,

806
00:40:01,000 --> 00:40:03,840
Speaker 1: you know, the least interested in reuniting, he was gonna

807
00:40:03,840 --> 00:40:06,080
Speaker 1: come by a little later. So the four other guys

808
00:40:06,120 --> 00:40:09,160
Speaker 1: were in the studio working on some songs together, and

809
00:40:09,200 --> 00:40:12,120
Speaker 1: then a couple of days into it, Irving showed up,

810
00:40:12,160 --> 00:40:15,080
Speaker 1: you know, stone faced. Well, Glenn's not coming to the party,

811
00:40:15,200 --> 00:40:17,759
Speaker 1: I think was the phrase. Uh, you'd say, you know,

812
00:40:17,800 --> 00:40:19,800
Speaker 1: I was having a fine time doing what I was doing.

813
00:40:20,239 --> 00:40:24,439
Speaker 1: So uh. The other four, I guess briefly considered trying

814
00:40:24,480 --> 00:40:26,960
Speaker 1: to do their own, like almost Eagles thing, and then

815
00:40:27,000 --> 00:40:28,799
Speaker 1: Glenn got wind of it and said, you know, if

816
00:40:28,840 --> 00:40:31,440
Speaker 1: you do, I will go to the press and possibly

817
00:40:31,440 --> 00:40:33,759
Speaker 1: make some you know, horrific legal issues for you. So

818
00:40:34,200 --> 00:40:38,800
Speaker 1: that whole thing was put on ice until another irving

819
00:40:38,840 --> 00:40:41,200
Speaker 1: A's off production, an album called Common Thread, which is

820
00:40:41,200 --> 00:40:44,839
Speaker 1: an Eagles covers album done by various country stars uh,

821
00:40:44,880 --> 00:40:47,000
Speaker 1: and it was done mostly to raise money for Don

822
00:40:47,040 --> 00:40:50,640
Speaker 1: Henley's charity of the walden Woods project. Travis Tritt did

823
00:40:50,640 --> 00:40:53,239
Speaker 1: a cover of Take It Easy, pretty good cover and

824
00:40:53,680 --> 00:40:56,200
Speaker 1: asked if the band would be in the video for

825
00:40:56,239 --> 00:40:58,800
Speaker 1: the song, and it was kind of a cool concept.

826
00:40:58,800 --> 00:41:00,839
Speaker 1: I mean, basically he was playing like a honky talk

827
00:41:00,880 --> 00:41:03,279
Speaker 1: and his backing band on the stage would be the

828
00:41:03,320 --> 00:41:05,960
Speaker 1: actual Eagles. Would be the first time that these four

829
00:41:06,080 --> 00:41:08,160
Speaker 1: or five guys had all gotten together since. You know,

830
00:41:08,160 --> 00:41:10,640
Speaker 1: I think that that night in Long Beach in nineteen

831
00:41:10,680 --> 00:41:12,480
Speaker 1: eighty and it was such a kind of off the

832
00:41:12,520 --> 00:41:15,000
Speaker 1: wall idea that they all went along with it, even Glenn,

833
00:41:15,120 --> 00:41:17,640
Speaker 1: and they were all on stage at this band stand,

834
00:41:17,680 --> 00:41:19,680
Speaker 1: at this little dive bar, and they were all holding

835
00:41:19,719 --> 00:41:24,000
Speaker 1: instruments together for the first time in thirteen years, and um,

836
00:41:24,080 --> 00:41:26,000
Speaker 1: and they started saying, you know, I think Felder said

837
00:41:26,000 --> 00:41:29,279
Speaker 1: to Glenn, Yeah, you know, you did this more often too.

838
00:41:29,400 --> 00:41:32,439
Speaker 1: I guess everyone's surprised. Glenn said yeah, And that really

839
00:41:32,480 --> 00:41:35,160
Speaker 1: set the stage for the Health freezes Over reunion the

840
00:41:35,160 --> 00:41:38,480
Speaker 1: following year. Yeah, and of course health Freeze is over.

841
00:41:38,520 --> 00:41:40,120
Speaker 1: It's a reference. I think it was a done Henley

842
00:41:40,200 --> 00:41:42,279
Speaker 1: quote where someone asked him in the early eighties, like

843
00:41:42,320 --> 00:41:44,799
Speaker 1: when the Eagles would reunite, and he said, when health

844
00:41:44,800 --> 00:41:48,759
Speaker 1: Freeze is over. Well, in four hell Froze over. The

845
00:41:48,800 --> 00:41:51,120
Speaker 1: Eagles got back together, but it wasn't going to be

846
00:41:51,160 --> 00:41:53,040
Speaker 1: the same as it was in the seventies. Like there

847
00:41:53,120 --> 00:41:56,320
Speaker 1: was this edict passed down that was dubbed the Glen

848
00:41:56,360 --> 00:42:01,360
Speaker 1: Commandments from Glenn Fry that love that basically, you know,

849
00:42:01,719 --> 00:42:05,239
Speaker 1: there wasn't gonna be any drugs or alcohol backstage, you know,

850
00:42:05,840 --> 00:42:08,400
Speaker 1: big contrast from the seventies. I think part of the

851
00:42:08,440 --> 00:42:11,640
Speaker 1: reason for that was that Joe Walsh was just getting

852
00:42:11,640 --> 00:42:13,520
Speaker 1: out of rehab at this time, so they were trying

853
00:42:13,560 --> 00:42:15,799
Speaker 1: to look out for Joe, making a more sort of

854
00:42:15,840 --> 00:42:18,439
Speaker 1: friendly environment for him, which you know, I think makes

855
00:42:18,480 --> 00:42:19,879
Speaker 1: a lot of sense. I think that was a nice

856
00:42:19,920 --> 00:42:23,200
Speaker 1: thing for them to do. But the most important demand,

857
00:42:23,280 --> 00:42:25,120
Speaker 1: and the one that ended up being the most divisive,

858
00:42:26,280 --> 00:42:29,080
Speaker 1: was that Glenn wanted him and Don to make more

859
00:42:29,120 --> 00:42:31,800
Speaker 1: money than the rest of the band. And of course

860
00:42:31,960 --> 00:42:35,680
Speaker 1: this was going against the whole idea of one for

861
00:42:35,719 --> 00:42:37,759
Speaker 1: all and all for one that they had when they

862
00:42:37,760 --> 00:42:40,560
Speaker 1: first started out. But to me, it also makes a

863
00:42:40,600 --> 00:42:42,960
Speaker 1: lot of sense. I think, especially Don Henley, Like I

864
00:42:43,000 --> 00:42:45,640
Speaker 1: wonder if Glenn and Don made the same amount of money,

865
00:42:45,960 --> 00:42:48,839
Speaker 1: or if Don made the most money, because if you're

866
00:42:48,840 --> 00:42:51,600
Speaker 1: doing this in terms of like who's the most important

867
00:42:51,640 --> 00:42:54,120
Speaker 1: member of the band, like, it seems like Don Henley,

868
00:42:54,560 --> 00:42:57,600
Speaker 1: you know, after his very successful solo career was clearly

869
00:42:57,640 --> 00:43:00,560
Speaker 1: the biggest star. But it makes sense to me that

870
00:43:00,680 --> 00:43:03,680
Speaker 1: like they would be making the most in the band.

871
00:43:03,719 --> 00:43:07,440
Speaker 1: But Don Felder didn't like this at all, like he

872
00:43:07,520 --> 00:43:09,239
Speaker 1: was the loan hold out. I think Joe Walsh and

873
00:43:09,239 --> 00:43:12,960
Speaker 1: Timothy B. Schmidt, those guys, you know, their music business lifers.

874
00:43:13,320 --> 00:43:15,480
Speaker 1: They know a good gig when they see it. They're like,

875
00:43:15,520 --> 00:43:18,279
Speaker 1: whatever you say, Glenn and Don, we know we're gonna

876
00:43:18,320 --> 00:43:21,160
Speaker 1: make millions of dollars no matter what. But Don Felder,

877
00:43:21,200 --> 00:43:23,640
Speaker 1: for whatever reason, could not accept that. And it really

878
00:43:23,719 --> 00:43:28,239
Speaker 1: sets the tone for the tension of the reunion years right.

879
00:43:28,239 --> 00:43:29,560
Speaker 1: And I think it goes back to when he was

880
00:43:29,600 --> 00:43:32,160
Speaker 1: first asked to join the Eagles in the seventies, when

881
00:43:32,160 --> 00:43:34,719
Speaker 1: he was cut in as a joint owner of their

882
00:43:34,760 --> 00:43:38,239
Speaker 1: their internal company, Eagles Limited, And so I think it

883
00:43:38,280 --> 00:43:40,279
Speaker 1: gets back to that. He's thinking, well, wait, why I'm

884
00:43:40,320 --> 00:43:42,120
Speaker 1: a part owner of this What do you mean I'm

885
00:43:42,160 --> 00:43:43,920
Speaker 1: not making as much as you guys are. We are

886
00:43:43,960 --> 00:43:46,480
Speaker 1: equal in this business structure we had in place for

887
00:43:46,600 --> 00:43:49,600
Speaker 1: years and years. Uh So he's dragging his feet signing

888
00:43:49,600 --> 00:43:52,800
Speaker 1: this new deal, and then Glenn Fry ends up calling

889
00:43:52,840 --> 00:43:56,640
Speaker 1: Felder's representative and tell us us representative. Look, man, I'm

890
00:43:56,680 --> 00:43:58,839
Speaker 1: sorry you have to represent the only asshole in this

891
00:43:58,880 --> 00:44:01,960
Speaker 1: whole band. The older signs by sunset or he's out

892
00:44:01,960 --> 00:44:05,719
Speaker 1: of the fucking band by sundown. Yeah, I love that.

893
00:44:05,840 --> 00:44:08,880
Speaker 1: By sundown, it's like he's still a little bit of

894
00:44:08,920 --> 00:44:10,960
Speaker 1: cowboy in him at that point. I think that that's

895
00:44:11,000 --> 00:44:14,560
Speaker 1: that's so classic. But the strong arming works. Felder's back

896
00:44:14,560 --> 00:44:17,239
Speaker 1: in The Health Freezes Over tour kicks off with you know,

897
00:44:17,280 --> 00:44:21,360
Speaker 1: a long stream of very well regarded blockbuster tours. There's

898
00:44:21,480 --> 00:44:26,040
Speaker 1: a live album with truly horrendous new song called get

899
00:44:26,120 --> 00:44:29,040
Speaker 1: Over It and it's uh, Hanley writes the lyrics. It's

900
00:44:29,040 --> 00:44:33,239
Speaker 1: about sort of whiney self help disciples who you know

901
00:44:33,239 --> 00:44:37,000
Speaker 1: aren't taking responsibility for their own problems in their lives. Uh.

902
00:44:37,040 --> 00:44:39,480
Speaker 1: And it features the memorable lyric I'd like to find

903
00:44:39,520 --> 00:44:43,879
Speaker 1: your inner child and kick its little ass. Truly one

904
00:44:43,880 --> 00:44:45,440
Speaker 1: of the worst songs of all time. I mean, the

905
00:44:45,520 --> 00:44:47,600
Speaker 1: lyrics are terrible, Like the music is just like some

906
00:44:47,719 --> 00:44:50,960
Speaker 1: knockoff chuck Berry riff. It just sounds like something they

907
00:44:51,040 --> 00:44:53,759
Speaker 1: crept out in like fifteen minutes, you know, such a

908
00:44:53,760 --> 00:44:57,520
Speaker 1: big contrast to like an album like Hotel California, which

909
00:44:57,760 --> 00:45:00,760
Speaker 1: is so impeccably crafted, and then they just like crap

910
00:45:00,760 --> 00:45:05,759
Speaker 1: out this garbage, you know, sort of anti PC song. Um. Yeah.

911
00:45:05,800 --> 00:45:08,840
Speaker 1: You know, in Don Feather's book, he writes a lot

912
00:45:09,120 --> 00:45:12,560
Speaker 1: about this period and how you know he really felt

913
00:45:12,560 --> 00:45:14,480
Speaker 1: like he was being screwed over because again, you know,

914
00:45:14,520 --> 00:45:16,200
Speaker 1: he's part of Equos Limited, he's like one of the

915
00:45:16,239 --> 00:45:18,960
Speaker 1: owners of like the band name. He feels like there

916
00:45:18,960 --> 00:45:21,239
Speaker 1: should be an equals say, and he really feels like

917
00:45:21,360 --> 00:45:23,960
Speaker 1: he should be equally compensated to Don and Glenn. But

918
00:45:24,239 --> 00:45:25,680
Speaker 1: I don't know how you feel about this, but like

919
00:45:25,719 --> 00:45:27,719
Speaker 1: reading his book, I don't feel like he really makes

920
00:45:27,760 --> 00:45:30,520
Speaker 1: a convincing case for any of this. I mean, he

921
00:45:30,640 --> 00:45:34,160
Speaker 1: just comes off to me as like petty and whining.

922
00:45:34,400 --> 00:45:37,280
Speaker 1: Like he complains that Don and Glenn get like fancier

923
00:45:37,440 --> 00:45:41,200
Speaker 1: hotel rooms and like better limousines on tour, but like

924
00:45:41,440 --> 00:45:44,440
Speaker 1: Felder is still staying in luxury hotels and being whisked

925
00:45:44,440 --> 00:45:47,560
Speaker 1: around in limousines. You know, it's not like he's you know,

926
00:45:48,680 --> 00:45:51,239
Speaker 1: being carried around in a burlap sack or something. You know,

927
00:45:51,400 --> 00:45:53,719
Speaker 1: he's he was still like a very pampered like rock

928
00:45:53,760 --> 00:45:56,759
Speaker 1: star at this time. So yeah, I just don't get it.

929
00:45:57,000 --> 00:45:59,480
Speaker 1: There's another story in the book too, where he talks

930
00:45:59,520 --> 00:46:02,960
Speaker 1: about this model that was built for the health freezers

931
00:46:03,280 --> 00:46:06,560
Speaker 1: over like stage setup, and like there's little figurines for

932
00:46:06,600 --> 00:46:08,759
Speaker 1: each member of the band, and like the figurines for

933
00:46:08,840 --> 00:46:10,960
Speaker 1: don and Glenn are white and the rest of the

934
00:46:11,000 --> 00:46:14,640
Speaker 1: band is black. And he like takes this as like

935
00:46:15,040 --> 00:46:18,120
Speaker 1: some profound slight from the gods. You know that he's

936
00:46:18,160 --> 00:46:20,080
Speaker 1: not the same color as the other guys. It's like

937
00:46:20,120 --> 00:46:22,239
Speaker 1: the scene from Almost Famous with the T shirts, like

938
00:46:22,280 --> 00:46:25,120
Speaker 1: I just wanted the out of focus guys, Like, yeah,

939
00:46:25,160 --> 00:46:28,560
Speaker 1: it's makes no real sense. Yeah, I mean it's like, yeah,

940
00:46:28,600 --> 00:46:31,640
Speaker 1: I get it. Like Donn and Glenn, I'm sure they're assholes.

941
00:46:32,040 --> 00:46:34,520
Speaker 1: It was probably like not fun to be in this

942
00:46:34,560 --> 00:46:38,000
Speaker 1: band at all, But you're still being paid tens of

943
00:46:38,040 --> 00:46:41,200
Speaker 1: millions of dollars to put up with these guys. And

944
00:46:41,239 --> 00:46:44,000
Speaker 1: I have to say that, like, who among us wouldn't

945
00:46:44,000 --> 00:46:47,240
Speaker 1: pick up a double neck guitar and tour with the Eagles,

946
00:46:47,600 --> 00:46:49,799
Speaker 1: you know, for that amount of money. I mean, it

947
00:46:49,880 --> 00:46:52,040
Speaker 1: really was a privilege that I think at some point

948
00:46:52,440 --> 00:46:55,799
Speaker 1: he lost perspective on the stress of this reunion really

949
00:46:55,840 --> 00:46:58,920
Speaker 1: continues to build throughout the nineties. There's a brief respite.

950
00:47:00,080 --> 00:47:02,600
Speaker 1: They have the Rock and Roll Hall of Fame induction ceremony,

951
00:47:03,080 --> 00:47:05,120
Speaker 1: the only time in history that all seven members of

952
00:47:05,120 --> 00:47:07,480
Speaker 1: the Eagles took the stage. They performed Take It Easy

953
00:47:07,520 --> 00:47:11,640
Speaker 1: in Hotel California. Evening featured pretty funny line from Glenn Fry.

954
00:47:11,760 --> 00:47:15,520
Speaker 1: We all got along fine, We just disagreed a lot um.

955
00:47:15,560 --> 00:47:18,040
Speaker 1: But still although even even like with that, though, like

956
00:47:18,080 --> 00:47:20,120
Speaker 1: in his book, like Dan Felder complained that he wasn't

957
00:47:20,120 --> 00:47:24,120
Speaker 1: allowed to speak as long as Glenn and Don It's like, dude,

958
00:47:24,160 --> 00:47:26,560
Speaker 1: come on, no one wants to hear from you. I'm sorry,

959
00:47:26,640 --> 00:47:31,000
Speaker 1: It's just true. So this keeps going. It's early two thousands.

960
00:47:31,040 --> 00:47:34,359
Speaker 1: I think it's two thousand one. Feller starts making more

961
00:47:34,360 --> 00:47:37,200
Speaker 1: and more noise about the bottom line. He's really wasn't

962
00:47:37,200 --> 00:47:39,560
Speaker 1: happy about this deal that he was coerced into signing,

963
00:47:39,800 --> 00:47:42,360
Speaker 1: which you know entitled I think it was Fryan Henley

964
00:47:42,400 --> 00:47:45,359
Speaker 1: something like twice what all the other bandmates made. And

965
00:47:45,719 --> 00:47:48,520
Speaker 1: he discovered that Henley and Fry had found a legal

966
00:47:48,520 --> 00:47:51,719
Speaker 1: loophole to make three times as much on a new

967
00:47:51,760 --> 00:47:56,920
Speaker 1: box set selected works, and also Felder believed that Henley

968
00:47:56,920 --> 00:47:59,920
Speaker 1: and Fry had extra tour expenses like the whole mattress

969
00:48:00,000 --> 00:48:02,360
Speaker 1: thing and tennis coach back in the seventies that he

970
00:48:02,400 --> 00:48:04,960
Speaker 1: thought was taken out of the band's collective call forers

971
00:48:05,000 --> 00:48:07,680
Speaker 1: as well, so he was also paying for their extra

972
00:48:07,719 --> 00:48:10,600
Speaker 1: amenities that he wasn't able to enjoy in two so

973
00:48:10,760 --> 00:48:13,399
Speaker 1: he started to demand financial records, which as a member

974
00:48:13,400 --> 00:48:16,360
Speaker 1: of the Eagles Limited, he was actually entitled to. But

975
00:48:16,440 --> 00:48:19,799
Speaker 1: Henley Fry didn't take kindly to having their their finances

976
00:48:19,840 --> 00:48:23,239
Speaker 1: being poked around and looked into. As Fry would later say,

977
00:48:23,280 --> 00:48:25,239
Speaker 1: you know, he couldn't appreciate the amount of money he

978
00:48:25,320 --> 00:48:28,080
Speaker 1: was making. He was more concerned about the money I

979
00:48:28,120 --> 00:48:33,360
Speaker 1: was making. So in February two one, they fire Felder

980
00:48:33,920 --> 00:48:38,319
Speaker 1: um unleashing an avalanche of messy legal proceedings that would

981
00:48:38,360 --> 00:48:41,080
Speaker 1: go on for years to come, with Don Felder filing

982
00:48:41,120 --> 00:48:44,920
Speaker 1: suits for wrongful termination, breach of contract for something for

983
00:48:45,000 --> 00:48:49,000
Speaker 1: like fifty million dollars a lot of money, and attorneys

984
00:48:49,040 --> 00:48:51,360
Speaker 1: for Fry and Henley said, you know, he wasn't fired

985
00:48:51,360 --> 00:48:53,160
Speaker 1: because he was like messing around with money. It just

986
00:48:53,280 --> 00:48:56,720
Speaker 1: was creatively, chemistry wise, performance wise, he was no longer

987
00:48:56,800 --> 00:48:59,080
Speaker 1: good fit for this band, so that was the official

988
00:48:59,160 --> 00:49:01,319
Speaker 1: band line as it had nothing to do with him

989
00:49:01,320 --> 00:49:03,759
Speaker 1: complaining about money. It was more just that they've grown

990
00:49:03,800 --> 00:49:07,160
Speaker 1: apart creatively, which I mean, I think his right. Yeah,

991
00:49:07,840 --> 00:49:10,600
Speaker 1: come on, I mean this part of Felder's book is

992
00:49:10,640 --> 00:49:13,480
Speaker 1: actually like pretty heartbreaking for me because he's like really

993
00:49:13,520 --> 00:49:17,680
Speaker 1: candid about how hard he begged not to be fired.

994
00:49:17,960 --> 00:49:21,360
Speaker 1: Like he called Glenn Fry, He like calls like every

995
00:49:21,440 --> 00:49:23,919
Speaker 1: number that he has for Don Henley. You know, he's

996
00:49:23,920 --> 00:49:26,479
Speaker 1: calling Irving as Op basically saying like, look, I take

997
00:49:26,480 --> 00:49:28,880
Speaker 1: it back, I'm sorry, I'll sign the paper, I'll do

998
00:49:28,920 --> 00:49:30,800
Speaker 1: whatever you want. Please let me back in the band.

999
00:49:31,560 --> 00:49:35,120
Speaker 1: And as we've learned so far in this series, Don

1000
00:49:35,200 --> 00:49:37,520
Speaker 1: Henley and Glenn Fry are very good about keeping grudges,

1001
00:49:37,920 --> 00:49:40,120
Speaker 1: I think, and like they were not going to let

1002
00:49:40,160 --> 00:49:41,680
Speaker 1: him back in the band at this point. There's just

1003
00:49:41,719 --> 00:49:44,960
Speaker 1: been too much bitterness. And it just reminds me of

1004
00:49:45,000 --> 00:49:47,520
Speaker 1: like that scene in Mier's Crossing, like where John Taturo

1005
00:49:48,080 --> 00:49:52,560
Speaker 1: is begging Gabriel Burn like not to shoot him. It's

1006
00:49:52,600 --> 00:49:54,440
Speaker 1: it's his brutal It's like the one part of the

1007
00:49:54,480 --> 00:49:58,080
Speaker 1: book where Don Felder comes closest to admitting that he

1008
00:49:58,160 --> 00:50:01,719
Speaker 1: fucked up big time by just pushing these guys too far,

1009
00:50:02,000 --> 00:50:04,000
Speaker 1: you know. And there's this scene in the book where

1010
00:50:04,000 --> 00:50:06,279
Speaker 1: he calls up Joe Walsh and Timothy B. Schmidt like

1011
00:50:06,360 --> 00:50:09,200
Speaker 1: right after getting like fired, and both of those guys

1012
00:50:09,200 --> 00:50:11,480
Speaker 1: are like actually kind of annoyed with him for like

1013
00:50:11,560 --> 00:50:14,920
Speaker 1: not just like signing this agreement, like even like like

1014
00:50:14,960 --> 00:50:18,160
Speaker 1: Timothy B. Schmidt like the gentlest Man and Rock like

1015
00:50:18,239 --> 00:50:21,240
Speaker 1: he tells off Don Felder. Like in the book, Felder

1016
00:50:21,320 --> 00:50:24,040
Speaker 1: frames it as those guys not supporting him, but like,

1017
00:50:24,239 --> 00:50:27,160
Speaker 1: to me, like Schmidt and Walsh, they were just like

1018
00:50:27,200 --> 00:50:30,719
Speaker 1: more level headed, like I think they recognize it that. Yeah,

1019
00:50:30,719 --> 00:50:33,520
Speaker 1: like Don and Glenn or eaglemaniacs, we know that. But

1020
00:50:34,200 --> 00:50:36,680
Speaker 1: being in the Eagles, even with all the bullshit, is

1021
00:50:36,680 --> 00:50:39,680
Speaker 1: a lot better than not being in the Eagles. And

1022
00:50:40,160 --> 00:50:42,719
Speaker 1: they were able to, I think, do that calculus in

1023
00:50:42,760 --> 00:50:45,680
Speaker 1: their head, and Don Felder just wasn't all right hand.

1024
00:50:45,719 --> 00:50:56,719
Speaker 1: We'll be right back with more rivals. So we've not

1025
00:50:56,800 --> 00:50:58,200
Speaker 1: reached the part of the episode where we give the

1026
00:50:58,239 --> 00:51:00,200
Speaker 1: pro side of each part of the rivalry. Let's talk

1027
00:51:00,239 --> 00:51:02,839
Speaker 1: about Don Felder first. You know, Don Felder came into

1028
00:51:02,840 --> 00:51:04,800
Speaker 1: the band when the Eagles had to make a transition

1029
00:51:04,840 --> 00:51:06,920
Speaker 1: from being a country rock band to more of an

1030
00:51:06,920 --> 00:51:10,120
Speaker 1: arena rock band. And I think if he hadn't have

1031
00:51:10,239 --> 00:51:12,520
Speaker 1: come into the Eagles, it's it's very possible that they

1032
00:51:12,560 --> 00:51:15,520
Speaker 1: could have had, you know, some hits in the early

1033
00:51:15,560 --> 00:51:19,040
Speaker 1: seventies and then faded away. But because of Felder and

1034
00:51:19,040 --> 00:51:21,520
Speaker 1: then of course later Joe Walsh, they were able to

1035
00:51:21,560 --> 00:51:25,440
Speaker 1: become this like behemoth of Hotel California that just kicked

1036
00:51:25,480 --> 00:51:28,040
Speaker 1: their career to a whole other level. And of course,

1037
00:51:28,080 --> 00:51:31,680
Speaker 1: speaking of Hotel California, Don Felder like wrote the music

1038
00:51:31,719 --> 00:51:35,400
Speaker 1: to that song. He's an integral contributor to the signature

1039
00:51:35,400 --> 00:51:39,560
Speaker 1: song in this band's catalogue, and that can't be like underestimated.

1040
00:51:39,680 --> 00:51:42,040
Speaker 1: And wherever Don Felder is now, you know, he might

1041
00:51:42,080 --> 00:51:44,120
Speaker 1: feel sad that he's on the Eagles, but I'm sure

1042
00:51:44,480 --> 00:51:48,200
Speaker 1: he's being well compensated for his contributions to the band

1043
00:51:48,400 --> 00:51:51,000
Speaker 1: and writing like one of the most popular rock classics

1044
00:51:51,000 --> 00:51:54,560
Speaker 1: in history. I mean, killer guitarist, amazing musical legacy, just

1045
00:51:54,640 --> 00:51:57,560
Speaker 1: for that song alone. In his memoir he talks about

1046
00:51:57,640 --> 00:52:00,320
Speaker 1: this scene. I mean it could have been a pagened

1047
00:52:00,360 --> 00:52:02,759
Speaker 1: in his own mind of Glenn actually coming up to

1048
00:52:02,840 --> 00:52:05,280
Speaker 1: him and offering him, you know, pretty a fusive praise

1049
00:52:05,280 --> 00:52:07,600
Speaker 1: for Glenn Fry's and you know when you came along,

1050
00:52:07,640 --> 00:52:10,719
Speaker 1: you really brought us to a new level and effectively

1051
00:52:10,760 --> 00:52:13,080
Speaker 1: like we couldn't have done it without you. And it's true, Yeah,

1052
00:52:13,120 --> 00:52:14,759
Speaker 1: I mean he was the guy that they needed. I

1053
00:52:14,760 --> 00:52:17,120
Speaker 1: think he was the great midway point between the kind

1054
00:52:17,120 --> 00:52:19,280
Speaker 1: of the more country stuff that Bernie Leadon was doing

1055
00:52:19,719 --> 00:52:23,319
Speaker 1: and all out like rock and roll that that Joe

1056
00:52:23,360 --> 00:52:26,480
Speaker 1: Walsh provided to I think that he really fulfilled that

1057
00:52:26,800 --> 00:52:28,480
Speaker 1: niche right in the middle between the boat that will

1058
00:52:28,560 --> 00:52:31,080
Speaker 1: let them do these kind of weird sounds like the

1059
00:52:31,160 --> 00:52:35,040
Speaker 1: you know, Mexican reggae type stuff of Hotel California. Now

1060
00:52:35,080 --> 00:52:37,560
Speaker 1: going over to the pro Don Henley and Glenn Fry side,

1061
00:52:37,600 --> 00:52:39,959
Speaker 1: you know, I'm I'm reminded of a quote from Don

1062
00:52:40,000 --> 00:52:41,960
Speaker 1: Henley that sticks out to me where he once said

1063
00:52:42,480 --> 00:52:46,160
Speaker 1: for us, there were no times of sustained happiness. Happiness

1064
00:52:46,200 --> 00:52:49,640
Speaker 1: came in waves and then disappeared talking about his time

1065
00:52:49,640 --> 00:52:52,440
Speaker 1: in the Eagles, and look, the Eagles were I think

1066
00:52:52,440 --> 00:52:55,680
Speaker 1: a fairly joyless like business like operation. But you know,

1067
00:52:55,760 --> 00:52:58,120
Speaker 1: we've said this many times in this series, but like,

1068
00:52:58,480 --> 00:53:02,080
Speaker 1: while these guys could be dicks, they were almost always right.

1069
00:53:02,560 --> 00:53:05,480
Speaker 1: And as much as I like sympathize with Don Felder

1070
00:53:05,520 --> 00:53:09,080
Speaker 1: in a lot of ways, I consistently come down on

1071
00:53:09,160 --> 00:53:11,879
Speaker 1: the side of looking at Don Henley and Glenn Fry

1072
00:53:11,920 --> 00:53:14,080
Speaker 1: and being like, I don't want to defend you, but

1073
00:53:15,160 --> 00:53:18,319
Speaker 1: you know, it's hard for me to dispute like how

1074
00:53:18,360 --> 00:53:20,600
Speaker 1: you've gutted this band and even like your request to

1075
00:53:20,640 --> 00:53:23,399
Speaker 1: make more money on these reunion tours. I mean, they

1076
00:53:23,440 --> 00:53:25,120
Speaker 1: were the two guys in the band that were the

1077
00:53:25,160 --> 00:53:29,120
Speaker 1: least replaceable, although ironically they did replace Glenn Fry when

1078
00:53:29,120 --> 00:53:31,520
Speaker 1: he passed away with his son, so I guess Don

1079
00:53:31,560 --> 00:53:33,960
Speaker 1: Henley is the only one who's not replaceable. But at

1080
00:53:34,000 --> 00:53:37,080
Speaker 1: any rate, they were the guiding forces of this band,

1081
00:53:37,120 --> 00:53:39,040
Speaker 1: and as hard as they could be, I think to

1082
00:53:39,120 --> 00:53:42,160
Speaker 1: be in the same band with you can't really fault

1083
00:53:42,480 --> 00:53:44,560
Speaker 1: a band that has as many classic songs and as

1084
00:53:44,600 --> 00:53:48,319
Speaker 1: many hit records as the Eagles do. Ultimately, yeah, I mean,

1085
00:53:48,400 --> 00:53:52,640
Speaker 1: Henley is the star, outshone as other supremely talented bandmates,

1086
00:53:52,719 --> 00:53:54,680
Speaker 1: and you know, as a songwriter and vocalist, he's one

1087
00:53:54,680 --> 00:53:56,640
Speaker 1: of the best to ever do it. Glenn Fry, By

1088
00:53:56,640 --> 00:53:59,080
Speaker 1: Henley's own admission, was the man with the plan, you know.

1089
00:53:59,160 --> 00:54:01,080
Speaker 1: I mean it was his band from the start. He

1090
00:54:01,120 --> 00:54:03,200
Speaker 1: was the one who put the band together, the original

1091
00:54:03,239 --> 00:54:05,520
Speaker 1: front man, and he had the drive and that type

1092
00:54:05,520 --> 00:54:08,720
Speaker 1: a energy to really push the band into the stratosphere.

1093
00:54:09,320 --> 00:54:12,399
Speaker 1: And you know, I think that it really speaks to

1094
00:54:12,560 --> 00:54:15,520
Speaker 1: his ambition to actually be willing to take more of

1095
00:54:15,520 --> 00:54:17,719
Speaker 1: a back seat and sing less over the years and

1096
00:54:17,719 --> 00:54:19,759
Speaker 1: give more of the spotlight to Hamley because he knew

1097
00:54:19,800 --> 00:54:22,160
Speaker 1: that was the best for the band, and his commitment

1098
00:54:22,200 --> 00:54:24,360
Speaker 1: to the group, you know, in later years never wavered.

1099
00:54:24,360 --> 00:54:26,640
Speaker 1: I mean he was in really great pain through a

1100
00:54:26,640 --> 00:54:29,279
Speaker 1: lot of his uh the later concerts, with rumor, twitter,

1101
00:54:29,360 --> 00:54:32,839
Speaker 1: arthritis and other ailments, but he still performed the History

1102
00:54:32,840 --> 00:54:34,880
Speaker 1: of the Eagles tour every night. I don't think he

1103
00:54:34,920 --> 00:54:39,200
Speaker 1: missed a show. So yeah, I think that really it

1104
00:54:39,239 --> 00:54:42,239
Speaker 1: wouldn't have happened without Fry. So when we look at

1105
00:54:42,239 --> 00:54:44,920
Speaker 1: all these guys together, you know, I know in our

1106
00:54:44,920 --> 00:54:47,680
Speaker 1: first episode you said that you prefer the early country

1107
00:54:47,760 --> 00:54:50,520
Speaker 1: rocky years at the Eagles, whereas I am more of

1108
00:54:50,560 --> 00:54:53,320
Speaker 1: a fan of like the arena Rocky Eagles of Hotel,

1109
00:54:53,360 --> 00:54:56,759
Speaker 1: California in the long run, and I think you look

1110
00:54:56,760 --> 00:54:58,319
Speaker 1: at these guys together what they were able to do,

1111
00:54:58,800 --> 00:55:01,719
Speaker 1: especially on that song Hotel California, which I think really

1112
00:55:01,760 --> 00:55:05,800
Speaker 1: does seem like a true collaboration between Hanley, Fry and Felder,

1113
00:55:06,239 --> 00:55:08,480
Speaker 1: and like, look, I think that speaks for itself. I mean,

1114
00:55:09,200 --> 00:55:13,240
Speaker 1: these guys together, even though it came apart in spectacular fashion,

1115
00:55:13,520 --> 00:55:17,239
Speaker 1: they created a timeless classic that I know somewhere in

1116
00:55:17,280 --> 00:55:20,840
Speaker 1: the world right now there's some radio station playing Hotel California,

1117
00:55:20,920 --> 00:55:22,759
Speaker 1: and it's gonna be like that, I'm sure until the

1118
00:55:22,840 --> 00:55:25,040
Speaker 1: end of time. I guess you could say with Felder

1119
00:55:25,040 --> 00:55:27,840
Speaker 1: and Walsh, the Eagles really took it to the limit.

1120
00:55:28,680 --> 00:55:30,719
Speaker 1: You could say that. You could also say that they

1121
00:55:30,719 --> 00:55:32,560
Speaker 1: were the new kids in town who gave them the

1122
00:55:32,600 --> 00:55:34,719
Speaker 1: best of their love. That's what I get for trying

1123
00:55:34,719 --> 00:55:38,520
Speaker 1: to add pun the song pun Master. That's right. So

1124
00:55:38,560 --> 00:55:41,279
Speaker 1: we have one more part of our Eagle series coming up.

1125
00:55:41,280 --> 00:55:43,920
Speaker 1: We're gonna be diving into the band's relationship with David

1126
00:55:43,920 --> 00:55:48,200
Speaker 1: Geffen talking about irving A's off lots of blood feuds

1127
00:55:48,239 --> 00:55:50,839
Speaker 1: on the business side of the band. Man, I can't

1128
00:55:50,840 --> 00:55:52,800
Speaker 1: wait to get into it. I've had so much fun

1129
00:55:53,360 --> 00:55:56,120
Speaker 1: here with the Eagles, and I'm excited to get to

1130
00:55:56,120 --> 00:55:59,200
Speaker 1: the third encore in the final episode of our series,

1131
00:55:59,239 --> 00:56:02,160
Speaker 1: so they thank you again for listening to Rivals. We'll

1132
00:56:02,200 --> 00:56:04,680
Speaker 1: be back with more beefs and feuds and long simmering

1133
00:56:04,760 --> 00:56:13,840
Speaker 1: resentments next week. Rivals is a production of I Heart Radio.

1134
00:56:14,000 --> 00:56:17,160
Speaker 1: The executive producers are shaun Tytone and Noel Brown. Supervising

1135
00:56:17,160 --> 00:56:20,480
Speaker 1: producers are Taylor Chicoyn and Tristan McNeil. The producer is

1136
00:56:20,560 --> 00:56:23,680
Speaker 1: Joel hat Stat. I'm Jordan run Tug. I'm Stephen Hyden.

1137
00:56:23,840 --> 00:56:25,640
Speaker 1: If you like what you heard, please subscribe and leave

1138
00:56:25,680 --> 00:56:28,000
Speaker 1: us a review. For more podcast for my heart Radio,

1139
00:56:28,280 --> 00:56:31,240
Speaker 1: visit the I heart Radio app, Apple Podcasts, or wherever

1140
00:56:31,320 --> 00:56:32,600
Speaker 1: you listen to your favorite shows.