History of the Eagles

In Australia parts 1 & 2 were screened on the MTV channel a week ago but I only caught part of it. As the DVD was also released a week ago I bought it yesterday. Disappointed that it came without the third "concert" disc I have ordered another through Amazon.The Eagles have always been my favourite band and their music along with Bob Seger, Fleetwood Mac, America and a number of others through that era did paint the pictures and memories that Glen Frey describes in the documentary. But probably none more so than the Eagles with the harmonies that are such an integral part of their songs they linger longest.Their songbook is filled with so many masterpieces that many don't get mentioned. Notably the "Last Resort" that in my opinion could be the theme song for all environment campaigns. Written when young men and before the issue became.... let's say trendy.As Don Henley once said they wrote above their age and the lyrics in most of their songs show it even in the lesser played "Best of my love" "Thrill is gone" and those others off the Long Run Album "The sad cafe" and "King of Hollywood"The harmonies in two of the more mellow Joe Walsh leads "Pretty Maids All In A Row" , "Help Me Through The Night" along with "Tequila Sunrise", "Desperado", "Lyin Eyes" and so many others is the ingredient that lifts their great song writing even higher.If we ask ourselves how many bands can boast as many lead singers and songwriters as the Eagles have and with each able to play more than just one instrument including acoustic how many come close?The most successful incarnation of that other great super group Fleetwood Mac had three and Stevie didn't play.The older visual appearance of the original members Randy Meisner and Bernie Leadon comes as quite a shock. Age has not been kind to the once good looking Randy and to see a bulked up shaven headed Bernie you would not recognise either without forewarning.Not to be critical of Timothy B Schmit but to me Randy was the biggest loss of all the former Eagles. It's a pity his "Hearts on Fire" wasn't in their songbook it would have been a great fit.Poached from Poco before Timothy I'm sure if they had a spot for Paul Cotton they would have grabbed him too."Take it to the Limit" was their first number one hit single and relating to Randy we get some other visual with "Certain Kind of Fool" and some sound snippets in the background of "Try to Love Again".Don Felder? It appears he now has a lot of regrets.Many people I think feel that Glen Frey particularly was dictatorial but as Joe Walsh confirms it was always about what was good for the Eagles. Glen Frey was/is undeniably the main driving force in the band and conceded himself to singing less in favour of Don Henley.Felder for all his talent as a guitar player was not a great singer and his biggest contribution came in Hotel California. As for the "Victim of Love" song he felt was his? To me that was one of their weakest with no flow.Their reunion work and the later solo inclusions by Henley, Frey and Walsh were still first class although now the creative collaboration has almost disappeared. "How Long" being dragged out of an old closet is an example the newer material doesn't have the same magic.Listening to the new stuff as you drive down the open highway won't evoke memories like their old songs of the past.At this stage of their careers for the sake of all that appreciated their older stuff perhaps they could do covers of other Eagles like material such as "Ventura Highway".

This is a superb rockumentary. It begins at the beginning, with Frey’s association with Bob Seger in Detroit and his living arrangement with Jackson Browne in Echo Park. Price point is the essential element in their decision to share a rental, but in listening to Browne’s endless repetition of the same riffs and melodies Frey learns how to write music—essentially by working very, very hard.Frey and Henley are hired to back up Linda Ronstadt and they eventually form their own band. Leadon leaves because he wants more country and less rock (he is an excellent banjo player); Randy Meisner leaves and we get the longstanding lineup with Schmit, Felder, Walsh, Henley and Frey.Henley acknowledges that it is Frey’s band and we see him play a strong leadership role. What we do not see are examples of Henley’s perfectionism, the endless practices and rehearsals fueled by controlled substances. We see many segments of the band in performance, with clips that are just long enough to be satisfying without taking our attention from the documentary narrative.The most noteworthy aspect of the three-hour story is its honesty. Frey’s altercation with Felder at the Alan Cranston benefit performance is depicted at length and in depth. We hear the threats; we see Felder destroy one of his acoustic guitars (the ‘cheapest’, Frey informs us) and we await the post-performance violence which Felder manages to elude.We hear at length of Joe Walsh’s alcoholism and cocaine abuse. We see him high; we see the ravaged face and the halting speech and then we hear him sing and play after he’s clean. Frey comments as the story evolves. We also hear Frey’s comments on Felder’s affection for cash and Frey and Henley’s plan to change the financial model after the band is reunited. They write the songs, for the most part. They are the founding members of the band. They are the leadership; this is not a democracy. Democracies don’t work in bands. Hence they want a larger share of the take. Schmit and Walsh are OK with that; Felder is reluctant. Eventually Felder is fired. We also hear about their disagreements with David Geffen and how they began with Asylum and left and how Henley eventually signed with Geffen again, and then left. There is talk of lawsuits and out of court settlements.As other reviewers have noted, we hear virtually nothing concerning their wives, lovers and families, though there is a brief segment concerning the importance of family and a glimpse, e.g., of Joe Walsh’s daughter.For those whose principal interest is in the music, there is music aplenty, including the backstory on some of the songs (‘Life in the Fast Lane’: a statement made by a heavy duty, carrying drug dealer, flying across the L.A. freeways with an apprehensive Frey sitting at his side). For those who want the inside scoop on the band’s dynamics, chemistry and methods, there is a great deal of information.An additional disc contains material from a 1977 concert at the Capital Centre in suburban Washington, D.C.In general, the narrative is always interesting, sometimes riveting. You learn far more than you usually do in these sorts of stories (e.g., the bands with whom Schmit performed during the 14-year hiatus, some very surprising). Frey handled the editing of the music for the three hours and, as expected, it is exquisite.

Was good.