The Eagles

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Biography

With over 100 million in record sales, the Eagles epitomized commercial Southern California rock in the '70s, and their appeal continues undiminished three decades later. As of early 2001, Their Greatest Hits, 1971-1975 - a 1976 best-of that was the first album ever certified platinum - is the best-selling album of all time, its 27 million copies outstripping the previous champ, Michael Jackson's Thriller. The group's well-crafted songs merged countryish vocal harmonies with hard-rock guitars, and lyrics that were alternately yearning (One of These Nights, Best of My Love) and romantically jaded (Life in the Fast Lane, Hotel California). During the bands hugely successful career, it had an increasingly indolent recording schedule until its breakup in the fall of 1980. Subsequently, each of the members pursued a solo career, with Henleys the most successful commercially and critically. In the 90s, the bands sound was frequently cited as an influence by young country stars, many of whom contributed tracks to the album Common Thread: The Songs of the Eagles (#3, 1993), which won Album of the Year at the 1994 Country Music Awards. That same year, the Eagles revival culminated in the bands reunion tour and album.

The group originally coalesced from L.A.s country-rock community. Before producer John Boylan assembled them as Linda Ronstadts backup band on her album Silk Purse (1970), the four original Eagles were already experienced professionals. Leadon had played in the Dillard and Clark Expedition and the Flying Burrito Brothers; Meisner, with Poco [see entry] and Rick Nelsons Stone Canyon Band. Frey had played with various Detroit rock bands (including Bob Segers) and Longbranch Pennywhistle (with J.D. Souther, a sometime songwriting partner), and Henley had been with a transplanted Texas group, Shiloh. After working with Ronstadt, Henley and Frey decided to form the Eagles, recruiting Leadon and Meisner.

Intending to take the country rock of the Byrds and Burritos a step further toward hard rock, the Eagles recorded their first album with producer Glyn Johns in England. Take It Easy (#12, 1972), written by Frey and Jackson Browne, went gold shortly after its release, as did their debut album. (Another single, Witchy Woman, reached #9 that year.) Desperado was a concept album with enough of a plot line to encourage rumors of a movie version. The LP yielded no major pop hits, but its title track, a ballad penned by Henley and Frey, has become a classic rock standard, covered by Linda Ronstadt, among others. With On the Border, the Eagles changed producers, bringing in Bill Szymczyk (who worked on all subsequent albums through 1982s Greatest Hits, vol. 2) and adding Felder, who had recorded with Flow in Gainesville, Florida (and who once gave guitar lessons to another Gainesville native, Tom Petty), then became a session guitarist and studio engineer in New York, Boston, and L.A.

The increased emphasis on rock attracted more listeners - mid-70s hits included Best of My Love (#1, 1975), One of These Nights (#1, 1975), Lyin Eyes (#2, 1975), and Take It to the Limit (#4, 1975) - but alienated Leadon. After One of These Nights, Leadon left to form the Bernie LeadonMichael Georgiades Band, which released Natural Progressions in 1977. (Leadon went on to become a Nashville session musician, and in the 90s formed Run-C&W, a jokester group who played a blend of country and R&B.)

Leadon was replaced by Joe Walsh, who had established himself with the James Gang [see entry] and on his own. His Eagles debut, Hotel California, was their third consecutive #1 album (the second was their record-breaking 1976 greatest-hits compilation). New Kid in Town (#1, 1976), the title cut (#1, 1977), and Life in the Fast Lane (#11, 1977) spurred sales of more than 15 million copies worldwide.

Meisner left in 1977, replaced by Schmit, who had similarly replaced him in Poco. Meisner has released two solo albums, Randy Meisner (1978) and One More Song (1980). (In 1981, he toured with the Silveradoes; later, in 1990, Meisner reemerged in the group Black Tie, alongside Billy Swan and Breads James Griffin.) Henley and Frey sang backup on One More Song, and in the late 70s they also appeared on albums by Bob Seger and Randy Newman. In 1981 Henley duetted with Stevie Nicks on the #6 single Leather and Lace. Between outside projects and legal entanglements, it took the Eagles two years and $1 million to make the multiplatinum LP The Long Run, their last album of all-new material. Parting hit singles included Heartache Tonight (#1, 1979), The Long Run (#8, 1980), and I Cant Tell You Why (#8, 1980).

Walsh continued to release solo albums [see entry], though his biggest single to date has been 1978s cheeky Lifes Been Good (#12). Felder and Schmit also put out their own albums and contributed songs to film soundtracks. Schmits second LP, Timothy B, included Boys Night Out (#25, 1987).

In 1982 Don Henley and Glenn Frey both embarked on solo careers. Frey charted with The One You Love (#15, 1982) and Sexy Girl (#20, 1984) before a movie proved his ticket into the Top 10: The Heat Is On, featured in Beverly Hills Cop, shot to #2 in 1985. Frey followed this success by becoming an actor, making a guest appearance as a drug dealer on the popular TV series Miami Vice. The episode was based on a track from his album The Allnighter, Smugglers Blues, which consequently reached #12 (1985). Later in 1985, Freys You Belong to the City hit #2. While still dabbling in acting with roles in the short-lived TV series South of Sunset the movie Jerry Maguire, and a guest spot on the Don Johnson postMiami Vice series Nash Bridges in the 90s, Frey also cofounded a music label, Mission Records, in 1997.

Ultimately, though, Henley was the ex-Eagle who garnered the greatest chart success, and the most critical acclaim as well. His Dirty Laundry (from his first solo effort, I Cant Stand Still) made it to #3, but the 1985 album Building the Perfect Beast was to be his true arrival as solo hitmaker and respected singer/songwriter. The kickoff single, The Boys of Summer, went to #5 - supported by an evocative black-and-white video that fast became an MTV favorite - and earned Henley a Grammy for Best Rock Vocal Performance, Male; the hits All She Wants to Do Is Dance (#9, 1985) and Sunset Grill (#22, 1985) followed. A third album, The End of the Innocence, produced a #8 title track, and the additional singles The Last Worthless Evening and The Heart of the Matter, which both hit #21. The LP won Henley another Grammy, in the same category as before. In the early 90s, he sought release from his Geffen Records contract, initiating a long and bitter legal dispute. After participating in the release of a solo best-of album in 1995, Henley was freed from his contract. Five years later, he released a studio album of all-new material, Inside Job (coproduced by former Tom Petty and the Heartbreakers drummer Stan Lynch), and embarked on a solo tour to support it. Henley had married for the first time in May 1995 and had three children before releasing Inside Job. This life-altering change for the longtime bachelor resulted in a new theme in his songwriting; several of Inside Jobs tracks were clearly about marriage and family, including the gentle ballad Taking You Home (#58 pop, #1 Adult Contemporary, 2000). Much of the rest of the album, however, still explored Henleys cynicism toward the business world and the media.

In 1990 Henley founded the Walden Woods Project, dedicated to preserving historic lands around Walden Pond in Concord, Massachusetts (where Henry David Thoreau and others reflected and wrote), from corporate development. Among the singers various fund-raising means were holding charity concerts, featuring other top rock artists, and donating proceeds from some of his own recordings, including a reggae version of the Guys and Dolls standard Sit Down Youre Rocking the Boat (1993). In 1993 the Walden Woods Project got a big boost from Common Thread: The Songs of the Eagles, coorganized by Henley and featuring Clint Black, Trisha Yearwood, Travis Tritt, and others.

In 1994, after years of fielding off reunion rumors, Henley, Frey, Walsh, Felder, and Schmit - who had appeared together in the video for Tritts version of Take It Easy - hit the road for a massively successful tour, the third-highest grossing concert tour of that year. The tour went on hiatus toward the end of 1994, due to Freys gastrointestinal surgery, but it continued in 1995. In November 1994, the band released Hell Freezes Over, which featured four new songs, including the singles Get Over It (#31, 1994), Love Will Keep Us Alive (#1 Adult Contemporary, 1994), Learn to Be Still (#15 Adult Contemporary, 1995), and 11 of the old hits culled from the bands 1994 live appearance on MTV. Within months the reunion LP had sold more than 10 million copies and gone to #1 on the pop album chart.

In 1998 the Eagles were inducted into the Rock and Roll Hall of Fame. All seven members of the band performed together for the first time at the induction ceremony. The core members of the group - the ones who had recorded and toured together in the mid-90s - reunited again for a few concerts at the end of 1999, including a New Years Eve show in L.A. A four-CD retrospective set, Eagles 19721999: Selected Works (#109, 2000), was released in November 2000.

from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)

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The Eagles Date of Release Jun 1, 1972 (release) inprint
Genre Rock Tones Soothing, Earnest, Amiable/Good-Natured, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sentimental Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock
Time 36:43

Balance is the key element of the Eagles' self-titled debut album, a collection that contains elements of rock & roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like "Chug All Night," "Nightingale," and "Tryin'," it is equally convincing on ballads like "Most of Us Are Sad" and "Train Leaves Here This Morning." The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The album's overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. "Take It Easy" and "Peaceful Easy Feeling" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word "easy" in both titles, while "Witchy Woman," a Henley vocal and co-composition, initiates the band's career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadon's country-steeped playing and singing and to Meisner's melodic rock & roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar. William Ruhlmann

1.Take It Easy (Browne/Frey) - 3:29
2.Witchy Woman (Henley/Leadon) - 4:10
3.Chug All Night (Frey) - 3:13
4.Most of Us Are Sad (Frey) - 3:33
5.Nightingale (Browne) - 4:05
6.Train Leaves Here This Morning (Clark/Leadon) - 4:07
7.Take the Devil (Meisner) - 4:00
8.Early Bird (Leadon/Meisner) - 3:00
9.Peaceful Easy Feeling (Tempchin) - 4:16
10.Tryin' (Meisner) - 2:50

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Desperado Date of Release Apr 17, 1973 (release) inprint
Genre Rock
Tones Soothing, Earnest, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sentimental, Romantic, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock
Time 35:40

If Don Henley was the sole member of the Eagles underrepresented on their debut album, Eagles, with only two lead vocals and one co-songwriting credit, he made up for it on their follow-up, the "concept" album Desperado. The concept had to do with Old West outlaws, but it had no specific narrative. On Eagles, the group had already begun to marry itself to a Southwest sound and lyrical references, from the Indian-style introduction of "Witchy Woman" to the Winslow, AZ, address in "Take It Easy." All of this became more overt on Desperado, and it may be that Henley, who hailed from Northeast Texas, had the greatest affinity for the subject matter. In any case, he had co-writing credits on eight of the 11 selections and sang such key tracks as "Doolin-Dalton" and the title song. What would become recognizable as Henley's lyrical touch was apparent on those songs, which bore a serious, world-weary tone. Henley had begun co-writing with Glenn Frey, and they contributed the album's strongest material, which included the first single, "Tequila Sunrise," and "Desperado" (strangely never released as a single). But where Eagles seemed deliberately to balance the band's many musical styles and the talents of the band's members, Desperado, despite its overarching theme, often seemed a collection of disparate tracks "Out of Control" was a raucous rocker, while "Desperado" was a painfully slow ballad backed by strings with other band members' contributions tacked on rather than integrated. Randy Meisner was down to two co-writing credits and one lead vocal ("Certain Kind of Fool"), while Bernie Leadon's two songs, "Twenty-One" and "Bitter Creek," seemed to come from a different record entirely. The result was an album that was simultaneously more ambitious and serious-minded than its predecessor and also slighter and less consistent. William Ruhlmann

1.Doolin Dalton (Browne/Frey/Henley/Souther) - 3:26
2.Twenty-One (Leadon) - 2:11
3.Out of Control (Frey/Henley/Nexon) - 3:04
4.Tequila Sunrise (Frey/Henley) - 2:52
5.Desperado (Frey/Henley) - 3:33
6.Certain Kind of Fool (Frey/Henley/Meisner) - 3:02
7.Doolin Dalton [instrumental] (Browne/Frey/Henley/Souther) - :48
8.Outlaw Man (Blue) - 3:34
9.Saturday Night (Frey/Henley/Leadon/Meisner) - 3:20
10.Bitter Creek (Leadon) - 5:00
11.Doolin Dalton/Desperado (Reprise) (Browne/Frey/Henley/Souther) - 4:50

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On the Border Date of Release Mar 22, 1974 (release) inprint
Genre Rock
Tones Soothing, Earnest, Amiable/Good-Natured, Laid-Back/Mellow, Calm/Peaceful, Gentle, Sentimental, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock
Time 40:25

The Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group's country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with "Already Gone," the lead-off track, which introduces new band member Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; "James Dean," a rock & roll song on the order of "Your Mama Don't Dance"; and "Good Day in Hell," which is strongly reminiscent of Joe Walsh songs like "Rocky Mountain Way." But the album also features the usual mixture of styles typical of an Eagles album. For example, "Midnight Flyer," sung by Randy Meisner, is modern bluegrass; "My Man" is Bernie Leadon's country-rock tribute to the recently deceased Gram Parsons; and "Ol' 55" is one of the group's well-done covers of a tune by a singer-songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R&B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back to their earlier work and anticipated their later work, was a transitional effort that combined even more styles than most of their records did. William Ruhlmann

1.Already Gone (Stradlund/Tempchin) - 4:13
2.You Never Cry Like a Lover (Henley/Souther) - 4:02
3.Midnight Flyer (Craft) - 3:58
4.My Man (Leadon) - 3:30
5.On the Border (Frey/Henley/Leadon) - 4:28
6.James Dean (Browne/Frey/Henley/Souther) - 3:36
7.Ol' 55 (Waits) - 4:22
8.Is It True (Meisner) - 3:14
9.Good Day in Hell (Frey/Henley) - 4:27
10.The Best of My Love (Frey/Henley/Souther) - 4:35

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One of These Nights Date of Release Jun 10, 1975 (release) inprint
Genre Rock
Tones Soothing, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sentimental, Romantic, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock
Time 43:08

The Eagles recorded their albums relatively quickly in their first years of existence, their albums succeeding each other by less than a year. One of These Nights, their fourth album, was released in June 1975, more than 14 months after its predecessor. Anticipation had been heightened by the belated chart-topping success of the third album's "The Best of My Love"; taking a little more time, the band generated more original material, and that material was more polished. More than ever, the Eagles seemed to be a vehicle for Don Henley (six co-writing credits) and Glenn Frey (five), but at the same time Randy Meisner was more audible than ever, his two lead vocals including one of the album's three hit singles, "Take It to the Limit," and Bernie Leadon had two showcases, among them the cosmic-cowboy instrumental "Journey of the Sorcerer" (later used as the theme music for the British television series The Hitchhiker's Guide to the Galaxy). Nevertheless, it was the team of Henley and Frey that stood out, starting with the title track, a number one single, which had more of an R&B even disco sound than anything the band had attempted previously, and continuing through the ersatz Western swing of "Hollywood Waltz" to "Lyin' Eyes," one of Frey's patented folk-rock shuffles, which became another major hit. One of These Nights was the culmination of the blend of rock, country, and folk styles the Eagles had been making since their start; there wasn't much that was new, just the same sorts of things done better than they had been before. In particular, a lyrical stance knowing and disillusioned, but desperately hopeful had evolved, and the musical arrangements were tighter and more purposeful. The result was the Eagles' best-realized and most popular album so far. William Ruhlmann

1.One of These Nights (Frey/Henley) - 4:51
2.Too Many Hands (Felder/Meisner) - 4:42
3.Hollywood Waltz (Frey/Henley/Leadon/Leadon) - 4:04
4.Journey of the Sorcerer (Leadon) - 6:39
5.Lyin' Eyes (Frey/Henley) - 6:21
6.Take It to the Limit (Frey/Henley/Meisner) - 4:48
7.Visions (Felder/Henley) - 4:00
8.After the Thrill Is Gone (Frey/Henley) - 3:58
9.I Wish You Peace (Davis/Leadon) - 3:45

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Hotel California Date of Release Dec 8, 1976 (release) inprint
Genre Rock
Tones Soothing, Earnest, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sentimental, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock
Time 43:28

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of "classic rock," music appropriate for the arenas and stadiums the band was playing. The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever. William Ruhlmann

1.Hotel California (Felder/Frey/Henley) - 6:30
2.New Kid in Town (Frey/Henley/Souther) - 5:04
3.Life in the Fast Lane (Frey/Henley/Walsh) - 4:46
4.Wasted Time (Frey/Henley) - 4:55
5.Wasted Time (Reprise) (Frey/Henley/Norman) - 1:22
6.Victim of Love (Felder/Frey/Henley/Souther) - 4:11
7.Pretty Maids All in a Row (Vitale/Walsh) - 4:05
8.Try and Love Again (Meisner) - 5:10
9.The Last Resort (Frey/Henley) - 7:25

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The Long Run Date of Release Sep 24, 1979 (release) inprint
Genre Rock
Tones Earnest, Amiable/Good-Natured, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sweet, Sentimental, Romantic, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock Time 42:29 Three years in the making (which was considered an eternity in the 70s), the Eagles' follow-up to the massively successful, critically acclaimed Hotel California was a major disappointment, even though it sold several million copies and threw off three hit singles. Those singles, in fact, provide some insight into the record. "Heartache Tonight" was an old-fashioned rock & roll song sung by Glenn Frey, while "I Can't Tell You Why" was a delicate ballad by Timothy B. Schmit, the band's newest member. Only "The Long Run," a conventional pop/rock tune with a Stax Records R&B flavor, bore the stamp and vocal signature of Don Henley, who had largely taken the reins of the band on Hotel California. Henley also dominated The Long Run, getting co-writing credits on nine of the ten songs, singing five lead vocals, and sharing another two with Frey. This time around, however, Henley's contributions were for the most part painfully slight. Only "The Long Run" and the regret-filled closing song, "The Sad Caf," showed any of his usual craftsmanship. The album was dominated by second-rank songs like "The Disco Strangler," "King of Hollywood," and "Teenage Jail" that sounded like they couldn't have taken three hours much less three years to come up with. (Joe Walsh's "In the City" was up to his usual standard, but it may not even have been an Eagles recording, having appeared months earlier on the soundtrack to The Warriors where it was credited as a Walsh solo track.) Amazingly, The Long Run reportedly was planned as a double album before being truncated to a single disc. If these were the keepers, what can the rejects have sounded like? William Ruhlmann

1.The Long Run (Frey/Henley) - 3:42
2.I Can't Tell You Why (Frey/Henley/Schmit) - 4:56
3.In the City (Devorzon/Walsh) - 3:46
4.The Disco Strangler (Felder/Frey/Henley) - 2:46
5.King of Hollywood (Frey/Henley) - 6:28
6.Heartache Tonight (Frey/Henley/Seger/Souther) - 4:26
7.Those Shoes (Felder/Frey/Henley) - 4:56
8.Teenage Jail (Frey/Henley/Souther) - 3:44
9.The Greeks Don't Want No Freaks (Frey/Henley) - 2:20
10.The Sad Caf (Frey/Henley/Souther/Walsh) - 5:25

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Eagles Live Date of Release Nov 7, 1980 (release) inprint
Genre Rock
Tones Soothing, Earnest, Amiable/Good-Natured, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sentimental, Romantic, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock Type live
Time 77:10

Although Eagles Live includes four tracks recorded in the fall of 1976 (thus allowing for the inclusion of departed singer Randy Meisner on "Take It to the Limit"), the bulk of the album comes from the end of the Eagles' 1980 tour, just before they broke up, and it reflects their late concert repertoire, largely drawn from Hotel California and The Long Run. The occasional early song such as "Desperado" and "Take It Easy" turn up, but many of the major hits from the middle of the band's career "The Best of My Love," "One of These Nights," "Lyin' Eyes" are missing, replaced by such curiosities as two extended selections from Joe Walsh's solo career, "Life's Been Good" and "All Night Long." At least Walsh introduces some live variations to his material; the rest of the Eagles seem determined to recreate the studio versions of their songs in concert, which may work for them live but almost makes a live recording superfluous. The previously unrecorded rendition of Steve Young's "Seven Bridges Road" is welcome, and the album would have benefited from more surprises as well as a livelier approach to a live recording. William Ruhlmann

1.Hotel California (Felder/Frey/Henley) - 6:55
2.Heartache Tonight (Frey/Henley/Seger/Souther) - 4:35
3.I Can't Tell You Why (Frey/Henley/Schmit) - 5:24
4.The Long Run (Frey/Henley) - 5:35
5.New Kid in Town (Frey/Henley/Souther) - 5:45
6.Life's Been Good (Walsh) - 9:38
7.Seven Bridges Road (Young) - 3:25
8.Wasted Time (Frey/Henley) - 5:40
9.Take It to the Limit (Frey/Henley/Meisner) - 5:20
10.Doolin Dalton [Reprise II] (Frey/Henley/Norman) - :44
11.Desperado (Frey/Henley) - 4:04
12.Saturday Night (Frey/Henley/Leadon/Meisner) - 3:55
13.All Night Long (Walsh) - 5:40
14.Life in the Fast Lane (Frey/Henley/Leadon/Meisner) - 5:10
15.Take It Easy (Browne) - 5:20

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Hell Freezes Over Date of Release Nov 8, 1994 inprint
Genre Rock
Tones Soothing, Earnest, Amiable/Good-Natured, Laid-Back/Mellow, Poignant, Calm/Peaceful, Gentle, Sentimental, Romantic, Wistful Styles Country-Rock, Soft Rock, Pop/Rock, Album Rock Time 72:36

The Eagles' first newly recorded album in 14 years gets off to a good start with the rocker "Get Over It," a timely piece of advice about accepting responsibility, followed by the tender ballad "Love Will Keep Us Alive," the country-styled "The Girl From Yesterday," and "Learn to Be Still," one of Don Henley's more thoughtful statements. Unfortunately, that's it. Hell Freezes Over contains an EP's worth of new material followed by a live album. The Eagles, known for meticulously recreating their studio recordings in concert, nevertheless released Eagles Live in 1980. Six songs from that set reappear here, and only one is in a noticeably different arrangement, "Hotel California," which gets an acoustic treatment. As was true on Eagles Live, the group remains most interested in their later material, redoing five songs from the Hotel California LP and two from its follow-up, The Long Run, but finding space for only three songs from their early days, "Tequila Sunrise," "Take It Easy," and "Desperado," the last two of which were also on Eagles Live. As such, Hell Freezes Over is hard to justify as anything other than a souvenir for the Eagles' reunion tour. That, however, did not keep it from topping the charts and selling in the millions. William Ruhlmann

1.Get over It (Frey/Henley) - 3:29
2.Love Will Keep Us Alive (Capaldi/Carrack/Pete/Vale) - 4:00
3.The Girl from Yesterday (Frey/Tempchin) - 3:21
4.Learn to Be Still (Henley/Lynch) - 4:27
5.Tequila Sunrise (Frey/Henley) - 2:56
6.Hotel California (Felder/Frey/Henley) - 6:54
7.Wasted Time (Frey/Henley) - 5:03
8.Pretty Maids All in a Row (Vitale/Walsh) - 4:15
9.I Can't Tell You Why (Frey/Henley/Schmit) - 5:11
10.New York Minute (Henley/Kortchmar/Winding) - 6:37
11.The Last Resort (Frey/Henley) - 7:24
12.Take It Easy (Browne/Frey) - 4:36
13.In the City (Devorzon/Walsh) - 4:07
14.Life in the Fast Lane (Frey/Henley/Walsh) - 6:01
15.Desperado (Frey/Henley) - 4:15

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