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Tuesday, August 19, 2008

Eagles New Album - Long Road Out Of Eden

in 2007, Eagles released the Album; The Long Road Out Of Eden.
Featured on the cover of Rolling Stone Magazine this month for instantly landing at the top of the Charts - the new Album is experiencing massive popularity and record stores around the USA are selling out of stocks rapidly.
Buy or Download The Long Road out of Eden from Amazon now!
Long Road out of Eden

In 2007, the Eagles consisted of Frey, Henley, Walsh, and Schmit. On August 20, 2007, "How Long," written by J.D. Souther – who had previously worked with the Eagles co-writing some of their biggest hits including "Best of My Love," "Victim of Love," "Heartache Tonight" and "New Kid in Town" – was released as a single to radio with an accompanying online video at Yahoo! Music and debuted on television on CMT during the Top 20 Countdown on August 23, 2007. The band performed the song as part of their live sets in the early to mid 1970s, but did not record it at the time due to J.D. Souther's desire to use it on his first solo album.

On October 30, 2007, the Eagles released Long Road out of Eden, their first album of all-new material since 1979. For the first year after the album's initial release, it will be available in the United States exclusively via the band's website, Wal-Mart and Sam's Club stores, and commercially available through traditional retail outlets in other countries. The album debuted at No. 1 in the United States, the United Kingdom, Australia, New Zealand, Netherlands and Norway. It subsequently became their third studio album, seventh release overall, to be certified at least seven times platinum.

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In an interview with CNN, Don Henley declared, "This is probably the last Eagles album that we'll ever make."

The Eagles made their awards show debut on November 7, 2007, when they performed "How Long" live at the Country Music Association Awards.

On January 28, 2008, the second single from Long Road out of Eden was released. "Busy Being Fabulous" peaked at number 30 on the U.S. Billboard Hot Country Songs chart and at number 18 on the U.S. Billboard Hot Adult Contemporary Tracks chart.

On February 10, 2008, the Eagles won the Grammy Award for Best Country Performance by a Duo or Group with Vocal for "How Long." It was the band's fifth Grammy Award.

On March 20, 2008, the Eagles launched their world tour in support of Long Road out of Eden at The O2 Arena in London, England.

On May 16, 2008 the Eagles were featured on the front cover of the Rolling Stone Magazine.

The Eagles, along with three other bands, will be included in the upcoming video game Guitar Hero World Tour.

Watch Music Video "Too busy being Fabulous" from the new album The Long Road out of Eden

Eagles Band Website
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Eagles: Long Road Out Of Eden: No more walks in the wood

Eagles - Waiting in the Weeds (Long Road Out of Eden)

Eagles - Somebody (Long Road Out of Eden)

Eagles - What Do I Do With My Heart (Long Road Out of Eden)

Eagles - No More Cloudy Days

Eagles - Long Road Out Of Eden (Stereo Sound)

The Eagles Lyrics

Moon shining down through the palms, Shadows moving on the sand
Somebody whispering the twenty-third Psalm, Dusty rifle in his trembling hands
Somebody trying just to stay alive, He got promises to keep
Over the ocean in America, Far away and fast asleep.

Silent stars blinking in the blackness of an endless sky, Cold silver satellites, ghostly caravans passing by
Galaxies unfolding; new worlds being born, Pilgrims and prodigals creeping toward the dawn
But it's a long road out of Eden.

Music blasting from an SUV, On a bright and sunny day
Rolling down the interstate, In the good ol' USA
Having lunch at the petroleum club, Smoking fine cigars and swapping lies
"Gimme 'nother slice of that barbecued brisket!", "Gimme 'nother piece of that pecan pie"

Freeways flickering, cell phones chiming a tune, We're riding to Utopia; road map says we'll be arriving soon
Captains of the old order clinging to the reins, Assuring us these aches inside are only growing pains
But it's a long road out of Eden

Back home, I was so certain; the path was very clear, But now I have to wonder - what are we doing here?
I'm not counting on tomorrow and I can't tell wrong from right, But I'd give anything to be there in your arms tonight

Weaving down the American highway, Through the litter and the wreckage, and the cultural junk
Bloated with entitlement, loaded on propaganda
Now we're driving dazed and drunk

Went down the road to Damascus, the road to Mandalay, Met the ghost of Caesar on the Appian Way
He said, "It's hard to stop this binging once you get a taste, But the road to empire is a bloody, stupid waste"

Behold the bitten apple - the power of the tools, But all the knowledge in the world is of no use to fools
And it's a long road out of Eden.
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Eagles - You Are Not Alone (Glenn Frey: 2000-2007)

Watch Video Clip taken on Long Road Out Of Eden - Eagles 2008 Tour.

What is interesting to note is that some of Eagles' individual members enjoy their own fame as solo artist without many people knowing thir connection with Eagles - such as Joe Walsh

The band formed in 1971 when Linda Ronstadt's then-manager, John Boylan, recruited Glenn Frey, Bernie Leadon, and Randy Meisner from their session musician jobs for Linda Ronstadt. They were short a drummer until Frey telephoned Don Henley, whom he had met at the Troubadour club in Los Angeles. After auditioning for Ronstadt, she approved and the band backed her up on a two month tour and provided the opportunity for their first album recording, on her 1970 album Silk Purse. After their tenure with Ronstadt and with her encouragement, they then decided to form their own band, signing in 1970 to Asylum Records, the new label started by David Geffen. Geffen and partner Elliot Roberts also initially managed the band. The new group chose the name the Eagles as a nod to The Byrds (Leadon had been in Dillard & Clark with former Byrds singer Gene Clark and in The Flying Burrito Brothers with former Byrds Gram Parsons, Chris Hillman, and Michael Clarke).
Band members

* Glenn Frey – vocals, guitars, keyboards, synthesizers, harmonica
* Don Henley – vocals, drums, percussion, guitar, synthesizer
* Bernie Leadon – vocals, guitars, banjo, mandolin
* Randy Meisner – vocals, bass, guitar


* Glenn Frey – vocals, guitars, keyboards, synthesizers, harmonica
* Don Henley – vocals, drums , percussion, guitar, synthesizer
* Bernie Leadon – vocals, guitars, banjo, mandolin
* Randy Meisner – vocals, bass, guitar
* Don Felder – guitars, mandolin, vocals, keyboards, synthesizers


* Glenn Frey – vocals, guitars, keyboards, synthesizers, harmonica
* Don Henley – vocals, drums , percussion, guitar, synthesizer
* Randy Meisner – vocals, bass, guitar
* Don Felder – guitars, mandolin, vocals, keyboards, synthesizer
* Joe Walsh – guitars, vocals, keyboards, synthesizers


* Glenn Frey – vocals, guitars, keyboards, synthesizers, harmonica
* Don Henley – vocals, drums , percussion, guitar, synthesizer
* Don Felder – guitars, mandolin, vocals, keyboards, synthesizers
* Joe Walsh – guitars, vocals, keyboards, synthesizers
* Timothy B. Schmit – bass, vocals

14 year vacation

* Glenn Frey – vocals, guitars, keyboards, synthesizers, harmonica
* Don Henley – vocals, drums , percussion, guitar, synthesizer
* Don Felder – guitars, mandolin, vocals, keyboards, synthesizers
* Joe Walsh – guitars, vocals, keyboards, synthesizers
* Timothy B. Schmit – bass, vocals


* Glenn Frey – vocals, guitars, keyboards, synthesizers, harmonica
* Don Henley – vocals, drums , percussion, guitar, synthesizer
* Joe Walsh – guitars, vocals, keyboards, synthesizers
* Timothy B. Schmit – bass, vocals
* Eagles have won five Grammy awards:
  1. (1975) Best Pop Vocal Performance by a Duo, Group or Chorus: "Lyin' Eyes"
  2. (1977) Record of the Year: "Hotel California" (single)
  3. (1977) Best Arrangement for Voices: "New Kid in Town"
  4. (1979) Best Rock Vocal Performance by a Duo or Group: "Heartache Tonight"
  5. (2008) Best Country Performance by a Duo or Group with Vocals: ""How Long"
  • The group was inducted into the Rock and Roll Hall of Fame in 1998.
  • On December 7, 1999 the Recording Industry of America honored the group with the Best Selling Album of the Century for Their Greatest Hits (1971–1975).
  • Eagles were inducted into the Vocal Group Hall of Fame in 2001.
  • The group ranked number 34 on CMT's 40 Greatest Men of Country Music in 2003. They were one of four artists who were either a duo or a group on the list with the others being Alabama at number eleven, Flatt & Scruggs at number 24, and Brooks & Dunn at number 25.
Eagles - Wikipedia - The Free Encyclopedia


(Posted: Nov 1, 2007)

"Long Road Out of Eden," the ten-minute centerpiece of this two-CD, twenty-song album, epitomizes everything that is familiar, surprising, overstretched and, in many ways, right about the entire set. The song echoes the title hit of 1976's Hotel California, the Eagles' defining monument to mirage, money and no escape. But this time the desert is overseas and oil is the new champagne. When drummer Don Henley sings, "Now we're driving dazed and drunk" in a grainy, plaintive voice, it is an entire nation at the wheel, "bloated with entitlement, loaded on propaganda."
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That is brassy censure from a band that, in the Seventies, embodied Hollywood vainglory, shining its klieg-light guitars and vocals on the low roads through high living with an often wicked insight that only comes from knowing each mile intimately. But there is a potent restraint to "Long Road Out of Eden," in the bleak, hollow mix of acoustic guitar and electric piano in the verses and the overcast sigh of the harmonies. There is empathy, too, for the soldier on night patrol, with dirty work to do and everything to lose. "I'm not counting on tomorrow/And I can't tell wrong from right," Henley sings. "But I'd give anything to be there in your arms tonight." That's not self-interest -- just the purest need.

The resemblance in title between this album and the Eagles' last studio record, 1979's The Long Run, is no coincidence. Henley and singer-guitarist Glenn Frey, the band's surviving founders, have always written and sung about asphalt and distance —: getting as far from responsibility as possible, crawling home, bruised and maybe wiser, when the fun runs out. And making Long Road Out of Eden was a protracted haul in itself. Henley, Frey, guitarist Joe Walsh and singer-bassist Timothy B. Schmit reportedly worked on the album for six years, and the Topanga-country gallop "How Long" goes back much further. Written by veteran compadre J.D. Souther, it is a previously unrecorded relic of the group's early-Seventies live sets.

Buy or Download The Long Road out of Eden from Amazon now!

But the Eagles' original studio albums were all models of clenched-gleam detail, and Long Road suffers from sprawl. "Center of the Universe" makes the most of its bare bones -- the circular-staircase effect of the guitars -- and "Waiting in the Weeds" lets the lyrics carry the impatience ("I heard some wise man say that every dog will have his day/He never mentioned that these dog days get so long"). But Schmit's sweetly sung spotlights are Eighties-ballad sugar. Walsh's "Last Good Time in Town" is a wry cantina-swing sequel to "Life in the Fast Lane" -- staying home apparently is the new going out -- and he cuts through the salsa-lounge grooming with James Gang-era guitar. Seven minutes, though, is a long time to sing about doing fuck-all.

Henley and Frey still find easy pickings in bad behavior. In "Fast Company," Frey affects a Prince-like falsetto over a chilled-funk stroll, playing an old-timer who can't even remember the action he used to get. "Busy Being Fabulous" is classic Eagles saloon-band shine about an errant filly, except this one is a mom who can't tell the difference between raising kids and being one. And Henley may be having a grim laugh at the Eagles' own expense in the materialist rant "Business as Usual": "A barrel of monkeys, a band of renown/But business as usual is breakin' me down."

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Nothing, of course, is business as usual in the music industry, and the Eagles, now running their own label, have chosen Wal-Mart as the album's exclusive retailer. There is an inevitable contradiction in buying a record that attacks corporate greed and blind consumerism in songs like "Do Something" and "Frail Grasp of the Big Picture" from a superchain with a bleak record on employee rights and health care. But Long Road Out of Eden is available direct at for $11.88, a bargain even with the misfires -- and worth it for the title song alone.

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Classic Eagles and then some. I keep the CD in my car. You people who don't like it, either don't know music or don't know the Eagles. You guys did a great job and I can hear the old and the new in this CD. I want to see you guys in Concert. I'm 46. Love it!

The Eagles raise their voices in harmony after 28 years
By Edna Gundersen, USA TODAY
LOS ANGELES — Of 20 tracks on Long Road Out of Eden, the Eagles chose to kick off their new double album with the spine-tingling, choirboy harmonies of spare and poetic No More Walks in the Wood. The tune telegraphs a simple mission statement: We're on the same flight path.

That route took the country-rock behemoth to record heights in the '70s when the Eagles racked up five No. 1 singles and four chart-topping albums before disbanding in 1980. Though they've been breaking box-office records since reuniting in 1994, Eden, out today, is the group's first studio album since 1979's The Long Run.

REVIEW: The Eagles' new 'Road' is as smooth as ever
LISTEN UP: More reviews of new music by Josh Turner, Baby Bash
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"We worried for a while about how to fit in with what's happening on radio," says Don Henley, who has ducked into an office after rehearsals on a soundstage at Sony Pictures Studios. "Finally we decided we just need to be who we are."
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Early on, the group dealt with "whether we were going to use modern stuff like hip-hop drum-machine beats," says Glenn Frey, who shares chief songwriting duties with Henley. "We ultimately concluded that what people like about the Eagles is our singing. So the criteria became: Can we sing this? Does it sound like the Eagles?
FIND MORE STORIES IN: Wal-Mart | Warner Bros. | Grammy | Club | Dixie Chicks | Wood | Don Henley | Country Music Association Awards | John Fogerty | Linda Ronstadt | Nokia Theatre | Joe Walsh | Glenn Frey | Long Run | Long Road Out of Eden | Sony Pictures Studios | How Long | Eagles Their Greatest Hits | Randy Meisner | Take It Easy | Bernie Leadon | No More Walks | Peaceful Easy Feeling

"It didn't matter if it was rock, a ballad, a cappella, country or a Mexican song. As long as it's a good song with our voices and Joe Walsh's guitar, we'd be all right."

Henley favored a single disc but yielded to Frey's wish for a double album that would amply represent contributions from Walsh and Timothy B. Schmidt.

"We didn't say no to anything that was good," Frey says. "We have four lead singers. That affords us a lot of options as far as keeping things diverse. You're not hearing the same voice over and over."

Early signs point to a warm reception. The BBC praised Eden's "lush harmonizing, verve … and lyrical incisiveness."

Boomer peer John Fogerty gushed appreciation.

"I love the new Eagles record. It's a sound I've missed," he says. "When they go into those harmonies, there's a sense of keeping hope alive. You don't hear that now, which is why young musicians are intrigued by radio stations that play classic rock."

The first single, How Long, a vintage J.D. Souther composition, is a country radio hit. Eden material was enthusiastically embraced at six recent sellout shows with the Dixie Chicks in L.A.'s new Nokia Theatre. The band gets another boost when it performs Nov. 7 at the Country Music Association Awards, its first awards show appearance despite three Grammy wins and 34 nominations.
Buy or Download Long Road Out of Eden Deluxe Edition by Eagles
Also enhancing sales prospects is an attractive price tag. The album, sold only at Wal-Mart and Sam's Club, is $11.88; the download is $10.88 at the retailers' websites and

Matching previous peaks may prove impossible in today's climate of sagging sales and unpredictable tastes. The Eagles have sold 120 million albums worldwide, and their catalog rings up sales of 1.5 million copies annually. With 29 million copies sold, Eagles: Their Greatest Hits 1971-1975 is the top-selling album in U.S. history. Hotel California has sold 16 million copies, and no disc has failed to reach platinum status.
Download "The Long Road out of Eden - Deluxe Edition 2 cd
Why roll the dice now?

"We needed to do this album for our own personal fulfillment," Henley says. "People tell us, 'You've got enough money and fame. Why do this album?' Being musicians is not a hobby. It's a calling. There's a life-affirming aspect to creating music. There's more to it than getting songs on the radio and touring. It keeps us young and vital and off the shrink's couch."

A band is born

Henley, 60, and Frey, 58, the sole remaining founders, played together in Linda Ronstadt's band in 1971 before forming the Eagles and releasing a 1972 self-titled debut with the hits Take It Easy, Witchy Woman and Peaceful Easy Feeling. Walsh came aboard after Bernie Leadon quit in 1975, and Schmit replaced Randy Meisner, who left in 1977. The band split in 1980 and reformed for 1994's No. 1 Hell Freezes Over album and lucrative reunion tour.

Anchoring the fifth and leanest Eagles configuration, Henley and Frey hint that Long Road Out of Eden may signal the end of the road.

"If you listen to what we say in some of these songs, this could be the last one," says Henley, who owes Warner Bros. two albums under his solo contract.

The band wants to take a break before hitting the road, Frey says. "We're going to let the album seed and give people a chance to live with it before we commit to going around the world one more time."

In addition to firing creative neurons, Eden satisfied another craving. "Our fans wanted a new album from us, but we also desperately wanted some new material," Henley says. "These songs have given this band new life. I don't think anybody wanted to go on tour again and play the same old songs."

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When it came to marketing Eden, the band decided to bypass the rulebook.

Long distressed by the accounting practices, binding contracts, inefficiency and impersonal nature of major labels, the Eagles flew the coop, recording and packaging Eden on their own dime and then striking a pact with Wal-Mart. For the first year, the CD will be offered exclusively at the giant chain, which bought a fixed quantity with the promise of no returns.

"I felt like they gave us the best chance to sell the most records," Frey says bluntly.

Going their own way

Henley acknowledges that some condemn Wal-Mart's labor policies and its effect on communities. "We had doubts," he says. "I've never been a fan of big-box retailers. My daddy was a small businessman."

Yet he's encouraged by the company's environmental pledges and figured he'd never find a utopian alliance. "There's not a big corporation in this country that has clean hands, and certainly the major labels don't. This is a one-album deal. We got flak for it, but everyone's screaming for a new paradigm, so we found one."

In another renegade move, the Eagles sealed a digital deal with Amazon after refusing iTunes' terms. "Amazon's new MP3 store has better quality, and the songs are 10 cents cheaper," Henley says.

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Apple chief Steve Jobs wanted the Eagles catalog, "but we wanted to license entire albums, and he wanted individual tunes. We only get 20 cents (a track), so it was hardly worth the trouble."

Henley is eager to start recording solo after the holidays, and Frey plans to make a big-band album in the spring. The Eagles will convene early in 2008 for their annual band meeting to mull the future. Nobody's in a rush. It's not as if the Eagles are going out of style.

"There's a lot of ageism in this business," Henley says. "If you're not young and cute and naked, you have a tough time. We're still getting away with this because we never dressed flamboyantly or pranced around on stage.

"We always concentrated on the craft of songwriting, our bedrock. We're not here to participate in the cult of personality."

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Live Concert review;

Leonard's Review

One of those nights

Standing beneath the entrance to the O2 arena, the artist formerly known as the millennium dome, I was completely taken aback by the sheer scale of it. Whatever your opinion may be on the design, what an impressive structure! It wasn’t my intention however to gaze at structural wonders this evening, I had made the trek out to North Greenwich for a different reason entirely and I’m not sure it’s as simple as saying it was solely for the love of music. It was while having a thoughtful moment outside with a cigarette, smothering my conscience with smoke, that I realised it was much more than that.

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The Eagles were the headline act tonight, and although I paid face value for the ticket on eBay, it was still a hefty fee. I’ll state here that it was £125, for the sole reason that if I read this piece in 5, 10 years time, maybe I’ll laugh at how cheap gigs were in 2008!

After entering I spent some time negotiating which entrance I was to take, while being bombarded by program sellers. I passed the official merchandise stand and a cool light blue t-shirt caught my eye. It was the cover of their first greatest hits album, complete with the trademark Eagles skull and iconic lettering. I thought the £20 price tag a bit steep, and decided to save my pennies to maybe pick up a few of their bootlegs, if any, at some other time.

After a fair walk through a curved arcade filled with various eateries, venues and cinema queues I finally arrived at entrance H, joining the back of another large queue which was thankfully moving along quite swiftly.

For some reason as I neared the entrance and the ticket check I became anxious. Anytime you click the ‘buy it now’ icon on eBay, there’s a certain amount of risk involved. But having successfully purchased and received the ticket, one could be forgiven for having high hopes of a great night, unless of course the ticket was a fake and all sorts of alarms sounded as I was wrestled to the ground after an unsuccessful forced entry. As my mind continued to wander, I knew that if for some reason I did not gain entry, and should my friends ask me how the gig was, my response would be a complete fabricated lie ‘ yeah… it was an AWESOME gig, thanks…’. Thankfully the ticket was not a fake and I didn’t have to tell any lies.

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My ticket was situated in the main floor seated area, block A3 row M. This area was accessed through the midway point of the upper tier, which allowed one the chance to take in the entire venue on route to their seat. I kept loosing count on my fingers trying to determine how far row M was from the front. When I sat in my seat I no longer gave a shit where M fell in the alphabet… what a great seat, touching distance from the stage! I quickly devoured the surroundings with my eyes, taking everything in.

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There were no fancy props or imitation theatrical sets; the whole stage design was quite minimal. There were two large screens elevated high either side of the stage with the current Eagles album, ‘Long road out of Eden’, indicated on each. I noticed the four mikes alongside each other centre stage, where Glenn, Don, Joe and Timothy would soon be standing. A fifth microphone was set slightly apart from the other four, where the supporting lead guitarist and vocalist, whom myself and younger brother had previously nicknamed ‘Don Frey’, his real name I later found out to be Steuart Smith,would stand. Piano and keyboards sat on both sides of the elevated drum kit and percussion area. A large semicircular screen formed the backdrop to the entire stage. Guitars and drums were being finely tuned, song lists taped down and mops providing the finishing touches. While taking all this in my attention was briefly taken as a lighting technician received a well deserved applause as he began scaling up a rope ladder to the lofty heights of the lighting rig. I wondered what the view would be like from up there.

This would be the third time I had seen The Eagles. The first time was back in 96’ just two years after they had reformed. It was at the RDS in Dublin for the ‘Hell freezes over’ tour. The name of which came from an interview with Don Henley in the early 80’s, when asked if he thought The Eagles would ever reform, He answered ‘…when Hell freezes over...’ Well thank God Hell did freeze over so my family and I and many other devoted fans got a chance to see them live. That time I went with my younger brother David, my friend Dee and my girlfriend at the time. I also forked out some more money to bring my parents along. It was a father’s day present for my Dad who I remember at the time wasn’t too pleased initially because of the money I spent; £25 a ticket, hardly a fortune, but top dollar back then. A fifth of the price I paid for tonight’s gig. But I knew deep down my dad was delighted, it was his cassette tapes after all that had played in the car on the many family trips we made driving to the beach on a summers’ day, when we were all much younger and the promise of sand and sea filled our hearts with excitement and joy.

Their songs formed part of the soundtrack of my childhood and somehow imprinted themselves on my memory.

I saw them again a few years later, minus Don Felder, who had fallen out with some or all of the other Eagles and was apparently sacked. I didn’t enjoy them as much that time; perhaps the initial excitement was lacking. The next time they played I opted not to go, something to do with the price of the ticket and the fact that I had eagerly been awaiting the promised release of their new album which there was still no sign of. The ‘Long road out of Eden’ was finally released last November, and in my opinion justifying the much anticipated world tour. I was delighted with a double album of new Eagles songs to get my hands on, listen to and love. As were many others it seemed resulting in 6 nights sold out in London.

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The arena was filling up rapidly, the spare seat to my left taken by a girl which made me more aware of the limited seating space I had. The two seats to my left remained empty, allowing temporarily, some room for me to stretch my legs. I glanced around the stadium and up at the corporate boxes complete with their own private bar. Some friends from work had been the week previous and enjoyed one of these boxes courtesy of a client of ours. I had in fact been offered one of these tickets for free, only to realise to my disappointment that I would be away that weekend. This in truth had driven me to purchase my own ticket, the price of which I decided to keep quiet from them for the time being.

The ticket had stated a 19.30hrs commencement to the evening’s performance, but it was closer to 20.00hrs when the dimming of the lights brought excited applause and cheers from the crowd. The supporting musicians took to the stage first, followed by the four Eagles dressed in identical back suits, white shirts and black ties. The applause became more intense as the crowd identified their idols. In case there was any confusion as to who was an Eagle and who wasn’t, the supporting lead guitarist and only non-Eagle at stage front, Steuart Smith was dressed entirely in black.

As the crowd settled down, the Eagles opened with the hit single from their new album, How long’, a number written by long time friend of the band, J.D. Souther. Glenn sang lead vocals, with assistance from the rest of the band on harmonies and the bridge. A decent country rock number to set the tempo for the evening and ensure the band and the crowd were on the same wavelength immediately. No sooner had this number ended, had they launched into the next, another track from their new album, ‘Busy being fabulous’. Don took lead vocals on this one. As the song came to a close, we were treated with our first verbal introduction from the band. Glenn said how good it was to be here and thanked everyone for coming out for the last night of their European tour. He also said how excited the band were to have new songs to play and asked everyone to please endure while they played some of their new material and promised to play a few songs from their back catalogue later on . With that he introduced the next number, ‘I don’t want to hear anymore’ another track from their new album, written by Paul Carrack and sung by Timothy B. Schmidt. Timothy’s voice is a lot softer than the other members of the band and offers a different form of expression available to the bands vocal repertoire. If Glenn, Don or Joe were to sing this number it would have an entirely different feel. It’s this mix of these four different voices that makes this band unique for me. Individually each one can stamp their vocal signature on a song, yet collectively they sing as one voice neither could achieve on their own. Joe Walsh was up next, with yet another track from the new album, ‘Guilty of the crime’. Another up tempo number, written by Francis John Miller & Jerry Lynn Williams, which had the crowd tapping their feet and slapping their thighs in their seats. I hadn’t stopped moving since they arrived on stage, I think it was more excitement than an attempt to keep with the rhythm of the songs. I couldn’t prevent my legs from jumping even if I wanted to.

In preparation for the next number, the stage lights were dimmed as there was some changing of guitars and stage positions. Each pause in performance is always sure to bring some heckles from the audience, but thankfully due to the vastness of the arena most of these were lost in the air. One that did manage to surface came from the direction of the top tier, ‘God bless America!’ which was received with half hearted laughter from the crowd.

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All attention was suddenly focused on the right hand rear corner of the stage, where one of the supporting musicians standing on a raised platform had begun an intro to the next song on trumpet. Beneath a purple/ blue hue from the lights, he blew out the opening notes to one of their best known songs, ‘Hotel California’. Some of the crowd immediately whistled and cheered encouragement, recognising the song in its different medium and Mexican like interpretation. As the trumpet solo gathered pace, so did the crowds excitement as the tune became familiar to those less well trained ears in the audience. As the trumpet solo came to a close the anticipation from the crowd could surely be felt in the arenas vast structure. When the opening signature chord was finally picked on guitar, this coincided with the entire back drop of the stage being covered with the image of the classic 1976 Hotel California album cover. The audience erupted and quickly settled down again to listen to the much loved song. Don sang this perched behind the drum kit and gave it his all with everyone else, including the crowd, chipping in on the classic chorus line, ’Welcome to the hotel California…such a lovely place…’ Joe Walsh and supporting lead guitarist Steuart Smith performed a blistering duel with the guitar solos to close out the song, a taste of things to come.

Some may have been surprised to hear this song so soon, half expecting one of their best known songs to be the grand finale. The first time I saw The Eagles perform they opened with this track, and I thought at the time that there was so much anticipation surrounding the song that they preferred to have it done with. They are hardly a one hit wonder type of band but by playing this song early in their set, it ensures that they view their other hit songs with equal importance. I was happy to hear the song whenever they decided to play it.

Glenn introduced the next song, ‘Peaceful easy feeling’ by stating that they would ‘stay in the desert for awhile’. This, another well known song from their first studio album ‘The Eagles’, written by Jack Tempchin, who also wrote and co-wrote a number of Frey’s solo tunes, was sung by Glenn in that soft country voice he is able to revert to when needed. If someone were to ask me to describe ‘easy listening’, I’d tell them to listen to this song. It relaxes me when I listen to it and doesn’t ask any questions of me. It allows me to just glide along the surface of its rhythm unnoticed.

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The following tune was a return to the spotlight for Timothy, ‘I can’t tell you why’ from their last studio album before they took their ‘fourteen year vacation’ from each other, ‘The long run’. This song for me is all about opening bass line, answering piano notes, and his unique voice. Despite the opening lyric, the whole song sounds so ‘late night’, almost as if you feel like your half asleep when you listen to it. It also sounds a bit lonely as if the narrator in the song has ended up talking to himself long after his partner has fallen asleep. I imagine it to be one of those songs that would have kept a New York cab driver company as he worked the night shift. I listened in awe as Timothy delivered this tune effortlessly and I watched as each time he sang the chorus line he pulled away from the microphone with a jerk of his head to ensure he hit that high note. I can’t quite put my finger on what it is about this song that gives it that late 70’s early 80’s signature, but it is a beautiful piece of music.

Glenn continued to be the sole spokesperson for the band up to this point by introducing the next song ‘Witchy woman’ as being from their ‘satanic period’ in the early 70’s. Don contributed his trademark rasping vocal from behind the drum kit, while Joe ensured the guitar solos left you with that feeling of haunting despair. Glenn again thanked the crowd before introducing the next song, ‘Lyin’ eyes’ which he stated he’d ‘…like to dedicate it to my first wife… (Pause) …Plaintiff’. Not knowing the exact definition of that word I didn’t get the entire joke. I assumed it had something with divorce but either way I laughed along with all the other people in sheer excitement as he was about to sing one of my favourite Eagles songs. As the opening chords of G to Gmaj7 kicked in my eyes welled with tears. It’s something about this opening melody that sets the theme of the song as one of regret and loss. Glenn sang lead with the rest of the band harmonizing on the chorus. I sang along at the top of my voice, to this magical piece of music that somehow takes me back to my childhood. Its signature tune plays, and I’m right back there in the backseat of the family car with my brothers and sisters, listening to my parents sing along to the tune on the car radio. Whether or not ‘Lyin’ eyes’ ever happened to be one of those tunes that did play on the radio I can’t say for sure, but that is irrelevant really. It’s one of those many Eagles songs that I associate with that happy period of childhood and always will.

The next song was the first song of the night from the solo catalogue of Eagles songs. With no verbal introduction, the distinctive high hat drum beat combined with guitar intro, was greeted with applause as Don Henley took centre stage and launched into the opening lines of ‘Boys of summer’. One of Henley’s best known and best loved solo songs’, it is another summer themed song. Don’s vocals sounded the same as when the song played on radio stations in the 80’s. Unlike some other songs from that period that used similar instrumentation and recording techniques, this is still a song that I love to listen to. It’s a song that captures both the sunrise and the sunset. The performance was accompanied by a black & white video playing on the large screen behind the stage, depicting scenes of a couple in an open top car driving on coast roads. Not as I first thought, the original video for this song. Joe Walsh was back on lead vocals next, with his classic track from ‘The long run’ album; ‘In the city’. The large screen was filled with a satellite image of the earth and in Google earth like fashion it zoomed in to Manhattan and continued to depict images of city life throughout the duration of the song. Like the rest of The Eagles, Joe has his own distinctive voice, but whatever chance I might have of singing along with any of the other Eagles songs, I simply cannot sing along with Joe.

The register he achieves with apparently no effort is breathtaking.

The first set came to a close with Don speaking to the crowd for the first time. He mentioned that they would take a short break after this song but would be back ‘to play for a long time’. Before introducing the next song he apologised that he was suffering from a cold and was ‘…waiting for the medication to kick in…’ He then referred to the next song as The Eagles anthem song after they had been together for thirty seven years. He then turned to Joe Walsh and uttered one word, ‘Maestro?’ Following the stuttering drum intro, Joe launched into the opening chords of ‘The long run’. Don took lead vocal and any sign of a cold was not evident in his performance. As the song came to a close the audience showed their appreciation by ensuring the band left the stage through rapturous applause.

The interval gave one time to rush to the toilet and bar, to check missed calls and send texts, to express opinions and reflect. I quickly scribbled down some notes that I could later use as reference. I briefly chatted to the girl seated next to me about the performance and was pleased to hear that she shared my excitement. The two seats on my right side were still vacant. I thought if those guys ever do show up they’ve missed a hell of a first half performance.

Five bar-like stools were added to the stage during the interval, one of which had a back to it. Apart from the usual instrument tuning and moping down, the stage was left pretty much as it had been previously. There were still plenty of people coming and going as the lights dimmed for a second time that night. Seats were quickly being refilled as the support band, followed by The Eagles took to the stage again.
The Eagles took to their seats, Joe Walsh taking the one with full back support, to begin the second set in a more intimate fashion. Without the aid of instruments for the first time this evening, they sang in harmony on another new song, ’No more walks in woods’. The crowd sat transfixed while listening to them sing, it was hard to believe that there was no instrumentation. The style and delivery reminded me of when I’d seen them perform ‘Seven bridges road’ in Dublin. They remained seated for the next song, another new one, ‘Waiting in the weeds’. With the addition of acoustic guitars, Don took lead vocals, with everyone else harmonizing on the chorus. The crowd were enjoying the new acoustic set, and although the music had been toned down, the responding applause remained at the same excited level. As Glenn began introducing the next song, Don interrupted him briefly requesting if he could say something ‘….please do not film this performance, take all the pictures you want…..but please don’t use film, because for one thing its illegal, and if you put it up on You-tube, we’ll just take it down….thank you’ As Don began this speech you could feel the anticipation in the crowd waiting for the punch line of his joke, but he did not deliver one. Being a collector of many rare bootlegs, I’m not going to cast any stones, but I certainly respected him for making this announcement. After some nervous laughter and cheers from the crowd, Glenn continued with his introduction of the next song, joking that it was quickly becoming a favourite among English fans ‘No more cloudy days’ a mellow new ballad from ‘Long road out of Eden’. This track for me had more a Glenn Frey solo feel to it than an Eagles sound. The inclusion of the saxophone and that it was co-written by Jack Tempchin contributed to this no doubt. I’m a big fan of Glenn’s solo work, so I had no complaints.

Timothy B. Schmidt was back on lead vocals for the next track, ‘Love will keep us alive’ from the ‘Hell freezes over’ album, co-written by Paul Carrack, Pete Vale and Jim Capaldi. Timothy required assistance from Glenn as he forgot who wrote the song during his verbal introduction. This was received with warm laughter from the crowd as the band began playing the song. Timothy applied his soft vocals to this track, again pulling away from the microphone to hit the high notes. I don’t think he managed as well to achieve this as he did with ‘I can’t tell you why’, but it was difficult to determine as by his pulling away and the inclusion of harmonies I couldn’t distinguish his voice form the others. This turned out to be the only new song from the ‘Hell freezes over’ album that was included in tonight’s performance. It indicated the level of confidence in the new material that they could afford to drop such songs as ‘Get over it’ and ‘Learn to be still’.

As Glenn introduced the next song ‘Take it to the limit’, he mentioned that his wife likes to refer to this song as the ‘credit card song...’ Keyboards, strings and guitars started together on count as the crowd were swept up into whatever memories this song held for them. From the ‘One of these nights’ album and originally sung by ex-Eagle Randy Meisner, it now sung by Glenn Frey, with everyone chipping in on the chorus. There was no attempt made to match the original high pitched vocal ending, unless you name was Randy Meisner, it would be foolish to try. A memorable rendition all the same and another personal favourite of mine. Like ‘Lyin eyes’, this song just sweeps me away to a different place each time. It’s the kind of song that makes you thankful that there is such a thing as music. What I mean is, who needs a time machine when a song can transport you in a flash to another place and time?

For the next song, The Eagles returned to their standing positions with the bar stools neatly packed away. With no introduction the band launched in to the title track from their new album ‘Long road out of Eden’ Don took lead vocal once again and it was evident that this was the type of song that he relished singing. At approximately 10minutes long, it’s a bit of an epic. I had listened to the new album a good few times prior to the gig, and although this song had started to grow on me somewhat, I would still have to say that it was the least favourite of the new songs they played tonight. It’s not so much the subject matter or the music, but it is a song I tend to skip past on the second or third listen of the album. The crowd patiently waited for the song to end, which included a couple of false alarms as applause began in between different sections of the song.

Before the next song began each of The Eagles and Steuart Smith removed their suit jackets, thus officially marking the end of the acoustic set. ‘Somebody’, another fast moving track from the new album, co-written by Jack Tempchin and John Brannen, was sung by Glenn Frey. It’s amazing how the absence of the jackets seemed to transform the musicians’ attitude on stage, or at least the audience’s perception of them. They suddenly seemed a lot more loosened up and less restricted with how they moved about on stage.

As if to reinforce this mood, the next song ‘Walk away’ by the ‘James gang’, one of Joe Walsh’s bands prior to joining The Eagles, loosened things up even more. It was now evident that the musicians were enjoying themselves on stage. The excitement in the audience increasing as a result of the band’s joy at playing their songs to thousands of devoted fans.

The next song, an absolute classic; the title track from their fourth studio album ‘One of these nights’. This song has that signature rolling bass line intro combined with the striking of a single note on guitar. Followed by a single chord strummed at intervals, up to the point where the guitar is left sounding like some kind of large caged sleeping female cat unhappy at being continuously prodded and eventually woken up. In fact, the music is almost warning you that should you continue along this path something unpleasant is about to happen. But you continue anyway, curious. The climax of this assault is drummed out on the snare to a brief pause followed by Henley’s opening lyrics ‘One of these nights….one of these crazy lonely nights….’ The crowd cheer and sway along with the rolling bass line of this classic mid 70’s tune. Up to this point there had been rogue groups of fans standing throughout the seated area, with some others looking on and no doubt thinking to themselves ‘…but I paid for a seat..?’ Now all preconceived rules of right and wrong were thrown to the wind, everyone was dancing in their seats, singing along, in and out of tune to this much loved classic.

Glenn took a brief pause before the next song to introduce the supporting musicians first, followed by the rest of the Eagles including himself. He continued with thanking the audience for coming out to support them when a few in the audience, including myself, realised that he had not introduced Joe Walsh. Joe had briefly disappeared from the stage but had reappeared for the band introductions now wearing a cap. Glenn allowed time for some calls for Joe’s introduction from the audience before feigning forgetfulness and turning to introduce the ‘…the one and only…’ Joe Walsh. Joe stepped up to the microphone and as an introduction to the next song apologised to all the young people in the audience if their music had warped their parents’ minds in the 70’s.
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He also expressed happiness to see a lot of young people in the audience and some fresh minds to warp. With that he launched into ‘Life’s been good’ from his solo album ‘…But seriously folks…’ The large screen backdrop to the stage was filled with alternating images and videos of the Eagles in the 1970’s, some of which appeared to be personal home videos indicating intimate scenes between the band members backstage, on private yacht’s and at home. A real treat for any fan. During the musical build up to the opening lyrics, Joe and Steuart Smith Jumped towards each other with each chord change interval, and then away from each other in the same fashion. Joe belted out the lyrics from somewhere deep down the back of his throat and between the actual lines of the song he somehow managed to fit in improvised speech which sent Glenn, Don and Timothy into uncontrolled laughter. Up to this point the one liner jokes and witticisms, although they drew laughter, seemed somewhat rehearsed. But when Joe Walsh is in the spotlight there seems to be a sense of the unpredictable. The crowd in fact grew to expect the uncertain and were not disappointed when the large screen behind the stage suddenly went blank for a few seconds only to be refilled with a computer image of Joe’s head and cap, with a countdown to head-cam. The screen was suddenly filled with the view from Joe’s cap were a small camera had been placed. With Joe pointing wildly to his hat and the screen behind, he then proceeded to run around the stage thrusting his head towards the crowd to ensure the screen was filled with as many faces of fans as possible. The crowd enjoyed this game, as did the rest of the band. This scene ended with Joe taking the cap off and pointing the camera up his nose. Joe may have been playing the fool at times on stage, but there was nothing foolish about his guitar playing the whole night. He was immense.

Joe and the rest of band received a standing ovation, as Don took centre stage once more to revisit another track from his solo career, ‘Dirty laundry’. This again had the majority of people standing in their seats, but it was still at that stage of the night were people seemed happier to alternate between the standing and sitting positions. For this song the screen backdrop was filled with alternating tabloid images of present and past celebrities, ending with a mock-up of Timothy B. Schmidt as Harry in ‘Harry Potter 8’, Glenn Frey as a successful movie star, Don Henley solving the global warming issue and Joe Walsh as president. Joe was back on lead vocal and guitar for the next number ‘Funk #49’ from the ‘James gang rides again’ album. Another track where Joe could really let himself go on guitar and vocals, with the rest of the band responding with the answering vocal.

By this stage the show had a definite momentum, with each song raising the bar of excitement that little bit more. Timothy B. Schmidt had now completely abandoned the formal look opting more for the image of a rebellious school boy on a summer’s day, with his hair flying freely about his shoulders, his black tie pulled loose from his neck and his shirt tails hanging outside of his suit trousers. This momentum was continued as Glenn Frey stepped up the microphone after an unrecognisable intro and ripped into ‘Heartache tonight’ from ‘The Long run’ album. There was no one left in the seated position. The crowd could sense the end of the show was drawing near and did not want to regret not making full use of the current house band. On Timothy’s instruction the entire audience clapped in time to the bass rhythm of the song.
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I turned my head around to see the entire audience with two hands raised in the air, ‘…such a fine sight to see...’!

Glenn Took centre stage to once again thank the crowd for coming out tonight and mentioned how much they really appreciated it. He also said that they hoped to be back next year and that they always enjoyed coming back to London ever since they first came here in the early 70’s to live temporarily while recording their first studio album. With that they launched into the penultimate track before the anticipated encore, ‘Life in the fast lane’ from the ‘Hotel California’ album. Don sung this with attitude perched behind his drum kit.
The whole evening suddenly seemed to have caught up with real time. No more was the end a distant thought but now a formidable conclusion. As the song came to a close and the musicians were disrobed of their instruments, through loud cheers and applause they hurriedly left the stage with half hearted waves to the crowd, reinforcing the idea that they would soon return for the customary encore.

The crowd responded with the customary reaction at the end of a gig with unified clapping and stamping of feet. I joined in the charade for awhile, but at the sight of technicians retuning instruments on stage I quickly jotted down some notes to savour the detail. I anticipated that ‘Take it easy’ and ‘Desperado’ would form part of the encore, the only other songs of note yet to be played were ‘Tequila sunrise’ and ‘Best of my love’ and ‘Get over it’ perhaps? It was no time before the supporting musicians, followed by The Eagles took to the stage for the last time that night. With no introduction they launched into the song that put them on the map back in 72’, ‘Take it easy’, from their debut album ‘The Eagles’, written by Jackson Browne and Glenn Frey. The Eagles danced around on stage throughout the song as the crowd disregarded the stewards’ wishes and once more danced in the aisles. The entire area was one complete chorus of ‘Take it easy… take it easy...’, a song that seems so timeless it’s almost as if it was never written but just always existed.

As the song finally came to a close through deafening applause, Don Henley made his way to centre stage to give his thanks to everyone for coming out tonight to support the band. This would be their last song and it needed no introduction. Glenn did not take his seat at the piano as I once thought he would for this tune, but stood alongside Timothy B. Schmidt in front of the drums. The crowd cheered lovingly as one of the supporting musicians began the piano intro to one of The Eagles much loved classics, the title track from their second studio album ‘Desperado’. The lights were turned right down with a spotlight trained on Don, stood centre stage. The funny thing about this song is that everyone who listens to the lyrics thinks the song is about them, and in doing so make it their own. All Don has to do is stand there and deliver, the crowd were already in his hands. I choose not to sing along to this song as I realised it was my last chance, for a while at least if not ever, to hear the words live from the voice of one of the men I had listened to and loved as a child, singing their songs to me from a tape deck playing inside a car stereo.

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The song was building to its climax now as the other three Eagles had stepped forward unobserved to provide harmonies to the closing verse. I noticed that the two seats to my left were still vacant and lost in the emotional time machine of the song I began to wonder if the ghosts of my parents had indeed filled those two seats tonight and that I had not in fact attended this gig on my own. That being the case, I’m sure that even in silhouetted transparent ghost form my Dad would still surely have been initially pissed off but secretly pleased that I’d spent a small fortune to bring the two of them along with me tonight. Wherever I happen to be, listening to the music of The Eagles brings them closer to me and fills me full of warm feelings, rendering the £125 ticket price tag seem quite insignificant. Besides, how can you put a price on a window to your past?

The song came to a close through an extended and emotional charged round of applause, cheers, whistles and shouts of devoted love. The supporting musicians waved and bowed individually, then left the stage as the four Eagles gathered centre stage with arms extended affectionately around each other, smiling and nodding their appreciation. On a stage now fully lit, they took a bow then walked to either corner of the stage to repeat the process. Timothy B. Schmidt was last to leave the stage and seemed reluctant to do so, continuously turning to wave to the crowd as he walked off stage. As the full house lights now came on it seemed to break the spell that had been cast just over three hours ago and the crowd quickly began to gather belongings and form orderly queues. I tried to express my satisfaction to the girl sat beside me but no words seemed available to me, instead I wished her a safe trip home.

Exiting from the arena itself was surprisingly free flowing, but once outside we still had to negotiate our way back to the main exit while meeting the influx of people arriving at the O2 arena for various late night activities. So I’d have to say the exit strategy needs a bit more thought. When I did finally make my way back to the main entrance space I was helplessly drawn towards the small bundle of people queuing at the merchandise stand. I handed over the required £20 note and walked away with my new cool light blue t-shirt, complete with the trademark Eagles skull and iconic lettering.

I made my way outside and stood beside the large advertisement cylinder for awhile. I treated myself to another cigarette with the promise that I’d kick it before it grabbed me by the throat. To an onlooker it may have appeared that I was meeting someone, but I was waiting for nobody, I just wanted to pause for a brief moment before returning to real life and the London underground. I laughed to myself as a bunch of drunken guys stumbled out of the venue singing, in tune to their ears I’m sure, ‘One of these nights….One of these crazy lonely nights…’ I was so happy that I decided to fork out the cash to come tonight, the expense was long forgotten. Listening to and loving this music allows me temporarily look at yesterday as if it was today, the same reason we take photographs and frame them, to savour the moment for just a little bit longer.

‘London underground straight ahead, straight ahead for the London underground…’ It was a short walk to the station, which I made at pace with hands stuffed in pockets against the shrill wind now blowing. In no time I was begin whisked through the underground tunnel network listening to other satisfied fans share opinions and compare memorabilia. I thought to myself if I ever had kids what songs would be included in the soundtracks of their childhood that they might reminisce about when they grew up. There would be so much music for them to recollect it will cost them a small fortune. I’ll try not be too pissed off should they decide to break the bank to buy me a ticket and bring me along to some gig. I suppose The Eagles wouldn’t be a bad place to start, but I’m not too sure those guys will still be touring in twenty / thirty year’s time…?, but I suppose you never really know for sure…, stranger things have happened…, hell did freeze over after all.

Rolling Stone Magazine
Leonard's review

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