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| Get Over It |
01 |
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03:31 |
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| Love Will Keep Us Alive |
02 |
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04:03 |
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| The Girl From Yesterday |
03 |
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03:24 |
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| Learn To Be Still |
04 |
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04:29 |
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| Tequilla Sunrise |
05 |
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03:28 |
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| Hotel California |
06 |
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07:12 |
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| Wasted Time |
07 |
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05:20 |
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| Pretty Maids All In A Row |
08 |
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04:27 |
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| I Can't Tell You Why |
09 |
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05:11 |
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| New York Minute |
10 |
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06:38 |
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| The Last Resort |
11 |
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07:24 |
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| Take It Easy |
12 |
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04:36 |
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| In The City |
13 |
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04:08 |
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| Life In The Fast Lane |
14 |
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06:01 |
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| Desperado |
15 |
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04:15 |
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To listeners near and far, the Eagles were an American band. It wasn't simply a matter of birth or geography, but rather that their songs touched on much of the popular musical heritage of America. To this day, listeners here and elsewhere consider American pop music to be country, blues, folk, rockabilly, rhythm-and-blues, Motown. The Eagles were rooted in all of them. It is only appropriate that the name they took for themselves was that of the symbol of America.
Like most Americans, and most bands formed in California, the Eagles came from elsewhere. Their brand of rock 'n' roll was nurtured in the heartland, not on the fringes. Early songs from "Take It Easy" to "Desperado" were dubbed "country rock." But, as the Seventies rolled on, the Eagles soared higher and wider. "Best Of My Love" and "Lyin' Eyes" were rock and pop and country and the fans took them as their own. The distance between the country and the city, the redneck and the hippie, narrowed. In the Nineties, that gap would be forever closed by another generation of country rockers.
The Eagles evolved and grew. The same album that boasted "Take It To The Limit" also included the R&B-flavored title track "One Of These Nights." Soon after, the band laid down harder rock with classics such as "Hotel California," "New Kid In Town" and "Life In The Fast Lane." In fact, the band was so inclusive that the only label that truly attached itself was "California rock." No one knew quite what that meant - except perhaps that, because in California anything was possible, music that came from that promising land was more fre-spirited and free-ranging.
On six studio albums from 1972-1979, the Eagles reflected most of the spectrum of music then heard on American radio and in that decade sold more records than any other American band. The Eagles successfully and popularly fused disparate musical roots. That is their legacy, one which we continue to witness today.
- Sal Manna
Don Felder: guitars, vocals
Glenn Frey: guitars, piano, keyboards, vocals
Don Henley: drums, percussion, vocals
Timothy B Schmit: bass, vocals
Joe Walsh: guitars, organ, vocals
Additional Musicians
John Corey: keyboards, guitar, vocals
Scott Crago: percussion, drums
Timothy Drury: keyboards, vocals
Stan Lynch: percussion
Joy Oliver: keyboards
Paulinho DaCosta: percussion
Gary Grimm: percussion
Scott Plunkett: keyboards
Produced by the Eagles with Elliot Scheiner and Rob Jacobs
"Learn To Be Still" Produced by the Eagles with Stan Lynch and Rob Jacobs
Live track Recorded and Mixed by Elliot Scheiner
Studio tracks Recorded and Mixed by Rob Jacobs
Horn and String arrangements by the Eagles, Jay Oliver and Don Davis
Second Engineers:
Tom Winslow, Barry Gldberg, Ken Villeneuve, Carl Glanville, Andy Grassi, Charlie Bouis, Tom Trafalski
Studio Tracks Recorded at The Village Recorder, Los Angeles; Sounds Interchange, Toronto
Mixed at The Village Recorder and A&M Recording Studios, Los Angeles; Hit Factory, NYC
Live Recording Coordinator: David Hewitt
Guitar Techs: Chris Buttleman, Mike Harlow, Tony LeCroix, Todd Bowie
Drum Tech: Gary Grimm
Keyboard Techs: Bill Lanham, Michael Gonzales
Live tracks Recorded at Warner Burbank Studios with Le Mobile
House Mixer at Warner Burbank: Dave Kob
Monitor Mixer at Warner Burbank: Dave Reynolds
Edited and Mastered by Ted Jensen at Sterling Sound, NYC
Chris Littleton: Tour Manager
Jerry Vaccarino: Assistant Tour Manager
Tony Taibi: Road Manager
Tom Nixon: Road Manager
Smokey Wendell: Road Manager
Doug Sturgis: Crew
Executive Producer: Joel Stillerman
Program Producer: Carol Donovan
Program Director: Beth McCarthy
Program Line Producer: Audrey Johns
An MTV Production
Special Thanks at MTV to:
Joni Abbott, John Cannelli, Tom Freston, Doug Herzog, Judy McGrath, Ed Paparo and Van Toffler
Personal Management: Irving Azoff, Peter Lopez
Art Direction: Robin Sloane and Janet Wolsborn
Cover Photography: David Skernick
Band Photography: John�
