A Good Day In Hell - The Official ILM Track-By-Track EAGLES Listening Thread

so weird that i am always ready to here this on the radio. which is the only place i hear it pretty much. i wonder how many times i've heard it over the years. a thousand times? okay maybe not that many times. feels like it though. and yet there i am singing along every time. never gets old.

I don't think I've ever heard this song in its entirety. It's such a part of the landscape that I catch it in the beginning, middle, or end, and have never played it of my own volition.

I remember learning to play this song out of a copy of GUITAR FOR THE PRACTICING MUSICIAN, which is now GUITAR ONE or some such thing. Anyway, they always labeled the guitars throughout the arrangement, so the main rhythm guitar was always Gtr I, the main lead or secondary rhythm was Gtr II, etc.; then they'd label them with increasingly high numbers as more guitars came into the arrangement, even for a bar or two. I think they got up to at least Gtr IX in that arrangement.

Henley: Thanks for the tutorial and, no, you're not the first to bring this to my attention-—and you're not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I've consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It's a sociopolitical statement."

This is even funnier if you read it in William Shatner's voice.

It's a sociopolitical statement.

Meaning what?

One thing I always hated about this and some of their other songs was that they all shared this DEEP MEANING. They all are METAPHORS. And they love to keep bringing this up. The only meaning I've gotten from this stuff is "These songwriters are deep, man".

I'm on record all over the place for digging that part of the solo where the two guitars lock into each other at around 5:20

that moment never fails to deliver a lift. kind of reminds me of when marquee moon arrives at the unison section.

also, in gtr solo #2, there are some v nice little upward whisks at the ends of phrases which make me think of someone flicking outward with a knife.

Was this the closet they got to being the Doors? Sonic wallpaper yet again, but on closer listening, a magnificent construction: the playing is fantastic, the coda isn't gratuitous or perfunctory. The lyrics are...over-examined, but among other things fit into a tradition of classic road/driving songs while adding a distinctively late '70s aura as only the Eagles could. It's also kind of the mellow "Freebird".

Frey's on Fire here:

HOTEL CALIFORNIA
GLENN: The song began as a demo tape, an instrumental by Don Felder. He’d been submitting tapes and song ideas to us since he’d joined the band, always instrumentals, since he didn’t sing. But this particular demo, unlike many of the others, had room for singing. It immediately got our attention. The first working title, the name we gave it, was “Mexican Reggae.”

For us, “Hotel California” was definitely thinking and writing outside the box. We had never written any song like it before. Similar to “Desperado,” we did not start out to make any sort of concept or theme album. But when we wrote “Life In The Fast Lane” and started working on “Hotel California” and “New Kid In Town” with J.D., we knew we were heading down a long and twisted corridor and just stayed with it. Songs from the dark side — the Eagles take a look at the seamy underbelly of L.A. — the flip side of fame and failure, love and money.

“They stab it with their steely knives, but they just can’t kill the beast” was a little Post-It back to Steely Dan. Apparently, Walter Becker’s girlfriend loved the Eagles, and she played them all the time. I think it drove him nuts. So, the story goes that they were having a fight one day, and that was the genesis of the line, “turn up the Eagles, the neighbors are listening” in “Everything You Did,” from Steely Dan’sThe Royal Scam album. During the writing of “Hotel California,” we decided to volley. We just wanted to allude to Steely Dan rather than mentioning them outright, so “Dan” got changed to “knives,” which is still, you know, a penile metaphor. Stabbing, thrusting, etc.

Almost everybody in my business can write music, play guitar, play piano, create chord progressions, etc., but it’s only when you add lyrics and melody and voices to these things that they take on an identity and become something beyond that sum of the individual parts. I remember that Henley and I were listening to the “Hotel California” demo tape together on an airplane, and we were talking about what we would write and how we wanted to be more cinematic. We wanted this song to open like an episode of The Twilight Zone — just one shot after another.

I remember De Niro in The Last Tycoon. He’s got this scene, and he’s talking to some other people in his office. He speaks to them: “The door opens…the camera is on a person’s feet…he walks across the room…we pan up to the table… he picks up a pack of matches that says ‘The Such-And-Such Club’ on it… strikes a match and lights a cigarette…puts it out… goes over to the window… opens the shade… looks out… the moon is there… what does it mean? Nothing. It’s just the movies.” “Hotel California” is like that. We take this guy and make him like a character in The Magus, where every time he walks through a door there’s a new version of reality. We wanted to write a song just like it was a movie. This guy is driving across the desert. He’s tired. He’s smokin’. Comes up over a hill, sees some lights, pulls in. First thing he sees is a really strange guy at the front door, welcoming him: “Come on in.” Walks in, and then it becomes Fellini-esque — strange women, effeminate men, shadowy corridors, disembodied voices, debauchery, illusion… Weirdness. So we thought, “Let’s really take some chances. Let’s try to write in a way that we’ve never written before.” Steely Dan inspired us because of their lyrical bravery and willingness to go “out there.” So, for us, “Hotel California” was about thinking and writing outside the box.

DON: We were enamored with hotels. Hotels were a big part of our lives. The Beverly Hills Hotel had become something of a focal point — literally and symbolically. I’ve always been interested in architecture and the language of architecture, and, at that time, I was particularly keen on the mission style of early California. I thought there was a certain mystery and romance about it. Then, there are all the great movies and plays in which hotels figure prominently, not only as a structure, but as a dramatic device. Films such as Grand Hotel, The Night Porter, and even Psycho — motels count too. There are plays like Neil Simon’s Plaza Suite and California Suite, which Glenn and I went to see while writing the song. We saw it as homework or research. We were looking for things that would stimulate us and give us ideas. Sometimes it was just driving around. We would still take trips out to the desert. At one point, Glenn and I rented a little red house up in Idlewild — way up in the San Bernadino Mountains. We’d drive out there sometimes just to clear our heads, sleep on the floor in sleeping bags. We didn’t have any furniture. We were just on the quest.

"Sorry, me and Glenn can't make the coke orgy at Crosby's. We've got tickets for "Plaza Suite" and reservations at Dan Tanna's."

Missing from Don's spiel is the Ron Burgundy-ish anecdote that he purposely wore a bathrobe while recording this song to enhance the relaxed feel he felt was necessary to play it. He also neglects to mention that beneath his preferred subtext, this song (and others he wrote for the album) is about his ex-girlfriend who left him for that other celebrated wordsmith, Bernie Taupin.

you're not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I've consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It's a sociopolitical statement.

so basically henley knows what colitas are, and he knows how various beverages are made, but he is unaware of the concept of the double entendre?

"Sometimes a steely knife is just a steely knife, not a reference to a better band."

what he should have said, in response to the original question, was that he, don henley, knows the difference between distilled and fermented drinks, but the character of the "captain" in the song does not, and that was the sociopolitical point he was trying to make. so, really, a triple entendre.

look at Frey dropping cinematic references.

Henley's right, though: I love hotels too.

Joe Walsh: "I love hotels too!" <fires up chainsaw>

"he, don henley, knows the difference between distilled and fermented drinks, but the character of the "captain" in the song does not, and that was the sociopolitical point he was trying to make"

the song is secretly about the notable decline in the caliber of bar staff at the Beverly Hills Hotel in '76. "Glenn, can you believe that guy called the magnum I ordered a 'spirit'?"

strange women, effeminate men

kinda think this is an offhand remark that nails Frey's world view.

“Let’s really take some chances. Let’s try to write in a way that we’ve never written before. Let's see if we can come up with a way to rhyme 'bell' with 'hell'."

DON: We were enamored with hotels. Hotels were a big part of our lives. The Beverly Hills Hotel had become something of a focal point — literally and symbolically. I’ve always been interested in architecture and the language of architecture, and, at that time, I was particularly keen on the mission style of early California. I thought there was a certain mystery and romance about it.

FREY: Those chicks from the valley we had that night? Lots of romance and mystery there.

DON: Well, yeah.

Frey must've got so darn excited when Eyes Wide Shut was released.

Ah yes, symbolism. The language or architecture. The metaphors of the lost 60s.

The Eagles just seem like some dudes that have taken so many drugs they are convinced that every thought they have is a brilliant insight, and won't shut up about it.

This is the first time in my life i actually made an effort to hear "Hotel California".... my random thoughts

- Always thought the 3:28 fadeout/gap was a edit, punch-in, or tape splice

- Felder didn't seem to mind Henley singing like Barry Gibb on "One Of These Nights"

- As much as i don't like the Eagles and am sick of hearing this song for the 529th time, the guitar solos are unquestionably all-time

- Hotel California is by far the best-selling non-comp Eagles album, partly no doubt in part because the title track is their signature song, but I wonder if it wouldn't have sold nearly as well had the greatest hits album been issued after this album instead of before. Many of those gazillions who bought Greatest Hits also wanted this album if only for "HC" and the other singles

- Lolling at the credit roll at the end of the fan-made video: "The intent of these videos is to bring new fans to older and often obscure album tracks...."

I always mostly-hated this song. It was an automatic NOPE if it came on the radio. except that if I did end up getting stuck listening to it I always found myself getting into the drums part.

within the past 3 months or so I've completely turned a corner on HC and now the solos and that melody Felder & Walsh play together on the outro, I can't get enough of it.

overall, A+

there's a line (I can't remember which one off the top of my head) where Henley does an audible 'UNGHHH' at the end and it kinda grosses me out

it was those chicks in the valley. Lots of romance and atmosphere.

Don:We found an orgone accumulator in a dusty corner of the studio, and discovered it made a great vocal booth in addition to what it offered in our other areas of research.

Frey: We were interested in vaginal research in those days.

Don: Well, yeah.

Almost everybody in my business can write music, play guitar, play piano, create chord progressions, etc., but it’s only when you add lyrics and melody and voices to these things that they take on an identity and become something beyond that sum of the individual parts.

Felder basically wrote the song, and this is a pretty shitty way for Frey/Henley to take credit for it.

there's a line (I can't remember which one off the top of my head) where Henley does an audible 'UNGHHH' at the end and it kinda grosses me out

Henley was looking at this Facebook page when he sang that: https://www.facebook.com/benz.girls

i'm in the minority of kinda loving "i wish you peace"...sail on bernie

i've done my share of Eagles frontin' in this thread but I'm not gonna front on Hotel California. great song, goofy "deep" lyrics and all

i love the really simple single note harmony guitar held notes during the verses, a really simple and elegant little touch

I only want to remark on what a piece of shit Henley is. Check out his expanded comments:

Thanks for the tutorial and, no, you're not the first to bring this to my attention—and you're not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I've consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It's a sociopolitical statement. My only regret would be having to explain it in detail to you, which would defeat the purpose of using literary devices in songwriting and lower the discussion to some silly and irrelevant argument about chemical processes.[

Eagles in the wild! Just heard Ol' 55 in Walgreens.

Dropout at 3.28 - pathetic. Put some reverb over it or something, guys.
Rhythm section at 5.38 - good.
End guitar solos could have got a bit more Freebird really.
Hearty chuckle at Henley trying to sound menacing when he delivers the Night Man's line.

Xps Interviewer: Well, yeah.

How did Bernie leave? Was expecting you all to break out sob stories, but nothing.

the descending harmony arpeggios at the end of the Hotel California guitar solo always reminded me of Iron Maiden a bit

dumped a beer over freys head and peaced, iirc

xpost

Frey was mad it was Milwaukee's Best: "Of course you use the cheapest beer!"

I Wish You Piels

My Michelob

xxpost m@tt I'm pretty sure that's why I dig that outro so hard, definitely shades of Maiden! there are few things in life I love more than a face-melting twin-guitar assault :)

very much off topic now but in that case VG i just wanna make sure you know Thin White Rope, esp their moonhead LP. The finest mid-80s desert twin guitar heaviness.

https://www.youtube.com/watch?v=1tzNQ9Avr4k

xpost ooooweee thx Jon, I'll check it out!

the descending harmony arpeggios at the end of the Hotel California guitar solo always reminded me of Iron Maiden a bit

― lorde willin' (upper mississippi sh@kedown - woah, can totally hear this

Here's all seven of them playing HC at the Hall of Fame: http://youtu.be/2dyw6LZpSOA

Same little 3:28 dropout as the studio version!

If I were in a band performing a classic-but-overfamiliar song live, I'd want to change up the arrangement just a bit, not decontruct the song and turn it into something else, but just enough to make a song everyone in the audience has heard hundreds of times seem fresh and interesting, retaining the essence of the original recording but not recreating it note for note so they don't know exactly what's coming next. Just as on Eagles Live '80, this sounds almost like they played the record through the P.A. system.

They need to go Full-Dub and have somebody do a toast in the middle. Nominations?

http://o.onionstatic.com/images/articles/article/2601/Donald-Fagen-R_jpg_630x463_pad-black_upscale_q85.jpg

that story from Walsh about Henley & the Hotel California solos made me think of this

https://www.youtube.com/watch?v=Lzpk5dMhVE4

aggggghhh fuck sorry I shouldn't have done that, embed ragh

fp me skott, I deserve it

FWIW, a couple hours ago I drove past the Beverly Hills Hotel.

Walsh at 4:53 is one of my fave moments in rock and roll. His "guitar face" at this moment is the best! Felder's sound completely singular. All those guitars in the R&R HOF clip make me think of BJM.

Thread really delivering today!

This song was already old news to me 20 years ago - I'm 30 now - and yet I never fucking get tired of it, Henley's cod-Mexican accent and portentous lyrics and those lemon-sucking harmonies and all. It's like "Stairway" - just a killer minor-key progression, arrangement, production, everything. So thank you Don Felder and Bill Szymczyk, but kudos as well to the perfect balance of teeth-clenching tension and El Lay cool in Henley's vocal. I mean, dude can sing. Also I'm a sucker for the narcissistic Southern California myth-mongering, which is maybe why the Red Hot Chili Peppers aren't yet completely beyond the pale for me.