A transitional album

Hotel California can best be categorized as an example of a band in transition. This is the first album recorded by the group after Joe Walsh became a full-time member, and it was probably the beginning of the end for the group's long-time bass player, Randy Meisner, who would later be replaced by Timothy B. Schmit. The personnel shuffle was not the only form of transition; with this album, the Eagles changed musically, getting away from their country-rock roots and the influences of Poco, Pure Prairie League, and similar bands, and adopting a "harder", more rock n' roll sound. On a few of the tracks the Eagles show that they can still be true to their backgrounds, but overall the musical style is more James Gang than Poco.

The tracks and my comments about each are as follows:

1. Hotel California--This song combines a haunting melody with a haunting story. If any song can be called the Eagles' "signature song", this is probably it. Don Henley does a good job on the lead vocals, and Don Felder and Joe Walsh share the lead guitar solos. In later years the Eagles performed an acoustic version of this song, which I actually like better than the original version.

2. New Kid In Town--This is one of their most beautiful songs. The lyrics create a feeling of nostalgia, which is not surprising, due to the fact that the song was co-written by John David Souther, one of my heroes. Glen Frey's lead vocals are some of his best in this song which reminds me of the Southwest. Randy Meisner plays guitarone, Don Felder plays the electric guitars, and Joe Walsh plays electric piano and organ. The harmonies by the members of the group are beautiful, particularly towards the end of the song.

3. Life In The Fast Lane--This song typifies the transition that I was talking about earlier--both literally and figuratively, the Eagles are progressing toward a "harder" type of music, with an edge. The tune itself is a story about drug use and the eventual burnout that inevitably comes. Don Henley sings the lead vocals, and Joe Walsh is featured on the lead guitar.

4. Wasted Time--A nice piano played by Glen Frey is the musical focus of this song. The organ played by Joe Walsh provides a nice counterpoint, and Don Henley delivers one of his patented vocals--there's no mistaking his voice. Don Felder provides some tasteful guitar licks, and the strings compliment the whole arrangement.

5. Wasted Time (reprise)--An instrumental reprise featuring a lush string section, arranged and conducted by Jim Ed Norman. The reprise provides a startling contrast to what follows.

6. Victim of Love--One of the "hardest" songs the Eagles ever did. There are sexual connotations ("How come you still got his gun in your hand?") and some interesting word plays ("Your been-around-the-world friends") The tune is kinda bluesy, with a hard rock edge. Don Henley's vocals are breathy and insinuating, and Joe Walsh's slide guitar lets the tune take off.

7. Pretty Maids All In Row--Joe Walsh is Johnny-On-The-Spot on this tune, singing lead vocals and playing synthesizer, piano, and a very neat piece of slide guitar. The song features a piano fade-in, and the piano dominates throughout. The melody seems familiar, and Joe Walsh shows us that he can sing a ballad with the best of them. He's certainly not a one-dimensional singer, as he proves in this one, and he is ably accompanied by the backup singers.

8. Try And Love Again--Randy Meisner wrote and sang this song. A snazzy guitar lick opens the song, which is somewhat reminiscent of the early Eagles. I don't know who sings the high harmonies on this song, but whoever it is explores the high end of the range. Glen Frey tarts the tune up with a catchy, innovative guitar solo. The song builds to a crescendo, with vocals cascading from everywhere.

9. The Last Resort--Another good piano opens this song, which features Don Henley on lead vocals. Joe Walsh and Don Henley play synthesizer, and Don Felder contributes a fine pedal steel guitar. This song gets a little monotonous, and is sort of longish at over seven minutes. It's probably the weakest track on the album, and I think the Eagles could have chosen a more appropriate album-closer. The song does build towards the end, and climaxes in a satisfactory fashion. Strings and an effective key change add to the effect, and a tinkling piano leads back into some moving vocals by Don Henley.

It's apparent that the Eagles began playing more complex music on this album, and as I said earlier, began leaning towards a "harder" style of music. I strongly suspect that this transition was influenced by the addition of Joe Walsh, whose James Gang and Barnstorm credentials are well-known. This is a great album, although it's not my favorite Eagles album.