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HOTEL CALIFORNIADon Felder - Don Henley - Glenn Frey |
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The lead single from the album HOTEL CALIFORNIA. Chart: #1. Time: 6:30. Flip Side: "Pretty Maids All In A Row ". Released in U.S.A on February 22, 1977. Album recorded at Criteria Studios, Miami, Florida and The Record Plant, Los Angeles, California, USA, March to October, 1976. Produced by Bill Szymczyk. Engineered by Bill Szymczyk, Allan Blazek, Ed Mashel and Bruce Hensal. Mixed by Bill Szymczyk in Miami. The Eagles in their earlier years were forced to record music that was more softer then what they wanted. After three albums, they broke with their producer and took control of their destiny, adding Joe Walsh and, important to this track in particular, Don Felder. They wanted to rock. And rock they did. They created not only their most played track, but one of the greatest of the 1970's. While on the surface, it seemed to be about California, it was more about the excesses and self-indulgence of America as a whole. - Larry - |
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DON HENLEY"'Hotel California' was our interpretation of the high life in Los Angeles. It was meant to be a metaphor for the United States, for the excesses this country has always been known for. It wasn't meant to be just about California or Beverly Hills. It was more or less taken that way, but we had broader intentions than that. When you love something, you have to point out the things that are going wrong." DON FELDER"I had just leased this house out on the beach at Malibu--I guess it was around ‘74 or ‘75. I remember sitting in the living room, with the doors all wide open, on a spectacular July day. I had a bathing suit on and I was sitting on this couch, soaking wet, thinking the world is a wonderful place to be. I had this acoustic 12-string and I started tinkling around with it, and those “Hotel California” chords just kind of oozed out. Every once in a while it seems like the cosmos part and something great plops into your lap. I had a Teac four-track set up in one of the back bedrooms and I ran back there to put this idea down before I forgot it. I had one of those old rhythm ace things that Roland or somebody made. I remember it was set to play this cha cha beat, so I started it p, set the right tempo and played the 12-string on top of it. I didn’t do any more to it then because I was also working on “Victim of Love” at the same time. I had about six or eight song ideas I was working up. But a few days later I went back and listened to that 12-string thing with the cha cha beat, and it sounded pretty unique. So I came up with a bass line. A few days later I added some electric guitars. Everything was getting mixed down to mono, ping-ponging back and forth on this little four track. Finally I wound up with a cassette that had just about the entire arrangement that appears on the record, verbatim, with the exception of a few Joe Walsh licks on the end. All the harmony guitar stuff was there as was my solo on the end." "When I gave Henley the cassette, it had eight or 10 different song ideas. He came back and said (imitating Henley), “I really love this one track on your tape. The one that sounds like a matador or something...like you’re in Mexico.” We worked it all up and went into the studio and recorded it. " "Even when we finished “Hotel California” I wasn’t convinced that it should be a single. I thought it was okay as an album piece because all those guitars were a lot of fun. But when Henley said, “I think it should be our single,” I said, “Are you kidding? The song is six minutes and change. They’re not going to play anything over three minutes-30 seconds on the radio. Here we’ve got something that’s twice their usual program length. It starts off quiet and it’s got this quiet breakdown in the middle...” I was very skeptical, but I just yielded to the wisdom of Guano, which is Henley’s nickname." |
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