Eagles
Desperado

THE REVIEW

When Glenn Frey (guitar) and Don Henley (drums) called Bernie Leadon (guitar and mandolin) and Randy Meisner (bass), they certainly did not imagine they were giving life to the most important country-rock band of all time and more generally to one of the pillars of rock.

After their debut with the self-titled album, a "classic" country-rock work, close to some of Jackson Browne's works (who, among other things, collaborates with the group), the four released this "Desperado": it is 1973. The album, which is a concept, takes us into the theme of the record from the cover. We find ourselves in the midst of a western "epic," the lyrics tell us about bandits, melancholy sunsets, cowboys, and women. There's a greater sense of the old west than in many bluegrass or otherwise "pure" USA folk albums. The atmospheres are evocative, the dust, the horses, the scent of the wood of a saloon, or an old Martin D28 seem to come out of the record.

The first track, "Doolin-Dalton," encapsulates all these characteristics: beautiful sounding acoustic guitars, a melancholy harmonica in the distance, exceptional harmonies that blend well with electric guitars and drums. The voices alternate, Don Henley showcases the potential of his splendid timbre. "Twenty One," the next track, has the classic "locomotive" beat, thanks to a drumming style but especially a great banjo work by Barnie Leadon, which gives a full rhythmic texture to the piece. As always, everything is enriched by the harmonies. After the harder and still well-played rock of "Out Of Control," we move to "Tequila Sunrise," among the most beautiful songs of the Eagles' entire career. The guitar rhythm (almost a beguine) creates a "Mexican-flavored" atmosphere, the steel guitar embellishments are very elegant, as are all the vocal parts, an atmosphere of relaxed melancholy. It is then followed by another Eagles masterpiece, "Desperado." A wistful ballad, entrusted to Henley's voice (the author of the song), with piano and orchestra in the foreground, a classic that over the years will be reinterpreted by many, without ever reaching the beauty of the original version. "Certain Kind Of Fool" balances between country-rock and true rock, with a fine electric guitar solo (but we are still far from Hotel California and the solos of Joe Walsh, who will join the group later).

The forty-eight seconds of banjo of "Doolin-Dalton" serve as a prelude to "Outlaw Man," a rock track that ties to a certain late-sixties American country-rock tradition. Again, "borderline" atmospheres (here meant as the imaginary frontier between the U.S. and Mexico) with "Saturday Night": slow rhythms, very prominent and well-arranged harmonies, mandolin characterizing the piece. "Bitter Creek," a slow, pleasant, and well-arranged piece, is one of the few that can recall some things by C.S.N&Y. We are at the end, but just as the album started well, it concludes equally well, with "Doolin Dalton - Desperado (reprise)." It is practically a summary of the two songs, but enriched by great banjo and electric guitar work in the first one, with a beautiful "musical bridge" entrusted to Henley's voice that leads us to a more choral and full version of "Desperado." A beautiful, atypical medley that lives independently closes this album, which, although it is fully an expression of a genre certainly not in fashion today, if listened to today, will still offer emotions and a taste of old west adventure.