Filippo Guzzardi

Contributing to the consecration of the Eagles by co-signing "Hotel California" didn't exactly make Felder popular in the eyes of Frey and Henley. The two tolerated him within the band until Felder dared to intervene in the "business" and was unceremoniously kicked out. I know that Felder even accused them of threats, but I'm not sure how the legal action ended. Currently, the tour features only Frey-Henley-Schmit-Walsh.

In terms of songwriting, Joe Walsh is nearly absent: aside from the hit "In The City," a worthy contribution is made by the captivating "Life In The Fast Lane." Henley and Frey leave little room for Felder, who deserved more: if only for "Hotel California." However, I really like what was done in "Victim Of Love" and "Disco Strangler," and I was surprised by the solo in "Teenage Jail."

Modulating their voices in harmonies (including falsetto) was fundamental to the Eagles' success: there's no doubt that Meisner in "Take The Devil," "Tryin'," or Schmit in "I Can't Tell You Why" are not singing in falsetto. However, don't forget the famous duet Henley-Meisner in "One Of These Nights": what vocal technique do you think Randy uses on that occasion?

If this is your concept of virtuosity in music in general, then we are in agreement. With the necessary subtleties, it’s evident that the phrase "talented instrumentalists and grandiose singers" is an exaggeration due to my passion for the band. It would have been more accurate to use the term "musicians" instead of "instrumentalists," as the former implies a compositional flair that the latter does not: and regarding compositional talent, in my opinion, Frey and Henley are second to none. When I call them grandiose singers, I am referring to the four of them and their vocal harmonies, which I consider impeccable.

The album is not the best, but I completely agree with what was said in the review.

Prisoner is truly an outstanding piece: Pinnick, Tabor, and Gaskill are in perfect sync. I also really enjoy Ty's riffing in "Lost In Germany" (which I would compare to Eddie Van Halen's in "5150"). Jerry's work in "Not Just For Dead" is excellent. The fact that they blend different styles somewhat compromises the lyrics in my opinion, but those in "Silent Wind" are commendable.

And, compared to the country landscape of the time, this album and the subsequent one (the absolute masterpiece "Desperado") are, in my humble opinion, a "breath of fresh air." That's why I keep giving it 5.

Ultimately: if knowing how to play only coincides with being able to produce virtuosic feats, then none of the four is a great instrumentalist. But I would really like to see who qualifies as a great instrumentalist in a genre like country, where the space for "mind-blowing" technical solutions doesn't seem, frankly, very wide.

RANDY MEISNER (Scottsbluff, Nebraska, 1946), after his time with the Poor, founded what would become a glorious country band: Poco. When he left to join James Taylor first and then Rick Nelson (in the Stone Canyon band), his musical lookalike, Timothy B. Schmit (same instrument, namely the bass, same vocal technique, namely the falsetto), was recruited in his place: a story destined to repeat itself with the Eagles.

BERNIE LEADON (Minneapolis, Minnesota, 1947) is a multifaceted guitarist with an unbridled passion for bluegrass (for example, one could mention the bluegrass version of the famous "The Valley Road," which would lead him to win a Grammy in the following decade, alongside another highly regarded artist like Bruce Hornsby), known to lovers of country and folk for having been part of groups like the Dillard-Clark, Hearts and Flowers, the Flying Burrito Brothers, and for later stepping in for a certain Stephen Stills (who would eventually become a founding member of Buffalo Springfield with Neil Young and, subsequently, one of the famous members of the supergroup Crosby, Stills, Nash & Young) in the band The Continentals, which, with Leadon's arrival, changed its name to Maundy Quintet but had a very short life, leaving little trace of itself except for the presence of Don Felder, who would join the Eagles in '74.