Pretty Is As Pretty Was
I’m working my way through the fascinating Eagles
documentary History of the Eagles, The
Story of an American Band shown recently on the BBC. I’ve just watched the section
where it features the recording of their second album Desperado, and this is the album that introduced me to the band,
having pretty much missed their first. It did then and does now appeal to everything
I love about this country-harmony sound, a style Glen Frey in the documentary
refers to disparagingly as ‘Beatles-Country’ as dictated [to a shared degree I
think if the band is totally honest] by then producer Glyn Jones. The criticism
is made because both Frey and Henley wanted a heavier sound, which they did
move on to with their next On The Border
where production duties were soon transferred to Bill Szymczyk [and the
stylistic dichotomy between Bill and Glyn is an intriguing as well as mildly
comic revelation in the programme].
Whilst interesting, these relatively minor schisms in style are
meaningless in as much as I am a continuing fan of their oeuvre, but this
second album is in my Top Fifty as both introduction to and exemplification of
their beautiful harmonising and songwriting. The fact that JD Souther and
Jackson Browne also still contribute to that songwriting on this album [well,
on Doolin-Dalton] is significant,
being a fan of their work too, as platitudinous as that statement and
proclivity is. The point is I am with Glyn Jones on thinking this is the sound
that defines the Eagles.
The ‘outlaw’ concept with album cover and other photos added
an attractive if ultimately tenuous connection with notions of being
alternative at the time, but I do recall playing the album over and over, as
with their next two, for those glorious vocals. Pretty yes, but pretty damn
fine then and now.
No comments:
Post a Comment