| | Eagles CD Eagles Discography of CDs
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Eagles: Glenn Frey, Bernie Leadon (vocals, guitar); Randy Meisner (vocals, bass instrument); Don Henley (vocals, drums).
Balance is the key element of the Eagles' self-titled debut album, a collection that contains elements of rock & roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like "Chug All Night," "Nightingale," and "Tryin'," it is equally convincing on ballads like "Most of Us Are Sad" and "Train Leaves Here This Morning." The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The album's overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. "Take It Easy" and "Peaceful Easy Feeling" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word "easy" in both titles, while "Witchy Woman," a Henley vocal and co-composition, initiates the band's career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadon's country-steeped playing and singing and to Meisner's melodic rock & roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar. ~ William Ruhlmann
The Eagles' least commercially successful record still retains qualities that make it one of their best. Building on the harmony-heavy folk-rock sound of the Byrds and Crosby, Stills & Nash, and the edgier country-rock of the Flying Burrito Brothers, the Eagles brought to the recipe a penchant for radio-friendly hooks and a lush production, bolstered by superb musicianship. These qualities can be heard here on some of the band's most memorable early hits. Their classic reading of Jackson Browne and Glen Frey's "Take It Easy," for example--with its picking, crying guitars, breezy tempo, and gorgeous, high-flown harmonies--is a case study in California country-rock with a pop twist.
Don Henley's slinky, eerie "Witchy Woman" is another highlight, as is the languid, lovely "Peaceful, Easy Feeling" (both tracks appeared on THEIR GREATEST HITS 1971-1975, along with "Take It Easy"). But there are other gems tucked away here too, like the Bernie Leadon/Gene Clark-penned "Train Leaves Here This Morning." EAGLES is a varied, smartly composed and totally pleasurable debut; it defined the sound of one of the 1970s' most popular bands.Rolling Stone (6/22/72, p.54) - "...they'll stand proudly right next to the best recordings of the Byrds, Buffalo Springfield, Burrito Brothers, and the other premier Los Angeles groups..." Eagles Music Review Average Rating: (5 out of 5 stars)  Peaceful Southern California feeling.
Being a teenager in Southern California in the early 70's I can truly remember the "feeling" I got when I heard this album. This was everything I loved about life. This was what I wanted my rock group to sound like back then. The Eagles will always be one of my top artists of all time. This album was truly one of the best debut albums of all time.
Submitted by Bones (Santee, CA USA)
Was This Review Helpful? Yes No EAGLES
I FIND IT HARD TO PUT ANY OF THEIR ALBUMS AHEAD OF THE OTHERS, BUT THIS IS ONE GOOD ALBUM. ALL OF THE TRACKS ARE AWSOME. I BELIEVE THIS IS ONE OF THE BEST THE DID. OF COURSE I WOULD SAY THAT ABOUT ALL THEIR ALBUMS. THE GREAT THING I ENJOY ABOUT CD'S IS YOU DON'T HAVE TO FLIP THEM OVER
Submitted by a reviewer (MORTONS GAP, KY.)
Was This Review Helpful? Yes No ONE OF THE GREATEST DEBUT ALBUMS OF ALL TIME
The EAGLES got thing's started right with their first album release!!!! I just love this album to death!!!! I'm not a hitman ( that's what we use to call my friend Randy,because He only liked the big hits,by all the great bands) so I like the stuff you don't hear played on the radio. "take the devil", "chug all night", "nightingale", "earlybird", and "train leaves here this morning" are some of my favorites in the EAGLES catalog. When I was younger, this was one of my favorite drinking albums!!! Buy this, you won't be disappointed!!!!
Submitted by Mark (Wichita,KS,USA)
Was This Review Helpful? Yes No 0 of 1 found this helpful. Eagles at Their Best
This is the Eagles at their original best. Lots of guitar and rhythm without anything else. Brings back many memories of seeing them in concert in the early days of the 70's and high school. I highly recommend it for those who love(d) their country rock sound.
Submitted by a reviewer (Okemos, MI) 
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Purchase Eagles CD To buy, Click on price to add to cart | Eagles Hotel California CD (1976)
Eagles
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The Eagles: Glenn Frey (vocals, guitar, keyboards); Don Felder (vocals, electric & slide guitars); Joe Walsh (vocals, guitar, keyboards); Randy Meisner (vocals, guitarron, bass); Don Henley (vocals, drums, percussion).
Engineers include: Bill Szymczyk, Allan Blazek, Ed Marshal.
Recorded at Criteria Studios, Miami, Florida and the Record Plant, Los Angeles, California from March to October 1976.
The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of
| | Eagles Long Run CD (1979)
Eagles
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The Eagles: Glenn Frey (vocals, guitar, synthesizer); Joe Walsh (vocals, slide guitar); Don Henley, Timothy B. Schmit (vocals); Don Felder (guitar, organ).
Recorded at Bayshore Recording Studio, Coconut Grove, Florida.
Three years in the making (which was considered an eternity in the '70s), the Eagles' follow-up to the massively successful, critically acclaimed Hotel California was a major disappointment, even though it sold several million copies and threw off three hit singles. Those singles, in fact, provide some insight into the record. "Heartache Tonight" was an old-fashioned rock & roll song sung by Glenn Frey, while "I Can't Tell You Why" was a delicate ballad by Timothy B. Schmit, the band's newest member. Only "The Long Run," a conventional pop/rock tune with a Stax Records R&B flavor, bore the stamp and vocal signature of Don Henley, who had largely taken the reins of the band on Hotel California. Henley also dominated The Long Run, getting co-writing credits on nine of the ten songs, singing five lead vocals, and sharing another two with Frey. This time around, however, Henley's contributions were for the most part painfully slight. Only "The Long Run" and the regret-filled closing song, "The Sad Café," showed any of his usual craftsmanship. The album was dominated by second-rank songs like "The Disco Strangler," "King of Hollywood," and "Teenage Jail" that sounded like they couldn't have taken three hours much less three years to come up with. (Joe Walsh's "In the City" was up to his usual standard, but it may not even have been an Eagles recording, having appeared months earlier on the soundtrack to The Warriors, where it was credited as a Walsh solo track.) Amazingly, The Long Run reportedly was planned as a double album before being truncated to a single disc. If these were the keepers, what could the rejects have sounded like? ~ William Ruhlmann
The long-awaited follow-up to Hotel California and the Eagles' last studio album proved a consid
| | Eagles On The Border CD (1974)
Eagles
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Eagles: Bernie Leadon (vocals, guitar, steel guitar, banjo); Glenn Frey (vocals, guitar, piano); Randy Meisner (vocals, bass instrument); Don Henley (vocals, drums); Don Felder (electric guitar).
The Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group's country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with "Already Gone," the lead-off track, which introduces new bandmember Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; "James Dean," a rock & roll song on the order of "Your Mama Don't Dance," and "Good Day in Hell," which is strongly reminiscent of Joe Walsh songs like "Rocky Mountain Way." But the album also features the usual mixture of styles typical of an Eagles album. For example, "Midnight Flyer," sung by Randy Meisner, is modern bluegrass; "My Man" is Bernie Leadon's country-rock tribute to the recently deceased Gram Parsons; and "Ol' 55" is one of the group's well-done covers of a tune by a singer/songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R&B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back ...
| | Eagles One Of These Nights CD (1975)
Eagles
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Live Recording
The Eagles: Bernie Leadon (vocals, electric & steel guitars, banjo, mandolin); Don Felder (vocals, electric & slide guitars); Glenn Frey (vocals, guitar, keyboards); Randy Meisner (vocals, bass); Don Henley (vocals, drums, percussion).
Recorded at Mac Emmerman's Criteria Studios, Miami, Florida.
The Eagles recorded their albums relatively quickly in their first years of existence, their LPs succeeding each other by less than a year. One of These Nights, their fourth album, was released in June 1975, more than 14 months after its predecessor. Anticipation had been heightened by the belated chart-topping success of the third album's "The Best of My Love"; taking a little more time, the band generated more original material, and that material was more polished. More than ever, the Eagles seemed to be a vehicle for Don Henley (six co-writing credits) and Glenn Frey (five), but at the same time, Randy Meisner was more audible than ever, his two lead vocals including one of the album's three hit singles, "Take It to the Limit," and Bernie Leadon had two showcases, among them the cosmic-cowboy instrumental "Journey of the Sorcerer" (later used as the theme music for the British television series The Hitchhiker's Guide to the Galaxy). Nevertheless, it was the team of Henley and Frey that stood out, starting with the title track, a number one single, which had more of an R&B -- even a disco -- sound than anything the band had attempted previously, and continuing through the ersatz Western swing of "Hollywood Waltz" to "Lyin' Eyes," one of Frey's patented folk-rock shuffles, which became another major hit. One of These Nights was the culmination of ...
| | Eagles Desperado CD (1973)
Eagles
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Eagles: Bernie Leadon (vocals, guitar, banjo, mandolin); Glenn Frey (vocals, guitar, piano); Randy Meisner (vocals, bass instrument); Don Henley (vocals, drums).
If Don Henley was the sole member of the Eagles underrepresented on their debut album, Eagles, with only two lead vocals and one co-songwriting credit, he made up for it on their follow-up, the "concept" album Desperado. The concept had to do with Old West outlaws, but it had no specific narrative. On Eagles, the group had already begun to marry itself to a Southwest sound and lyrical references, from the Indian-style introduction of "Witchy Woman" to the Winslow, AZ, address in "Take It Easy." All of this became more overt on Desperado, and it may be that Henley, who hailed from Northeast Texas, had the greatest affinity for the subject matter. In any case, he had co-writing credits on eight of the 11 selections and sang such key tracks as "Doolin-Dalton" and the title song. What would become recognizable as Henley's lyrical touch was apparent on those songs, which bore a serious, world-weary tone. Henley had begun co-writing with Glenn Frey, and they contributed the album's strongest material, which included the first single, "Tequila Sunrise," and "Desperado" (strangely never released as a single). But where Eagles seemed deliberately to balance the band's many musical styles and the talents of the band's members, Desperado, despite its overarching theme, often seemed a collection of disparate tracks -- "Out of Control" was a raucous rocker, while "Desperado" was a painfully slow ballad backed by strings -- with other bandmembers' contributions tacked on rather than integrated. Randy Meisner ...
| | Beatles Abbey Road CD (1969)
Eagles
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ABBEY ROAD, recorded in the summer of 1969, was the last album recorded by the Beatles (LET IT BE was released in 1970, but recorded in early '69).
The Beatles: Paul McCartney (vocals, guitar, keyboards, bass); John Lennon (vocals, guitar, keyboards); George Harrison (vocals, guitar, synthesizer); Ringo Starr (vocals, drums, percussion).
The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed. ~ Richie Unterberger
After the laborious disorganization and infighting that characterized early 1969's LET IT BE sessions (as famously captured on film), the fractious four were willing to let George Martin take the reins and to work with him as a cohesive unit for the much more succinct ...
| | Baby Snufkin Pokey In The Bobo CD (1998)
Eagles
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fresh off a European tour supporting No Doubt, band presents their trademark Latin disco punk music, sounding like a cross between the Pogues & Weezer, throwing in traditional, Gypsy-like violin w. crankin', distorted guitar
Baby Snufkin: Scrote (vocals, guitar, mandolin, percussion, samples); Bert (accordion, bass, percussion, background vocals); Rico Dali (drums).
Additional personnel: Carla Kihlstedt (violin); Boyd Neilsen (saxophone); Jab (trumpet, background vocals); Steve Bradley (trumpet); Ernesto (drums); The Babe (percussion).
Just when you thought that garage rock had been done to death without new wrinkles, comes this trio. The sneering singer with a vocal resemblance to the Leaving Trains' Falling James -- who also often intentionally sings out of tune -- is familiar. The punk/ska/funk guitar/bass/drums thing is pretty regular. So who stuck these salsa trumpets in the mix? It's a bit like the old ads for Reese's Peanut Butter Cups: "Hey, you got your Latin in my post-punk!...Umm...Hey...Not bad!" The band's manic, party-on intensity and the super-festive ...
| | Cold Chisel Chisel CD (2002) Import; Remastered
Eagles
$30.29
CHISEL is a comprehensive anthology featuring 20 tracks by the Australian rock band Cold Chisel. From "Standing on the Outside" to "Khe Sahn," CHISEL spans the band's career, and boasts finely ...
| | Best Of Altan: The Songs CD (2003)
Eagles
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Altan: Mairead Ni Mhaonaigh (vocals, fiddle); Mark Kelly, Daithi Sproule (guitar, background vocals); Ciaran Curran (bouzouki); Ciaran Tourish (fiddle, whistle, background vocals); Dermot Byrne (accordion).
Additional personnel: Jerry Douglas (dobro); Mike Kinsella (harmonica); James Hutchinson, Steve Cooney (bass); Jimmy Higgins (bodhran).
Personnel: Anna Ní Mhaonaigh (vocals); Jerry Douglas (dobro); Dónal Lunny (bouzouki); Mike Kinsella (harmonica); Richie Buckley (saxophone); Jimmy Higgins (bodhran); Paul Brady (background vocals).
Translator: Francis Mooney.
Arrangers: Ciarán Tourish; Daíthí Sproule; Dónal Lunny; Kelly; Mairéad Ní Mhaonaigh; Ciarán Curran; Byrne.
Altan has reached a point in its career where the band could conceivably exist off of the endless repackaging of its collected works. After nine solid albums of Celtic wizardry, they show no signs of slowing down, and seem the likely candidate to usurp the throne currently occupied by the Chieftains. The Best of Altan: The Songs is an anthology ...
| | Superior Band No House, No Home, Without My Man CD (2003)
Eagles
$11.09
| | Donna Pena Catholic Classics: Songs In Spanish CD (2005) (Import)
Eagles
$17.05
| | Modest Mouse We Were Dead Before The Ship Even Sank CD (2007)
Eagles
$8.99
Modest Mouse: Eric Judy, Isaac Brock, Jeremiah Green, Johnny Marr , Joe Plummer, Tom Peloso.
Personnel: Clay Jones (acoustic guitar, shaker, programming); Dennis Herring (Fender Rhodes piano, pump organ, background vocals); Kyle "Slick" Johnson (programming); Naheed Simjee, James Mercer (background vocals).
Audio Mixers: Dennis Herring; Joe Zook.
Recording information: Audible Alchemy, Portland, OR; Sweet Tea, Oxford, MS.
Illustrators: David Ellis; Casey Burns.
Though the album title sounds like it was borrowed from the avant-weirdos Liars, WE WERE DEAD BEFORE THE SHIP EVEN SANK finds quintessential indie-rockers Modest Mouse charting a course down the stylistic middle. They retain enough of their trademark quirkiness to keep longtime fans from feeling alienated, but they simultaneously put popwise songcraft to the fore. The dance-rock of "Dashboard" sounds like it could be a Killers outtake, and several tracks find the band engaging in the kind of post-Pavement mid-fi style that first endeared them to the slacker masses.
Isaac Brock sounds properly unhinged on "Florida," "Invisible," and "Steam Engenius," as the band pushes into overdrive, but there's also a brace of low-key, acoustic-based tunes that provide a perfect contrast. The Mouse is bolstered by some high-powered guests as well: Smiths guitar legend Johnny Marr adds a bit of six-string support, and Shins singer James Mercer contributes some backing vocals. Nevertheless, the fraying-but-fierce group dynamic that's always been at the heart of the MM sound prevails throughout.
Now that Modest Mouse have fully established themselves as a major-label indie rock band -- no longer an oxymoron! -- with the success of 2004's Good News for People Who Love Bad News (though they had actually been on Sony, through Epic, since 2000's The Moon & Antarctica), they face the difficult task of trying to follow up a mainstream hit while still retaining the adroit quirkiness that won them fans in the first place. Finding that space between "creativity" and "accessibility" is not easy, but the band (with help from Johnny Marr, among others) is probably as well, if not better, equipped as anyone to tackle the challenge. The first single, "Dashboard," is catchy and interesting, even a little off-kilter, but it's also completely radio-friendly, in that dancey Franz Ferdinand kind of way, and the album's opener, "March into the Sea," has great juxtaposition between Isaac Brock's maniacal Cookie Monster laugh and lighter accordion and string work. It's slightly unconventional, and has that raucous energy the band has thrived on, but it's also wholly understandable and approachable, and a lot of fun. Still, too often it seems as if Modest Mouse plays it safe on We Were Dead Before the Ship Even Sank. James Mercer, the singer of the "life-changing" Garden State darlings the Shins, shows up three times on background vocals, and while on "Florida" this works well enough, "Missed the Boat" and "We've Got Everything" are among the weakest tracks on the record, too predictable, in that radio-indie-rock style, to do much more than just take up space. There's nothing overtly wrong with them (or the similarly boring "Education" or "People as Places as People") -- Brock's lyrics are as wackily introspective as ever -- but the band had never just gotten by on being nice-sounding and unmemorable. It's not that Modest Mouse has lost it, or sold out; tracks like "Parting of the Sensory" and "Fly Trapped in a Jar" combine digestible guitar lines and phrasing with a rawer intensity, and show that the ...
| | Johnnie Marshall I Dun Struck Gold CD (2008)
Eagles
$13.15
Imagine sitting by a cozy fireplace with that certain someone special, two glasses of the finest champagne and the most wonderful mood-setting music in the background. The voice and songs that are heard ignite a warmth in your heart that is indescribable and unforgettable.Today we are blessed with "Ejshani Music", a modern sound that taps into influences ranging from Marvin Gaye to Quincy Jones to Babyface. With its soulful melodies and polished lyrics, it is a combination of smooth vocals and a groove that just won't stop.The singer/songwriter/producer responsible for this music is not only tall, dark and handsome but through his "songs that ignite the soul" he can be totally hypnotizing . . . By now you should be wondering who this talented man is . . .Johnnie Marshall fell in love with music as a young child tinkering with his parent’s instrument collection. His parents, both music teachers, nurtured his love for music and encouraged his singing and trumpet playing. As Johnnie’s talents developed, so did a new love, the love of writing. He has always appreciated great music and feels honored to have the opportunity to contribute to the great music landscape. Since listening to great songs has always uplifted and inspired him, Johnnie feels blessed to have been given the gift of song. He credits his understanding of the craft of songwriting to those who have come before him, like Stevie Wonder and Earth Wind & Fire. Johnnie realized early in his career the importance of understanding his musical heritage and history. He learned that in order to write great songs it was crucial that he study great songs. His studying has paid off in a sound and style that is uniquely Johnnie.Johnnie has a deep understanding of the marriage of lyric and melody. He incorporates his knowledge of this relationship in his musical arrangements filled with harmony, contrast and a Smooth Groove. Each song takes you on an emotional journey through the spirit and mind of this singer/songwriter/producer. With just a few notes from track "Won't Be No Heartache", the mesmerizing groove, melody and lyric, demonstrate strength, depth and a heartfelt love for the craft of songwriting.The man nicknamed "J" is a California's Bay Area boy. While pursuing his ...
| | Xandria Now And Forever CDs (Import) Import
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