eagles farewell tour dirty laundry

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Dirty Laundry by Don Henley

Songfacts®:

• This song is about unscrupulous newspeople doing anything for a story. Henley values his privacy, and hates it when reporters pry into his personal life. He had to deal with increased press attention when his girlfriend, Maren Jensen, came down with Epstein-Barr Syndrome. She recovered, but they broke up soon after.
• Danny Kortchmar, who played on definitive albums by James Taylor, Linda Ronstadt and Jackson Browne, wrote this song with Henley. Kortchmar (sometimes listed on the credits with his nickname "Kootch") is a key contributor to Henley's solo work. In our interview with Kortchmar , he explained that Henley had the title and the idea for the lyrics, and the track came together when Danny came up with a riff on his Farfisa organ. Said Kortchmar: "One night I set it up, ran it into an Echoplex and started banging out that part that you hear on the record. I was up into the wee hours banging away on this thing. That's when I recorded it, and when I played it for Don the next day, I said, 'I think this is 'Dirty Laundry.'' He said, 'Yeah, that's it. Record it and let's go.'"
• There are some very interesting guitar contributions on this song: Danny Kortchmar played the basic parts, Joe Walsh did the first guitar solo, and Steve Lukather did the second solo. According to Lukather, who is a member of the band Toto, he did his solo in one take and it's one of his favorites.
• In November 1980, Henley was charged with contributing to the delinquency of a minor and possession of marijuana, cocaine, and Quaaludes after paramedics treated a 16-year-old girl suffering from drug intoxication at his Los Angeles home. This incident was a big influence on the song. >> Suggestion credit : Stevie Lee - WSFR, Louisville
• The lyrics make fun of news anchors who are more concerned with their looks than accurately reporting the news. Many local news stations have at least one "bubble headed bleach blond." The folks who work behind the scenes in local news are usually well aware of the superficial and vapid product they create, and many stations have used this song on their TV station blooper reels. Before YouTube, these local news bloopers lived on tapes tucked away in the dark corners of newsrooms.
• This was Henley's first Top 40 hit as a solo artist, but it wasn't his first single. " Johnny Can't Read ," which peaked at #42, was released first.
• Henley didn't tour to support the I Can't Stand Still album. He went right to work on his second solo album, Building The Perfect Beast .
• More songs from Don Henley
• More songs that were an artist's first hit
• More songs from 1982
• Lyrics to Dirty Laundry
• Don Henley Artistfacts

Comments: 62

• George Pope from Vancouver Bc "Infotainment," not "news"; Walter Cronkite was he last of the sober & serious commentators. It's bad news mostly, because the viewers/readers demand such. A good news newspaoper was started here in the '60s -- it bomned then went bankrupt -- nobody wants good news. They're led primarily by schedenfreude. The infotainment industry knows this & makes millions off this fact. I hate when they go to the victim's mother & ask, "Howdo you feel about the brutal rape & murder of your only child?"; I want one to haul off & punch that SOB reporter right in the snoot, yelling, "How the **** do you think it males me feel, dumbass?!" Now THIS would be news I'd watch -- over & over again!
• Roger Rushing from Oroville Ca The bubble-headed bleach blonde comes on at five was Christine Lund, a news anchor at KABC in LA in the 70s/80s.
• Ralph from Does Moines If I’m depressed I can turn on the evening news. It’s the same old stuff and when it’s slow in the local area they reach out to find bad news elsewhere.
• Oliver Clothesoff from The Laundromat "This is CNN..."
• Car Freak from St Louis Nothing has changed, the news broadcast is still the same: Shallow when it comes to facts, and excellent when it comes to entertainment.
• Drew from Long Branch, Nj The “widow” he sings to “get on the set” is Jessica Savitch... news anchor from Philly who rose the ranks rapidly to NBC Nightly news, and was NBCs first woman to anchor a weekend national newscast. Her husband hung himself months after they were married. Her personal life was thrown around like “dirty laundry” just prior to this song being written! Ironic as hell!
• Bill from American Fork, Ut Unfortunately, 36 years later, we're still getting crap from the network news. I always thought the lyrics were "we all know that CRAP is king". Seems appropriate! I'm tired of being manipulated by these mind controllers who think they know what we want to hear. Keep singing this Mr. Henley! They will never change!
• Jennifur Sun from Ramona I know he didn't write it about the breakup, but parts of the lyrics towads the end reminds me of stories I have heard and read about when Don Felder left: Kick when their up - kick when their down.
• Barry from Sauquoit, Ny On October 24th 1982, "Dirty Laundry" by Don Henley entered Billboard's Hot Top 100 chart at position #73... As stated above Steve Leather was one of the guitarists on the record, and "Africa" by Toto entered the Top 100 at the same time at two positions lower {#75)... And on January 30th, 1983 "Africa" would peak at #1, and "Dirty Laundry" would be at #7 at the time.
• Dana from Woodbury, Mn Unfortunately, very little has changed. The news media are so cynical and hypocritical. They distract us with news stories that have nothing remotely to do with the general public. I'd encourage anyone to read Jesse Ventura's books, particularly his 2000 book, "Do I Stand Alone?". No one has held the news media accountable, particularly Nancy Grace, who's driven two people to take their own lives, after declaring them guilty on national television.
• T. Jay from Grand Junction, Co, Co See, and I always thought Henley said that "crass" was king.
• Bob from Fortuna, Ca I don't understand that when I heard Dirty Laundry on the radio the first time, my friends freaked out and smiled saying to each other "Hey, Chuck Flanagan's guitar piece is on the radio"! Then 20 some odd years later we heard that Joe Walsh and Steve Lukather played the solos (?) It sure sounds like Chuck playing. It sounds like Chucks composition with the echo on the first solo and the notes bending "up" on the 2nd solo. I can't believe thats Steve Lukather playing the 2nd solo, cause it is a very DIFFICULT solo do to! I swear that's Chuck being recorded onto the master tape!! We find it hard to believe that someone else is playing the 1st and 2nd solos. Chuck's material is NOT easy for anyone else to do and feel that he needs his name on the credits for he IS a master of guitar! Bob, of Fortuna, Calif
• Bob from Fortuna, Ca Dear Sirs: From 1970 to 1980 I personally knew a guitarist name Chuck Flanagan who did awesome guitar playing & said he was going to audition for Don Henley in 1980. Chuck played a instrumental that he composed that starts with a slide guitar (metal tube) on his finger. Anyway, I hear that Joe Walsh and Steve Lukather play the lead solos. okay. What u guys don't mention that Kortchmar auditioned blues guitar players in San Diego and in Guitar Player magazine, an article interview with Kortchmar said that when he heard Chuck play an original that Chuck made up, Henley said THAT is the lead guitar solo were looking for! My friends and i personally knew Chuck for a long time and we feel HE should get the credit that he truly deserves! I looked all over the internet for his name and there is nothing there, except a t -shirt that says UNSUNG guitar heroes with a dozen names on it including his name. Chuck resembles the (late) Hagard Twins from "Hee Haw".
• Esskayess from Dallas, Tx I liked the phone ringing in time with the beat near the end.
• Jim from Long Beach, Ca Jason in West Hollywood nailed it! The song is about Christine Lund, a local LA anchor at the time,who tried to sensationalize Henley deal with the 16 year old girl @ his LA mansion.
• Jason from W. Hollywood,ca, Ca Okay, here is the truth about "DIRTY LAUNDRY". Don was so upset about the coverage on KABC-LA coverage about the 16 year old girl. This {great song)was directed at one person; Christine Lund! Make no mistake: Don lives in LA, The deal with the 16 yr old girl happened in LA. Christine Lund went wild about this story"BUBBLE HEADED BELACH BLOND" Christine Lund that [came]on @ 5 (on KABC)
• Barry from Sauquoit, Ny For Neal: Do you know the first name of newswomen Kraft. Can't always believe the internet, four sites (lyricsmania.com, metrolyrics.com, lyricsty.com, lyricsdomain.com) claim 'crap' is the word used but I like your story better. Thanks for the info...
• Neal from Hooterville, Mi Contrary to popular belief, the line is NOT "....crap is king" but instead it is "....Kraft is king". It is a reference to a well known West Coast newswoman who was canned because she wasn't "pretty enough".
• Jim from Long Beach, Ca This is a song about the old TV news anchor Christine Lund, who in the 80's worked for the networks in Los Angeles. Who Henley felt gave him bad press over the under-age girl found passed out in his Hollywood mansion..
• Barry from Sauquoit, Ny Just one more from me; on the track "Johnny Can't Read", as the song fades out Don adds 'There's a new kid in town'...
• Barry from Sauquoit, Ny I'm back; there's a track on "I Can't Stand Still" called 'Long Way Home'. I think it contains a great lesson: "There's three sides to every story: Yours and mine and the cold, hard truth"
• Barry from Sauquoit, Ny A local AM rock station here in Utica, NY {WTLB-AM} banned this song from their playlist because of the word 'crap'; although it's FM sister station did play the song...
• Chase from Miami, Fl The Eagles did this song on the Long Road Out Of Eden tour
• Chase from Miami, Fl Actually Joe Walsh played all the leads. I totally agree with this song if I get famous, I want privacy, get me?
• Eric J from Antipolo City, , Philippines Rob of ashland, correct me if i'm wrong but i guess it's Frank Simes who played the 1st lead on this track, (Joe W played this live in "Farewell Tour"). Chris of milford, thanx for the additional info on Lukather playing the 2nd part, also thanx to Ken of Leicester on contributing info that Jef Porcaro played the drums on this "virtuosically made" music - eric J
• Fred from L.a., Ca In recent years, I've seen the Eagles perform this song live several times. Henley always dedicates it to Nancy Grace.
• Liz from Smallville, Ks Nice song. I think Don Henley has an interesting sense of humor. He informs people about things in a funny way.
• Larry from New York City, Ny Don Henley nailed it. This is where America has been for the last generation, and that's why we can't respond satisfactorily to madmen like Osama bin Laden, why we have the likes of two dimensional businessmen such as George Bush as President...because everything in America is for sale. Glorifying violence and ignorance while filling our children's heads with garbage just to make a buck says it all; we're done. Dwight Eisenhower, Marshall McLuan, Newton Minnow, and others have tried to warne us but we were and are too ignorant to see that the lack of genuine values (while lusting for immediate, fleeting, hedonistic gratification) spells our doom. In 2008, an idealistic white woman and a visionary black man were our last best hope, but we were too racist and too sexist to seize the fortuitous opportunity to save ourselves. Sadly, songwriter Don Henley has become a prophet of the post-modern era.
• Tim from Denver, Co It was his first hit as a solo artist, but not his first single. That would be "Johnny Can't Read."
• Eric from Beaverton, Or I enjoyed watching the Eagles perform this on their Farewell 1 Tour Live from Melbourne DVD.
• Fatty from Fu, Ca Great song! Don Henley hits the nail right on the head with a hammer full of truth
• Camylle from Kent, Wa This is a great song. Shows how far the media goes to make big bucks. The song truly is a reminder of how the media makes sure "the crap is king".
• Jennifer from Diamond, Oh The reason this song is so great is that after all of these years the words still ring true, as a matter of fact, I think the media has become 100x worse since the release. I heard this song when I was 9 yrs old and loved it. My best friends mother sat me down one day and had me listen to everything from the eagles and I have been hooked ever since. I learned how to sing harmony by listening to henley and this song started my love of music. I will never forget the first time I heard Henley sing, it honestly changed my life, and isn't that we all want from the music we love? I have seen him live about 8 times and I will see him anytime he comes around, solo or with the eagles. His voice soothes me no matter what mood I am in!
• N.i. from Baltimore, Md This is my favorite of Henley's solo hits, and one of my favorite songs from the '80s. The lyrics certainly are not subtle, but they are effective.
• Anne from Dodge City, Ks The best use of this song was during the O.J. Simpson trial. VH1 showed a clip of Kato and played the lyric "well I could have been an actor but I wound up here. I just have to look good, I don't have to be clear."
• Pytlak from Bakersfield, Ca Christine Lund was the inspiration for the female lead in Anchorman: Legend of Ron Burgandy. Also, the line "is the head dead yet?" is a reference to the assassination attempt on Reagan. His press secretary James Brady was shot in the head and survived but was reported dead by the media.
• Billy from Beverly Hills, Ca The line bubble headed bleach blonde who comes on at 5 is about a former L.A. anchor named Christine Lund from ABC 7
• Bill from Queens, Ny "Dirty Laundry" is an honest message song that is also entertaining, memorable, and ageless. I guess that makes Don Henley some kind of a genuis! ...at least where the creation of this song is concerned. What really fascinates me is how truthful it is; just look at how the Daily News and the New York Post in NYC have de-evolved over the last 20 years from any semblance of newspapers to hate-mongering yellow tabloid trash.
• Maxwell from Houston, Tx "It's interesting when people die." My favourite line.
• Jason from Sunshine Coast, Canada I think this song speaks aptly about how the nighty news has evolved from being a public service to becoming a "Business." The search for profit through advertising rates has affected the types of content the viewer is likely to see. Stories on murder, rape, violence always come before the story on the important city council meeting. Sadly, If it bleeds, it leads. I like the line - "The boys in the newsroom have a running bet" - to me it shows how the love for money can somehow erode all feeling of empathy - Get the widow on the set! Great Song!
• Rob from Battle Ground, Wa The "Bubble-headed Bleach Blond" has been rumored to be Christine Lund, who was the KABC (Channel 7) female news anchor in Los Angeles at the time the song was recorded. KABC was by far the news leader in town at the time. Her hair was in a style that made her head look like a bubble, with a flip at the bottom (think early Carol Brady).
• Cassie from Lake Almanor, Ca I'm 15 years old and I LOVE this song for some reason! I don't know, maybe it's the tune and the rythm or maybe the interesting (and yet, true) lyrics.... My sister HATES this song and always yells at me to turn it off when I play my Don Henley Actual Miles CD in my room! Ha ha ha ha ha.... She hates Don Henley too. I don't understand. I guess she's just ignorant.
• Chris from Milford, Ct actaully steve lukather plays the second solo, sorry
• Rob from Ashland, Oh Joe Walsh plays lead guitar on this track.
• Dale from Rumford, Me don henly is a funny guy no wonder why joe walsh clicked with the eagles
• Johnny from Los Angeles, Ca That's amazing Karen from NY and true for Ashley from WV. Kick em when they up, kick em when they down is what those type of news people do.
• Jameson from Lexington, Ky Not to belabor the obvious here, but the keyboard opening (and through the rest of the song) is meant to emaulate the sound of a teletype.
• Meg from Br, La Henley*
• Meg from Br, La wow great song! its been stuck in my head all day and i decided to do something about it. love don heley, hes a great artist
• Vern from Colorado Springs, Co Having worked at a local TV station for over 10 years, this song is SO true. Many on the news staff and editors are junkies for death, destruction, gore and "dirty laundry" (especially if they're on the other side of the political aisle). Of course, they don't like you to see THEIR dirty laundry, which can lead to sudden anchor and reporter swaps or firings if it's discovered. There was once a change of programming ahead of time to extend the news show, just in case of violence. They were almost hoping for violence in anticipation of the adrenaline rush while covering it.
• Mike from Winnipeg, Canada When Don Played with The Eagles Farewell I Tour after he says "Get the widow on the set, we need dirty laundry" He says "clean it up Joe".
• Craig from Madison, Wi Yes, I'm sure Dan Rather loved 9-11. That's why he burst out crying on the Letterman show the weeks later.
• Ken from Louisville, Ky The majority of people that work in the televison news business will admit that every word in the lyric is true - Hendley nailed the "nature of the beast" perfectly.
• Eric from Cincinnati, Oh This song was playing repeatedly in the background of my mind as I watched the reporting of the horrific events of 9-11-01: "We've got the bubbleheaded bleach-blonde who comes on at 5. She can tell you about the plane crash with a gleam in her eye. It's interesting when people die, give us dirty laundry." It was really sick to observe how much Dan Rather, Peter Jennings, and the rest seemed to take such pleasure in human suffering. Still, why blame them, as long as audiences support them by flocking to their TVs in morbid curiosity.
• Dan from Winthrop, Ma Don always dedicates this to Rupert Murdoch when he performs it.
• Lisa from A Town In, Pa Lisa Marie Presley did a remake of this song. It's not that bad of a cover
• Dee from Indianapolis, In A classic for the ages. This was a song I enjoyed when it first came out, but I was 13 and didn't truely understand it's meaning until I was older. It hits the nail right on the head though with all the over sensationalism of the news.
• Ashley from Charleston, Wv It's amazing how much worse things have become 23 years after this song came out! In the years since 1982, the media, television, sensationalism masquerading as news, etc., have gotten far worse. Just think of how many things have come along that fit right into this song's lyrics: Jerry Springer, Fox News and all their pundits, the O.J. media circus (and now Michael Jackson), reality TV, Fear Factor, and on and on. It would be interesting to hear Don Henley's comments on the matter. He's probably become angrier and angrier as he sat and watched all of this develop.
• Jonathan from Natchitoches, La Appeared in Season 1 Episode 20 of Cold Case on CBS. The name of the episode is "Greed."
• Karen from Lily Dale, Ny I love the music theme that sounds like a washing machine.
• Ken from Leicester, Nc Jeff Porcaro on the drums !!!
• Paul from Greenwood, Sc Danny Kortchimar who co-wrote this with Henley also produced the River of Dreams CD for Billy Joel. Kortchimar is very aggressive in handling the music, and convinces Joel to use an entirely new set of musicians to record. Kortchimar himself played guitar on several of the tracks.

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When Don Henley Waged War on the Media With ‘Dirty Laundry’

Following the bitter demise of the  Eagles , Don Henley proved he hadn't lost his knack for a pop hook — or one ounce of cantankerousness — with his scathing Top 5 hit "Dirty Laundry."

The singer and drummer was apprehensive about being thrust into the spotlight as he embarked on a solo career, and he knew he couldn't do it alone. Henley teamed up with session guitarist and former James Taylor collaborator Danny Kortchmar to begin writing material for his debut solo album,  I Can't Stand Still .

Henley, by his admission, was not in the healthiest frame of mind following the dissolution of his world-conquering band. "For a while, I was pacing a lot in the house and I was drinking a lot," he told  GQ in 1991. "That was a really rough time for me."

It would get even rougher on Nov. 21, 1980, when Henley called the Los Angeles Fire Department to help a guest at his house who appeared to be having a seizure. When they arrived, they discovered the guest was a 16-year-old prostitute who was suffering from the aftereffects of cocaine and Quaaludes. Police arrested Henley later that day for drug possession and contributing to the delinquency of a minor. (He was ultimately fined and given two years' probation.)

Henley told GQ  that the firemen "just flat-out lied to me. They said, 'Well, by law, we're supposed to take this little girl to the hospital, but if you'll take care of her, we'll leave her here. We're not here to get anyone busted.' She was fine by the time they got there. I had no idea how old she was. I had no idea that she was doing that many drugs; I didn't have sex with her, you understand.

"Yes, she was a hooker; yes, I called a madam; yes, there were roadies and guys in my house — we were having a farewell to the Eagles," he continued. "I got all of them out of the house; I took complete blame for everything. I was stupid; I could have flushed ev­erything down the toilet. I didn't want this girl dying in my house; I wanted to get her medical at­tention. I did what I thought was best, and I paid the price."

The bust caused a media frenzy, and Henley channeled his contempt for the press into "Dirty Laundry," a damning takedown of the sensationalist reporters featuring zingers like " It's interesting when people die ," " We all know that crap is king " and a maddeningly catchy, singsong chorus: " Kick 'em when they're up / Kick 'em when they're down / Kick 'em when they're stiff / Kick 'em all around ." At least a few networks could appreciate the fine songcraft on display: Toronto's Global News made a parody video for "Dirty Laundry" in 1985 starring the News Brothers.

Watch Global News' Parody Video for Don Henley's 'Dirty Laundry'

It wasn't just his headline-making antics that frustrated Henley. "I'm a news junkie. I watch the news a lot - local news, national news," he explained in a TV interview years later. "And I got tired of seeing these talking heads up there stripping people of their dignity. I got tired of the sensationalism of the death of certain celebrities. You know, John Belushi , Natalie Wood, Marilyn Monroe, Elvis . I just got sick of reporters running up to some grieving Mexican woman down in the barrio whose child had just gotten shot in a gang fight and saying, 'How do you feel about that?' If that isn't the most absurd question you could ask … . So I decided to write a song about it."

Henley recruited an all-star cast of musicians to record "Dirty Laundry," including former Eagles bassist Timothy B. Schmit and guitarist Joe Walsh  and  Toto 's Steve Lukather and Steve and Jeff Porcaro. Walsh and Lukather both laid down scorching guitar solos, keeping the song firmly rooted in the rock realm as its dance-ready drum beat and peppy keyboards brought it into the world of slick, contemporary pop.

"It was a great honor for me to play on the same track as Joe Walsh, one of my heroes and a friend – but at the time it was mind-boggling," Lukather told Ultimate Classic Rock Nights . "Here I am hanging with Henley and all these great cats. The music, and that voice, come on." The guitarist also recalled the session being much smoother than he anticipated, despite Henley's perfectionistic tendencies. "Don ... wanted to take more time, but ironically the solo I'd done on 'Dirty Laundry' is my first take – which is unheard of in Don's world," he said. "He goes, 'Done!' and I went, 'Really?' I expected it to be painful!"

Henley released "Dirty Laundry" as the second single off  I Can't Stand Still  on Oct. 12, 1982. It peaked at No. 3 on the Billboard Hot 100, becoming his highest-charting solo hit, and it helped propel the album to gold status. "I sold 650,000 copies or something, which is respectable, I guess, for a first album," Henley told Analog Planet . "I had a gold album and a gold single. ... I was moderately satisfied."

He would be much more satisfied with the release of his 1984 sophomore album,  Building the Perfect Beast , which went triple platinum and spawned the massive hits "The Boys of Summer" and "All She Wants to Do Is Dance." Both songs are indelible slices of adult-contemporary pop, highlights of both Henley's career and '80s pop-rock at large. Still, none of his future mega-hits ever cut to the bone quite like "Dirty Laundry."

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Soundtracks

Eagles: the farewell 1 tour - live from melbourne.

• The Long Run Written by Glenn Frey and Don Henley
• New Kid in Town Written by Glenn Frey , Don Henley and JD Souther
• Wasted Time: Wasted Time/Wasted Time (Reprise) Written by Glenn Frey , Don Henley and Jim Norman
• I Can't Tell You Why Written by Glenn Frey , Don Henley and Timothy B. Schmit Lead vocal: Timothy B. Schmit
• One of These Nights Written by Glenn Frey , Don Henley
• One Day at a Time Written by Joe Walsh
• Lyin' Eyes Written by Glenn Frey , Don Henley
• The Boys of Summer Written by Glenn Frey , Don Henley Sung by Don Henley
• In the City Written by Barry De Vorzon , Joe Walsh Sung by Joe Walsh
• Already Gone Written by Jack Tempchin
• Silent Spring (Intro) Written by Glenn Frey , Jay Oliver
• Tequila Sunrise Written by Glenn Frey , Don Henley
• Love Will Keep Us Alive Written by Jim Capaldi , Paul Carrack and Peter Vale
• No More Cloudy Days Written by Glenn Frey
• Hole in the World Written by Glenn Frey , Don Henley
• Take It to the Limit Written by Glenn Frey , Don Henley and Randy Meisner
• You Belong to the City Written by Glenn Frey , Jack Tempchin Sung by Glenn Frey
• Walk Away Written by Joe Walsh sung by Joe Walsh
• Sunset Grill Written by Don Henley , Danny Kortchmar and Benmont Tench
• Life's Been Good Written by Joe Walsh sung by Joe Walsh
• Dirty Laundry Written by Don Henley and Danny Kortchmar Sung by Don Henley
• Funk #49 Written by Dale Peters , Joe Walsh and Jim Fox
• Heartache Tonight Written by Glenn Frey , Don Henley , Bob Seger and JD Souther
• Life in the Fast Lane Written by Glenn Frey , Don Henley and Joe Walsh
• Hotel California Written by Don Felder , Glenn Frey , Don Henley

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Eagles Setlist at Rod Laver Arena, Melbourne, Australia

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• The Long Run Play Video
• New Kid in Town Play Video
• Wasted Time Play Video
• Wasted Time (Reprise) Play Video
• Peaceful Easy Feeling ( Jack Tempchin  cover) Play Video
• I Can't Tell You Why Play Video
• One of These Nights Play Video
• One Day at a Time ( Joe Walsh  song) Play Video
• Lyin' Eyes Play Video
• The Boys of Summer ( Don Henley  song) Play Video
• In the City ( Joe Walsh  song) Play Video
• Already Gone ( Robb Strandlund  cover) Play Video
• Tequila Sunrise Play Video
• Love Will Keep Us Alive Play Video
• No More Cloudy Days Play Video
• Hole in the World Play Video
• Take It to the Limit Play Video
• You Belong to the City ( Glenn Frey  song) Play Video
• Walk Away ( James Gang  cover) Play Video
• Life's Been Good ( Joe Walsh  song) Play Video
• Dirty Laundry ( Don Henley  song) Play Video
• Funk #49 ( James Gang  cover) Play Video
• Heartache Tonight Play Video
• Life in the Fast Lane Play Video
• Hotel California Play Video
• Rocky Mountain Way ( Joe Walsh  song) Play Video
• All She Wants to Do Is Dance ( Don Henley  song) Play Video
• Take It Easy Play Video
• Desperado Play Video

Edits and Comments

11 activities (last edit by sternfeld , 16 Nov 2023, 21:12 Etc/UTC )

Songs on Albums

• All She Wants to Do Is Dance by Don Henley
• Already Gone by Robb Strandlund
• Dirty Laundry by Don Henley
• Funk #49 by James Gang
• In the City by Joe Walsh
• Life's Been Good by Joe Walsh
• One Day at a Time by Joe Walsh
• Peaceful Easy Feeling by Jack Tempchin
• Rocky Mountain Way by Joe Walsh
• The Boys of Summer by Don Henley
• Walk Away by James Gang
• You Belong to the City by Glenn Frey
• Hotel California
• Life in the Fast Lane
• New Kid in Town
• Wasted Time
• Wasted Time (Reprise)
• Lyin' Eyes
• One of These Nights
• Take It to the Limit
• Heartache Tonight
• I Can't Tell You Why
• The Long Run
• Tequila Sunrise
• Take It Easy
• Love Will Keep Us Alive
• No More Cloudy Days
• Hole in the World

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• Nov 24 2004 Brisbane Entertainment Centre Brisbane, Australia Add time Add time
• Nov 26 2004 Adelaide Entertainment Centre Adelaide, Australia Add time Add time
• Nov 27 2004 Rod Laver Arena This Setlist Melbourne, Australia Add time Add time
• Nov 28 2004 Rod Laver Arena Melbourne, Australia Add time Add time
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Farewell 1 Tour - Live from Melbourne (2005) Cover Art :: Liner Notes :: Screen Captures :: Bonus CD

The Long Run New Kid in Town Wasted Time a) Wasted Time b) Wasted Time (Reprise) Peaceful Easy Feeling I Can't Tell You Why One of These Nights One Day at a Time Lyin' Eyes The Boys of Summer In the City Already Gone Silent Spring (Intro) Tequila Sunrise Love Will Keep Us Alive No More Cloudy Days Hole in the World Take It to the Limit You Belong to the City Walk Away Sunset Grill Life's Been Good Dirty Laundry Funk #49 Heartache Tonight Life in the Fast Lane Hotel California Rocky Mountain Way All She Wants to Do Is Dance Take It Easy Desperado  

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Music Review

Eagles Say Goodbye, Again and Again

By Jon Pareles

• May 30, 2008

What comes after a farewell tour? For the Eagles the sequel to their coyly named “Farewell I” tour in 2005 was nothing less than their first studio album since 1979, “Long Road Out of Eden” (ERC II), a 20-track, two-CD set that has sold nearly four million copies in the United States since its release last year. That led in turn to one more tour, which came to Madison Square Garden on Wednesday night, to be repeated on Friday and Saturday.

Glenn Frey, a founding member, called the Eagles “the band that time forgot.” After a bitter 1980 breakup and periodic reunion tours since 1994 (with attrition; the band’s longtime guitarist Don Felder was fired in 2001) the Eagles now have some current material to play onstage.

They got most of it out of the way at the start of each set in a two-part concert that held nearly three hours of music. “Long Road Out of Eden” is, in its way, an honest album. Reclaiming, sometimes imitating, the sound of the 1970s Eagles, the album is the wistful and bilious work of middle-aged songwriters — Mr. Frey is 59 and Don Henley is 60 — who are thinking about fading possibilities and angry at the state of the world.

The 10-minute title song, by Mr. Henley, Mr. Frey and the bassist Timothy B. Schmit (who joined the Eagles in 1977), juxtaposes the vigil of a soldier in Iraq with oblivious gas guzzlers and greedy oilmen. Love songs like Mr. Frey’s “No More Cloudy Days” and Mr. Henley’s “Waiting in the Weeds” grapple with loneliness and painful memories. The new songs have the old Eagles’ high harmonies and carefully stacked guitar parts, though their melodies tend to ramble. And the Eagles knew better than to make them the centerpieces of an arena show. Fans wanted hits, and got them.

Onstage the Eagles have always sought to reproduce their painstaking studio productions, and most of the time they did, bolstered by three keyboardists, a horn section, a violinist and a drummer who took over the kit when Mr. Henley wasn’t drumming and singing at the same time. All the close-harmony “ooh’s” were in place, and Steuart Smith, Mr. Felder’s replacement, faithfully copied his parts in the guitar architecture of “Hotel California,” alongside the band’s other longtime member, Joe Walsh. Mr. Schmit, who mostly sings harmonies, strained at the high notes of his lead vocals, but the songs weren’t transposed down. Now the band is even recreating past tours; Mr. Frey introduced songs with recycled jokes.

Wearing black suits and ties, the Eagles presented themselves as the institution they are. Full members wore white shirts, while sidemen had black ones. The Eagles carefully apportioned time in the spotlight, displaying disparate personalities: Mr. Frey self-deprecating and romantic, Mr. Henley caustic and righteous. (“Dirty Laundry,” from Mr. Henley’s solo years, vilifies the junk news, and had a video montage encompassing Fox News, gossip Web sites, Fortune and The New Yorker.)

Proficiency doesn’t equal fun, and the Eagles held in reserve their class clown: Mr. Walsh, who has a sense of humor, a piercing yowl and an unruly lead guitar style. The second set belonged to Mr. Walsh and his guitar riffs, as he stirred up the Eagles’ “Heartache Tonight” and cackled through three of his own hits: “Funk No. 49,” “Rocky Mountain Way” and “Life’s Been Good.” Though they did return to Eagles songs for the final encores — the open-highway song “Take It Easy” and the somber, disillusioned “Desperado,” which admonishes, “You ain’t getting no younger” — the Eagles are nothing if not craftsmen. Unleashing Mr. Walsh, they recognized what their own songs leave out.

The Eagles perform on Friday and Saturday at Madison Square Garden, (212) 465-6741, thegarden.com.

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• Blu-ray Movie Reviews

Eagles – Farewell I Tour: Live from Melbourne (DTS)

Price: $29.98 | Get the Best Price

In 1994, the hit band, the Eagles, reunited after a long, 14 year break-up. Together again, they embarked on the highly successful Hell Freezes Over tour. To mark the occasion they recorded a live TV special for M TV, later released to video. The Hell Freezes Over (HFO) DVD became highly regarded in the home theater community for its outstanding fidelity, particularly in its DTS incarnation. It has since become a mainstay with countless magazines who use it as source material for product reviews. The disc also found its way into retail demo rooms where it gained even further exposure. HFO reached legendary status when it became the largest selling music video in history. Now, 11 years later, the Eagles have again released a concert DVD, and again it is in conjunction with a tour, titled Farewell I Tour: Live from M elbourne (Farewell 1).

Farewell 1 is a two-disc collection of live concert footage shot in November 2004. This new package highlights performances from Rod Laver Arena in M elbourne , Australia . The compilation offers 29 songs including two new tracks, One Day at a Time and No M ore Cloudy Days . Nearly three hours of music are presented over the two discs. M issing is guitarist and long-time band member Don Felder, who was fired in 2001. Also gone is the large orchestra seen in HFO . In Farewell 1 , the band is instead backed by a second drummer, two keyboardists, four saxophone players, and Felder's replacement, guitarist Stueart Smith.

Review Methodology

Review material is evaluated twice. I wait a period of two days between sessions. This allows me time to properly reflect on what I've observed. The first evaluation is less critical. I allow myself to become immersed within the medium, just as anyone not writing a review would be, but remain focused enough to take a few notes. The second evaluation is a much more careful assessment. I take notes in more detail and often pause and replay certain areas of significance.

Prior to each review, audio and video levels are tweaked with both the preamp's (NAD T 163) test tones and the Digital Video Essentials calibration disc. M ain, center, and surround speakers are set to small with the low pass crossover set to 80Hz. Bass management is provided by the preamp for DVD Video and by the DVD player (Pioneer 563A) for SACD and DVD-Audio. A component video connection is used with 480p progressive scan engaged. For SACD and DVD-Audio a 5.1 analogue connection is used, and for DVD Video an optical connection outputs DTS or DTS-ES when available. With certain material, the two-channel mix is examined to form a point of reference, but ultimately the surround mix is under review.

1) The Long Run - The concert kicks off with the title track from their last studio album released way back in 1979. Right away noticeable differences in the audio characteristics of HFO and Farewell 1 become apparent. The reverberations in the arena are quite different from what was heard in HFO . Various camera shots show the enormous crowd gathered to watch them play both from the stage and from behind. The stage is wide, the ceiling high, and the back of the arena seems miles away. The performance of the song itself is solid. Henley 's lead vocals are balanced and blend well with the host of instruments. Drums are not overly heavy, but low frequencies provide work for the subwoofer. Subtle saxophone and keyboards parts feed the surround channels.

2) New Kid In Town - This mellow tune is played pretty close to the vest. Glenn Frey sings vocals that are a little weaker than I'm used to hearing for this song and as a result backing vocals seem to stand out a bit. The guitar parts are executed very cleanly, particularly considering it isn't Don Felder playing them. Overall it's well executed. The song isn't played with a tremendous amount of enthusiasm, but it is rather mellow in nature anyway. Surround material is well mixed and consists mainly of rhythm guitar, congo , and keyboard parts.

Note: Fans rejoice. Frey explains that Farewell I could likely become Farewell II sometime soon.

3) Wasted Time - This song was also included on HFO and my recollection of it helps me nail down the primary difference between the way HFO and Farewell 1 sound. The acoustic control of Farewell 1 is inferior to HFO , by the very nature of the venue itself. The intricacies of Don Henley's voice are lost by the sheer volume of the arena. The intimate setting of the HFO concert provided for a more delicate, more revealing recording. The surround presence is consistent with what I would expect. Quieter passages reveal the audience, but primarily the violin is mixed in both left and right surrounds. The reprise at the end is pretty darn cool, a special touch.

4) Peaceful, Easy Feeling - This song reconfirms what I've already said about the Rod Laver Arena. Farewell 1 sounds just as it should. The ambient realism is there, it's just realistically large. There is good balance in the harmony and lead vocals. Both the violin solo and guitar solo are up front in the mix when they should be, though some of the rhythm guitar parts remain a little too loud in the right channel. The vocals on this track are at the levels I'm accustomed to hearing. A new harmony is added to the song that I'd not heard before. The surrounds fill out my listening room; keyboard and second drum parts on the left, violin on the right.

5) I Can't Tell You Why - I've always found the drum beat and the long guitar solo of this song to be its best assets. Bassist Timothy B. Schmit, the most overlooked member of the band, stays in a nice tight, steady groove right along with Henley 's drums. All the while he belts out this tune with the same ease he did back in '79. His vocal talents are the best in the band in my opinion, and it is a joy to see his energy ignite the audience. Stueart Smith's guitar solo, is remarkably similar to Felder's studio effort, some of the high notes waver lightly during string bends, but otherwise he's dead on. The solo is enough to draw Schmit over to Smith for a quick comment and laugh. They really look like they are enjoying themselves. Surround material is an appropriate mix of keyboard and second drums.

6) One of These Nights - Like "Witchy Woman", which is absent from this collection, "One Of These Nights" has a powerful, driving bass line that has nice extension. Schmit does a nice job of coupling his bass riffs with the drums. This song is a real treat. Henley is geared up vocally and puts forth some effort I thought he lacked on "The Long Run" track. His falsetto parts are particularly energetic. Vocal harmonies are wonderfully mixed and the surround effect is a particularly effective blend of piano and saxophone. All in all, it is very well done.

7) One Day at a Time - This is a new tune by Joe Walsh. It is written with regards to his battle with alcoholism. He jokes in his introduction, "I only got drunk once for 20 years." There is liberal use of saxophone backing. At times they are a little too forward in the mix, but horns often are. They are notorious for this in many types of music (mix engineers don't always like to apply to much compression which allows them to get a bit dynamic). Walsh's short guitar solos are typical of his trademark sound, and his lyrical prose would fit on any one of his previous albums. Backing vocals of "Oh yea!" are appropriate and the surround channels blend well. Saxophones, second drums, and keyboards make up the surround mix.

8) Lyin' Eyes - This song's country flavor is further explored by adding a violin into the mix. Frey's vocals are solid and meld gracefully across the front channels. Aside from the violin, this plays almost exactly as it did on the original studio version. The background "ooh-ing" is well timed and matched. Vocals come together precisely with the lead during each chorus. The surround material is a nice intermingling of the violin and a maraca-like instrument.

Note: I dig the little black hats the sax players are wearing.

9) Boys of Summer - Henley provides his most solid vocal effort yet. Walsh actually leaves his feet at one point. Smith's guitar playing and solo are superb here and it draws Henley 's attentions and approval. The keyboards are the key supplemental instrument mixed to the surrounds and it helps flesh out this upbeat tune. One serious advantage of Farewell 1 over HFO is that the performers are much more relaxed, enjoying each others company and playing.

10) In the City - The congo on second drums has a small mike just in front of it. In my opinion it is mixed a bit too loudly into the right surround on this track. To the engineer's credit, Henley does pound them pretty hard with the sticks. Henley also plays the congas in "One Day at a Time" with sticks, but in a more reserved fashion so the problem never presents itself. It's especially annoying at around 20 seconds into the song, but afterward is less obvious. This is the first real flaw I've found in the surround implementation. It's a shame too, because otherwise the song's mix is very good. Saxophones take the place of many of the guitar parts Felder would usually play, which is an interesting twist. There is a great deal of energy in the performance.

Note: The stage is made up of many large video monitors on its rear wall; some songs appear to have their theme visually portrayed there, others just alternate camera angles for audience members distanced from the stage. This song has taxi cabs, skyscrapers and other common visuals you would find "in the city".

11) Already Gone - This is the song I'd point newcomers to who are interested in indoctrinating themselves with the Eagles. It incorporates pretty much everything that they are known for: multi-part harmonies, a strong rock guitar presence, and a hint of country twang. Frey delivers a strong vocal performance, while Henley 's kick drum delivers nice punch to the subwoofer. Rear channels are a medley of piano and violin, which works particularly well here.

Note: At the end of "Already Gone" there is a short, but wonderful keyboard performance of Frey's "Silent Spring" intro by keyboardist M ichael Thompson. It is a little difficult to navigate to, since it's at the end of the chapter point.

12) Tequila Sunrise - The band plays a very melodic version of "Tequila Sunrise" atop their bench stools reminiscent of performances in HFO . There is some wonderfully graceful trumpet playing that helps add a Spanish feel. Lead and backing vocals are smooth and synchronous. Rear channels are a beautiful fusion of percussion, accordion, and trumpet.

13) Love Will Keep Us Alive - Schmit provides a vocal performance that differs very little from the one he gave originally on HFO . Walsh's acoustic guitar is clean and steady, piano parts interject on cue, and background vocals add a full presence (the Eagles are darn good at blending vocals). Bass is deep and crisp with excellent extension into low frequencies. Smith's guitar is appropriately played with gentle texture. Surround material consists of various forms of percussion.

Note: This is an excellent song to compare Farewell 1 to HFO since it exists on each. Listen for the delay of vocals in the surrounds and you'll get a good idea of the acoustic characteristics of Rod Laver Arena.

14) No More Cloudy Days - This is a wonderful new song lead by Frey. The highlight of Farewell 1 for me is the moment when the background vocals join in for the chorus. It is one of those moments that made me think, "Yea, I just witnessed something special". This is unquestionably the song that impressed me most. Smith plays with his most confidence, and the tune ends with a nice saxophone solo by Dutchmen, Chris Mostert. Keyboards highlight the left channel. Vocals, lead percussion, and lead guitar all melt into the center and main channels, acoustic guitar in the right. Keyboards and percussion fill in the surround.

Note: Die hard Eagles' fans might want to buy the set just for this track alone.

15) Hole in the World - This is a tune composed in response to the September 11 th tragedy. The Eagles strive to maintain a certain level of similarity to their studio recordings since that is what fans are accustomed to hearing. This song is pretty much a carbon copy of their studio single release of a few years ago. The harmonies are strong and well matched. Percussion and drums are mixed with vocals across the front channels and surrounds are a basic blend of backing vocals and guitar parts. Bass and kick drums are prevalent in the sub regions.

16) Take it to the Limit - I think it is something of a mistake to include this song since Randy M eisner, who quit the band long ago, originally sang its vocals. Frey does a reasonable job, but with all the other songs they have I just don't really see the need. Drums, acoustic, bass and electric guitars, are intermingled in the left, center, and right channels. Vocals are primarily in the center as normal, but do spread out into the mains as I would expect. Surround channels are primarily made up of keyboards. There is good bass definition.

17) You Belong to the City - Here the band gets off its stools for the first time in five songs. They spice things up with Frey's 80's solo effort "You Belong to the City". Frey's vocals are okay but there is point in the middle where his falsetto doesn't work. Saxophone is a little high in the mix at different intervals. Walsh's electrified solo is a welcome effort, Schmit gets in a nice groove, and they each provide a strong finish.

18) Walk Away - This is a song I did not expect to see in this collection, but it is a welcome surprise. M aybe with Felder gone Frey and Henley have decided to give Walsh more face time. Walsh kicks off this old Jam es Gang tune waking the audience from its slumber and doing what he does best: rock. Smith has a big grin on his face as he finally has a chance to let loose a little. The drum performance is good and heavy. Vocals and drums are across the front channels. Guitars are mixed between the center and mains. Surrounds are filled with keyboard parts. This is definitely a stand out track on Farewell 1 .

19) Sunset Grill - Bass is prominent throughout this track. Henley 's vocal performance is on par with his last few efforts. There are a couple of very nice solo moments by both Thompson on keyboards and Smith on guitar. Horns provide a nice deep soundstage. The center channels provide most of the musical information, as has been the case from the start. Drums and vocals are heavily present here, but do a nice job of bleeding over to the mains to prevent narrow localization. Keyboards are more up front, but can also be heard in the surrounds as can the saxophones.

Eagles – Farewell I Tour: Live from Melbourne (DTS) - P2

1) Life's Been Good - Walsh puts on a ridiculous helmet that looks like something I wore when I was a safety guard in 4 th grade. The helmet has a camera inside it and he walks around filming the audience as he plays. This is Walsh's opportunity to "be silly", and the song is played with no hint of seriousness. He changes up the lyrics and even does some side stepping dance moves with Frey, which cracks up Henley . There is no real need to be critical of this performance. Lead guitar is primarily in the right channel, vocals and drums centered. Synthesizers are heard in the left channel and surrounds. The performance on this track is a real departure from the stoic attitude we see in HFO .

2) Dirty Laundry - . This is Henley 's chance to get up from behind his kit and stretch his legs. Synthesizers and saxophones provide a deep soundstage. Vocals are enthusiastic. Heavy drums fill the center and swell to the mains. Guitars rock the right and left channels. Frey, Smith, and Walsh have a chance to do some sequential guitar parts which are always fun to watch. The performance is energetic and one of the better ones in the collection. From beginning to end, there is a strong bass presence.

3) Funk #49 - Like "Walk Away", I had no notion that this song would be on Farewell 1 , but I am glad it is. Walsh begins with a searing guitar riff, and then jumps into the song with Frey's dueling guitar. Background vocals are terrific on this track. Bass and drums are played with the funky flavor that makes this song work. Guitars are in sync, and even the sax players get involved. Sweet M oses, this one is really good. The audience is stunned afterward. This ain't your daddy's HFO !

4) Heartache Tonight - Frey's rocker receives a nice treatment. Though, I'd prefer it with a more conservative use of saxophones. Their periodic blaring tends to drone out the beat of the drums which I feel is the song's most endearing feature. I like the approach taken on the studio version a bit more. Still, the song provides good energy and has the Aussies up and dancing. Guitars are nice and clean up front, including a nice solo by Walsh.

5) Life in the Fast Lane - The tempo of this tune is a bit faster than the studio release. This gave me the impression it was rushed. Henley blazes through the vocals. Guitar parts help slow things down to a more realistic pace, but Henley pushes forward with his drums. The elongated Walsh solo near the end of the tune is a nice addition. Surround material is consistent with previous tracks. Guitars and vocals balanced up front with horns and synthesizers filling in the rear channels.

6) Hotel California - Everyone in the Arena knew this song was going to be played sooner or later and finally they did. Having waited this long for it, I thought it might be the finale. Like in HFO , this tune begins with an added intro that is not in the original studio recording. A jazzy, solo trumpet introduction leads into Frey's acoustic guitar, followed by Walsh's electric fingering, and finally Henley 's vocals. The song is a much more traditional treatment than the one found on HFO . Percussion, keyboards, and drums with intermittent horns are blended for surround material. Smith plays the long and familiar solo with a double neck guitar. Vocals are a little off, but since I've heard the original hundreds of times, it's nearly impossible to remain objective.

7) Rocky M ountain Way - Walsh gets front and center with another of his own songs. I like what the saxophone backing does for this tune. It adds a nice dimension that is missing otherwise. Walsh takes a slower, more grooved approach than usual. This is a refreshing change. Synthesizers highlight the surround ambience along with periodic saxophones. Walsh performs the talkbox solo with the same unique style he's known for. The vocal and solo remained nicely balanced spread out solo remain across the front three channels.

8) All She Wants to Do is Dan ce - Henley gets his chance to showcase an 80's tune. The quintessential synthesizers are prominent throughout. Vocals and drums set a tempo very similar to the original hit. Henley sing-talks through the song's unchallenging vocals. Drums provide excellent extension, and are some of the best playing on the album in my opinion. Guitars are similar in tone to what I recall from the original, and Smith provides his typical steady effort from start to end. Surrounds consist of claps, cymbals, and keyboards.

9) Take it Easy - After a brief curtain call Frey announces that they have two more songs to play and launches in. This one is played very much like the original, with its country flavor accented by violin. Frey's vocals stay inside his range and are well mixed across my front speakers. Keyboards, cymbals, and violin are the primary surround elements. Walsh's guitar solo is accurately portrayed with a center-left presence. This is an above average piece.

10) Desperado - This popular song is a fitting end to the Farewell 1 set list. It is met with a large roar by the audience. Henley 's touching vocals are filled with controlled emotion. Background vocals are gently blended to provide an even, wide stage. Piano, second keyboard, and ambient vocal parts make vital contributions to the surround material. I like that the performance is kept very simple and concentrates on Henley 's voice.

Audio Quality

Live concerts will never sound as tightly controlled as studio performances can. With that in mind, I expected Farewell 1 to lose some of it detail, and it did. The spacious arena swallows up the most intricate moments leaving it slightly compromised. I would say it is inferior to the HFO recording in both vocal detail and dynamics. This is most noticeable during the more quiet passages and when audience participation is present. In all fairness, I do feel the recording makes the best of the situation. Compared with other concerts in arenas of similar proportions this recording's details are still better than average. I never felt like I was missing anything more than nuances, such as little breaths between words and the sound of fingers coming off the frets between notes. Farewell 1 sounds natural and captures the essence of what someone sitting a few rows from the stage would experience. Vocals and instruments sounded neutral in tone, and never bright or muddy. The DTS option I'm reviewing never sounds compressed or otherwise unnatural. The LFE channel is consistent, never anemic or overly emphasized. All levels were appropriately matched with the material that is played.

Surround Implementation

The mix has a consistent, well organized methodology throughout. The levels for lead drums (there is a second set on many tracks) and lead vocals are positioned in the center channel and blend outward to the right and left channels to create a good wide stage. The mix of secondary instruments such as the saxophone, trumpet, violin, or second drums are placed in both the center channel and surrounds, or sometimes only in one surround if multiple secondary instruments are in use, which is often the case. This technique adds a sense of depth. All guitars remain up front and are fairly well balanced between the side of the stage they are played and the center channel, with just a hint of ambience leaking into the surrounds. Background vocals are mixed the same way. When there are saxophone parts that are primary such as solos, or when someone gets outrageous on the secondary drums, sometimes there are a few minor level problems created in the surrounds, but it is very infrequent. M inor annoyances with the second drum parts on "In The City" is the best example of this. I feel the saxophone parts on "Heartache Tonight" overpowered the drum levels which are key to the song, but that is more my opinion than a matter of fact. As a whole, the set is well engineered.

Video Quality Video quality throughout the disc is well above average. It helps that the concert was originally shot in high definition (16:9) as witnessed by the taped HD broadcast that appeared in June on NBC. Blacks are crisp with a precise level of contrast between the bright and dark areas of the stage. Colors are natural and appropriately saturated. Skin tones appear authentic. There are moments when the video monitors at the rear of the stage are a bit unfocused, but you soon realize that this is also the way they look in person, so it's not a fault of the production. Every once in a great while stage lights wash out some detail, but a quick transition to a different camera angle resolves this with little hesitation. Lens flare is seen on occasion, which is also caused by the stage lighting, but never distracts. Detail is sharp and well defined. This is most obvious during close-ups of instruments. All the intricacies of the saxophones and drums can be easily observed. Occasionally there are flashes from pictures being taken in the audience. These flashes reflect on metallic objects on stage from time to time. Initially they appeared to be artifacts, but careful observation debunked that misconception.

Bonus material consists of an edited 11 minute interview piece. It features Frey, Walsh, Henley and Schmit speaking on the experience of being on stage, rehearsals, the audience, the music, touring, their longevity, and even about the tongue and cheek naming of the tour. Given that the primary material on these discs consists of 29 songs and about 160 minutes of music, I'm not going to complain about not getting more extras out of this set. Yes, there could have been bios, a discography, a photo album or something else of the like, but it wouldn't have been much of a benefit to anyone who is already familiar with one of the world's most well-known bands. Also, for those who are patient enough to wait to for it, there is some great extra footage towards the end of the credits. M uch of this material is quite funny, like when Henley has a senior moment, and shouldn't be missed.

"I Can't Tell You Why", "One of These Nights", "Walk Away", "Dirty Laundry" and "Take it Easy" are all stand-out performances. "No M ore Cloudy Days" and "Funk #49" are both spectacular. Though there are some less enthusiastic portions of material, particularly early on, the entertainment value of this set remains high overall. Audio quality is above average for a live recording in such an environment. The recording realistically captures the experience of being in the audience. Vocal and instrument material are accurate, and lack only a small amount of detail. Levels in the LFE appropriately represent the use of bass and drum parts. Surround implementation is well organized, with a consistent approach to the 5.1 mix throughout. Surround material is convincing and well balanced with a few minor exceptions, and very good on the whole. The HD-sourced video quality is among the best I've seen for video concerts. It is crisp and free of artifacts. Colors have excellent levels of saturation. Blacks maintain accurate levels of contrast. One bonus feature is included which is on par with similar music collections.

If I was most concerned with owning an audiophile grade recording I would choose the Eagles' HFO over Farewell 1 for its unmatched audio fidelity, but the reverse is true if my concern is shear entertainment. There are very few collections out there that pack in nearly three hours of music and presentation, and even fewer that provide this level of quality. By all accounts, these DVDs are worthy of gracing any music collection. For those who enjoy the classic rock genre it's not a set to be without. If you are an Eagles' fan, Farewell 1 is undoubtedly a must have.