The Life of Bowles 391

Jesse B. asked for an evaluation of what has become an iconic song, The Eagles "Resort California." acoustic guitar lessons for beginners is the title song from the album of the same name that went on to sell over 16 million and was number 1 1 all over the world. The music began it's existence as a 12 string demo on guitarist Don Felder's home studio 4 track and was dubbed with a working name of "Mexican Reggae." The first full version was cut at the Record Plant in LA, but it ended up being in the wrong key. The second edition, also cut at the Record Plant, just had a smattering of lyrics, but was deemed as well fast. The 3rd and final version with both music and the lyrics now even more refined was cut at Criteria in Miami and was actually made up of the greatest pieces out of 5 takes. Actually, the get better at tape of the tune got 30 edits!

As with almost all song analysis, we'll look at the form of the song, the arrangement, the audio and the production. Flamenco guitar chord progression. The intro, solos and lead lines are played over the same verse chord design. Take notice that there's no bridge, and rather than another chorus at the end of the last two verses, the song goes into the solo and outro business lead lines. As was the case with many tunes from the rock period of the 70's, the track ends with an extended fade. The lyrics by Don Henley and Glenn Fry were actually inspired by Steely Dan, who's vague lyrics they known as "junk sculpture." Fry remarked in a BBC radio interview that "among the stuff that impressed us about Steely Dan was that they might say anything in their music, and it didn't always have to make sense." As a result, the lyrics contain a series of cinematic one photos which can be interpreted in a variety of ways. That said, they are extremely well crafted, a trait that the band's songs are noted for.

The song was originally cut with all band users playing collectively, then layered from there. online music distribution services of the 1st intro has one 12 string acoustic guitar on the still left side with a second 12 string acoustic on the right playing a somewhat different line, along with the bass playing entire notes that outline the chord changes. Take notice to the high-hat roll that shows up on the right channel at the end of the 4rth bar (half-method through the first intro). Incidentally, see if you notice a little bit of guitar sound that was still left in the space at the end of the next bar. The second intro begins with the help of a a long classical guitar strum which occurs every other chord, along with a new guitar counter collection on the considerably left side. Once more half-method through you hear light cymbal and high hat splashes emphasizing the downbeat of the chords.

The verse keeps the same chord pattern, however now the drums enter, the bass plays a reggae line, and a fresh electric guitar on the right side takes on reggae style muted chord "chucks." On another verse a harmony guitar collection is launched with each of the electrical guitars panned to a new side of the soundfield. The initial chorus has a three part harmony structured around the melody series, with electric guitar fills in the vocal spaces, which can be identically repeated on the next chorus. On the 3rd verse the harmony business lead guitars continue and are joined by another 12 string playing a complete notice strum on every chord. On the 4rth verse another guitar harmony collection is presented, this time in a higher register than the initial, which still proceeds to play. The last two lead vocal lines are also joined by a higher harmony vocal. See how everything builds and gets larger and bigger as the tune goes along? The 5th verse reduces to the same instrumentation as the intro by adding the lead vocal over the chords.

On the 6th and last verse, the complete band is back again using the same parts that they played in the 4th verse. On the solo and business lead series sections, the same instrumentation proceeds as during the 3rd verse with the help of Don Felder's lead guitar during the 1st solo, Joe Walsh's guitar during the second solo, and a trade off between both on the third. On the lead series solos by the end, the bass adjustments to playing a single note figure with the rhythms of the business lead line solo, and the drums emphasize the last two notes. As you can see, instruments are added as the song goes along to create it more thrilling, are removed through the 5th verse, then cut back once again for the 6th. It's an excellent example of tension and release. In 1976 when "Resort California" was slice, studios we not however that sophisticated and there really wasn't a whole lot of outboard effects as there would be beginning in the 80's. This song just goes to present that with a that's well put together, just a single lengthy reverb can sound pretty good.