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the Eagles, American band that cultivated country rock as the reigning style and sensibility of white youth in the United States during the 1970s. The original members were Don Henley (b. July 22, 1947, Gilmer, Texas, U.S.), Glenn Frey (b. November 6, 1948, Detroit, Michigan—d. January 18, 2016, New York, New York), Bernie Leadon (b. July 19, 1947, Minneapolis, Minnesota), and Randy Meisner (b. March 8, 1946, Scottsbluff, Nebraska—d. July 26, 2023, Los Angeles, California). Later members included Don Felder (b. September 21, 1947, Topanga, California), Joe Walsh (b. November 20, 1947, Wichita, Kansas), and Timothy B. Schmit (b. October 30, 1947, Sacramento, California).

Los Angeles-based professional pop musicians, the Eagles recorded with Linda Ronstadt before the 1972 release of their eponymous debut album. Clearly, from the band’s earliest laid-back grooves on hits like “Take It Easy” to the title song of their 1973 Desperado album—the “Ave Maria” of 1970s rock—to the later studio intricacies of One of These Nights (1975), Henley’s band felt a mission to portray emotional ups and downs in personal ways. However, the Eagles were content to do so within the boundaries of certain musical forms and music industry conventions, pushing and expanding them gently or aggressively at different junctures along the way. This willingness to play by the rules may have been as responsible for the success of their resolutely formal, exceptionally dramatic songs as was the Eagles’ hankering for the fiddles and dusty ambiences of the country rock movement they polished for popular consumption.

Before the Eagles recorded, country rock was a local alternative in late 1960s Los Angeles. After they recorded, it became the soundtrack for the lives of millions of 1970s rock kids who, keen on the present yet suspicious of glam rock and disco, donned suede jackets and faded jeans to flirt with the California dream restyled as traditional Americana.

The band’s Hotel California (1976) was, in this respect, their masterpiece. With the craft of songwriting as central to their approach as it is to that of any country singer, the Eagles’ music had begun as well-detailed melodies delivered by Henley and Frey with some nasality. The arrangements, with percussion far more forward than anything Nashville producers would have brooked, started out in a starkly rock mode with rustic accents. By the time they began work on Hotel California, they were joined by ex-James Gang guitarist Walsh, who combined technical expertise with native rambunctiousness. His contribution, mixed with an increasingly assured blend of country directness and Hollywood studio calculation, made for an unmatched country rock–pop fusion that started with One of These Nights and reached its apex with The Long Run (1979). Hotel California, coming at the midpoint of the band’s later period, captured the style at its most relaxed and forceful. Afterward, as punk and new wave repeated country rock’s journey from underground to mainstream, the Eagles’ music subsided.

Beginning in the 1980s, Henley enjoyed a solo career as an increasingly subtle singer-songwriter. As the Eagles had done in the 1970s, he engaged stylistically with his times, staring down electropop on 1984’s moving “Boys of Summer” smash. The Eagles’ music, although never exactly replicated, became the envy of mainstream Nashville artists who longed for some sort of mainstream edge. In 1993 Common Thread: The Songs of the Eagles, a tribute album performed by country artists like Vince Gill and Travis Tritt, became a blockbuster in that field. The group’s nostalgia-tinged yet still musically vibrant reunion tour and album in 1994 featured four new songs and proved even more successful. In 1998 the Eagles were inducted into the Rock and Roll Hall of Fame.

The band reunited again for Long Road Out of Eden (2007), a double album that represented the Eagles’ first collection of completely new material in almost three decades. It was a hit with both critics and fans, and the album also signaled the group’s departure from the traditional industry model of production and distribution. Released on the band’s own Eagles Recording Company label, the North American version of the album was available only through the Eagles’ official Web site and at Wal-Mart stores. In 2009 “I Dreamed There Was No War,” a track from Long Road Out of Eden, won the Grammy Award for best pop instrumental performance. The band released the two-part documentary History of the Eagles in 2013.

The Eagles were named Kennedy Center honorees in 2015 but deferred the honour until the following year because of Frey’s illness; he died in 2016. They reconvened for two concerts in 2017, with Deacon Frey standing in for his father and the addition of Gill. In 2018 the Eagles resumed touring.

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Also called:
rock ’n’ roll or rock & roll
Related Topics:
rock

rock and roll, style of popular music that originated in the United States in the mid-1950s and that evolved by the mid-1960s into the more encompassing international style known as rock music, though the latter also continued to be known as rock and roll.

Rock and roll has been described as a merger of country music and rhythm and blues, but, if it were that simple, it would have existed long before it burst into the national consciousness. The seeds of the music had been in place for decades, but they flowered in the mid-1950s when nourished by a volatile mix of Black culture and white spending power. Black vocal groups such as the Dominoes and the Spaniels began combining gospel-style harmonies and call-and-response singing with earthy subject matter and more aggressive rhythm-and-blues rhythms. Heralding this new sound were disc jockeys such as Alan Freed of Cleveland, Ohio, Dewey Phillips of Memphis, Tennessee, and William (“Hoss”) Allen of WLAC in Nashville, Tennessee—who created rock-and-roll radio by playing hard-driving rhythm-and-blues and raunchy blues records that introduced white suburban teenagers to a culture that sounded more exotic, thrilling, and illicit than anything they had ever known. In 1954 that sound coalesced around an image: that of a handsome white singer, Elvis Presley, who sounded like a Black man.

Presley’s nondenominational taste in music incorporated everything from hillbilly rave-ups and blues wails to pop-crooner ballads. Yet his early recordings with producer Sam Phillips, guitarist Scotty Moore, and bassist Bill Black for in Memphis were less about any one style than about a feeling. For decades African Americans had used the term rock and roll as a euphemism for sex, and Presley’s music oozed sexuality. Presley was hardly the only artist who embodied this attitude, but he was clearly a catalyst in the merger of Black and white culture into something far bigger and more complex than both.

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In Presley’s wake, the music of Black singers such as Fats Domino, Little Richard, Chuck Berry, and Bo Diddley, who might have been considered rhythm-and-blues artists only years before, fit alongside the rockabilly-flavoured tunes of white performers such as Buddy Holly, Eddie Cochran, and Jerry Lee Lewis, in part because they were all now addressing the same audience: teenagers. For young white America, this new music was a soundtrack for rebellion, however mild. When Bill Haley and His Comets kicked off the 1955 motion picture Blackboard Jungle with “Rock Around the Clock,” teens in movie houses throughout the United States stomped on their seats. Movie stars such as Marlon Brando in The Wild One (1953) and James Dean in Rebel Without a Cause (1955) oozed sullen, youthful defiance that was echoed by the music. This emerging rock-and-roll culture brought a wave of condemnations from religious leaders, government officials, and parents’ groups, who branded it the “devil’s music.”

The music industry’s response was to sanitize the product: it had clean-cut, nonthreatening artists such as Pat Boone record tame versions of Little Richard songs, and it manufactured a legion of pretty-boy crooners such as Frankie Avalon and Fabian who thrived on and who would essentially serve as the Perry Comos and Bing Crosbys for a new generation of listeners. By the end of the 1950s, Presley had been inducted into the army, Holly had died in a plane crash, and Little Richard had converted to gospel. Rock and roll’s golden era had ended, and the music entered a transitional phase characterized by a more sophisticated approach: the orchestrated wall of sound erected by Phil Spector, the “hit factory” singles churned out by Motown records, and the harmony-rich surf fantasies of the Beach Boys. By the mid-1960s this sophistication allowed the music greater freedom than ever before, and it fragmented into numerous styles that became known simply as rock.

Greg Kot