All language subtitles for Too busy 1992--

One of these nights
One of these crazy old nights

We're going to find out,
pretty mama...

A funny thing happened
right when we broke up.

1980 is when the format
classic rock hit American radio.

So, even though
the band broke up,

they kept playing
our songs all the time.

It was like
we never went away.

We were still
on the radio.

I'm a-running down the road
Trying to loosen my load

I got seven women
on my mind...

Somebody once told me people
didn't just listen to the Eagles.

They did things
to the Eagles.

They went on fandangos

and drove across the country
with 3 of their high-school buddies.

Take it easy...

People broke up
with their girlfriends.

Every time
I try to walk away

Something makes me
turn around and stay

Cos I'm already gone

And I'm feeling strong...

People quit their jobs
or changed their lives.

They did things to
the Eagles.

Hey there,
how are you?

It's been a long time...

Songs from that album have even
been played in outer space.

And they used to pipe the music
up to the space shuttle to wake

the astronauts up
in the morning.

Shortly after having a breakfast
of steak and eggs and toast,

he then put on
his space suit...

And heroes,
they come and they go...

He was a hard-headed man,
he was brutally handsome

She was
terminally pretty...

On a dark desert
highway

Cool wind in my hair...

That song has really
gotten around.

...Rising up through the air

Up ahead
in the distance

Saw a shimmering light

Head grew heavy
and my sight grew dim

I had to stop
for the night...

There's been a lot of
conjecture about how

and why
we got back together.

We began to realise that
we'd been away for 14 years.

Maybe we could have that rarest
of things in American life,

which is a second act.

A second chance.

Thank you.

When we stopped,
I was really sad.

Like, What are we
going to do?

I sleep all day out
all night

I know
where you're going

I don't rock you act
that way

You don't think
it's showing...

I was pretty devastated.

I had only been part of it
for barely 3 years,

and I'd loved it.

When we're hungry
Love will keep us alive...

We created this monster, and
it took its toll on all of our lives.

Maybe some day
we will find

That it wasn't really
wasted time...

Somebody was quoted as saying
the Eagles would get back together

when hell freezes over.

So,
hell froze over.

We're all ready. The gentleman
in blue over there.

After the acrimony and
the bitterness that marked

the demise of the band, it must
have been a long road to reunion.

Can you just take us through
the steps that you went through

on the road
to reunification?

No.

Anybody want that one?

No, really,
it's a fair question.

From the time that
we disbanded in 1980,

there were always offers on
the table for us to get back together.

It started with
the first US Festival,

and Steve Wozniak wanted to
pay us a million dollars.

I said no.

I needed to do
something else.

The heat is on

It's on the street

The heat is... on!

I called my first solo album
No Fun Aloud because I was having

so much fun.

It was so liberating to know
that whatever I did

was going to be more fun than what I
just did for the last 3 years on

The Long Run album.

I knew I wanted to have a
songwriting partner, so I

asked my friend Jack Tempchin if he
wanted to write some songs together.

And Jack's a
very bright guy lyrically,

and so I started working
with him.

He had become a disciplined
co-writer with Don Henley,

and when the Eagles broke up,
he just wanted to let go

and have some fun
with music.

So we were fiddling around with
some grooves, and one of us said,

You belong to the city.

And then we're going,
Oh, yeah, yeah. That's it.

Cos you belong
to the city

You belong to
the night...

You just show up
and good things happen.

I make my living off
the evening news...

Henley's solo career was
really, really successful.

Going solo was the
scariest part of my life.

All she wants to do
is dance, dance...

The whole MTV thing was a difficult
transition for me to make.

The Eagles, at one point,

had been accused by some
critic of loitering onstage.

So it was difficult for us
loiterers to make

the transition to the world of
choreography and costume and acting.

She wants to party
She wants to get down...

Did I benefit from MTV?
Yes, I did.

I made a couple of videos
that won some MTV awards.

Nevertheless, I would just as soon
have skipped the whole thing,

because I considered myself,
first and foremost, a songwriter

and a recording artist.

I didn't really want
to be an actor, too.

Nice, huh?

The guy who sold it to me
said it was a lemon.

But I'm telling you,
it may look like a cow,

but she runs like
a stallion.

I always like to take a
good-bye look at America.

Just in case it's my last.

I acted in television,
in movies.

I wasn't thinking about getting
back together with the Eagles.

The guy's got
an attitude problem.

He listens to me.
I can help you with that.

Cameron would call me up
and say,

'Glenn, I gotta find somebody
that's not going to take

any shit off Tom Cruise, and
I think you're the guy.

We have history,
Dennis.

Oh, yeah. We got history
all right, Jerry.

No, no, no. Dennis.
Dennis, Dennis. Don't, don't!

Nobody on the road

Nobody on the beach

I feel it in the air

The summer's out
of reach...

I signed Don Henley
to Geffen Records.

You might say,
since the Eagles sued me

at Asylum Records, why he did
come with me at Geffen Records?

David uses
the same pick up lines

every time he comes
a-courtin'.

You know how much I care
about you as an artist.

You know what a big fan
I am of yours.

And so I bought it a second
time and I signed with him.

And then things
started to fall apart.

I produced several hits, but I could
feel the support somehow waning.

Don got into arguments with
them over things like budgets,

videos, artwork,
things like that.

I recall Don starting
to write letters to them

referring to them as
Nickel and Dime Records.

When you feel like your label
is not supporting you,

it's completely
deflating.

I used to call him
Golden Throat.

I thought he was
an incredible singer.

But, by nature, he's a malcontent.
He's always been a malcontent.

And, that's just life.

So I just said one day, I'm not
going to record for you anymore.

I'm leaving. And so
he sued me for 30 million.

Happily ever after fails

We've been poisoned
by these fairy tails

The lawyers dwell on
small details...

My wife has MS,
and they deposed her,

dragged her all the way
from Texas

to Los Angeles to sit her down
in front of his attorneys and ask

her a bunch of pointless questions,
because she didn't know anything.

I thought
that was really low.

I said to Irving over
the Henley contract,

I'd sooner die
than let you fuck me.

You'd better win
this case.

It was settled, you know, and that
was the end of that relationship.

Offer up

your best defence

This is the end...

This is the end

of the innocence.

I've realised now that
we have adult rock stars.

You don't have to give this up
when you turn 30 or 35 or 40.

I'll always make records and
write songs. I've got to do them.

Otherwise, I'd go nuts.

This is a tune that was written
with my new friend Mike Campbell

and my old friend
John David Souther.

'When the band broke up,

Glenn started writing songs
with Jack Tempchin.

I guess the rift
between Henley

and Frey probably spread to
between Frey and me.

Glenn and I had had some
outrageously fun times together.

And then Don and I did
for a decade or so.

Been trying to get down
to the heart of the matter

But my will gets weak and
my thoughts seem to scatter

But I think
it's about forgiveness

Forgiveness, even if, even if,
you don't love me anymore.

How have you changed
as musicians over the years,

both as a group and
individually?

Your whole mandate
is just to improve.

Life is about
improvement,

whether it's as a musician or as
a singer or as a songwriter or

just all the other
different hats we all wear.

So, hopefully,
we're just getting better.

We've been doing this quite
a long time now on and off,

and we feel like we've
got it down pretty good.

And, in fact, we've had 5 days off,
and we're ready to go now.

When the Eagles
first broke up,

I wasn't quite sure what
I was going to do with myself.

So I just hustled.

I went just as a singer
with Toto,

I played bass for Jimmy Buffett,
I went out with Warren Zevon

and Dan Fogelberg, and stuff
I wouldn't have necessarily done.

I sang on Poison records
and Twisted Sister,

although you'll never see
my name.

They never
gave me credit.

That was more like
yelling.

It's not all going to be
the greatest thing in the world.

But if you can work and support
yourself and your family, it's good.

OK, next question. Gentleman
in the front here, Richard.

What position do you think
rock'n'roll takes now about drugs?

We came from a generation that
experimented with all kinds

of substances, of course.

I think our message is that
you can be a damn good rock band

without all that stuff.

I'd like to propose a toast to
dedicate this song to you, to us.

The drinking man's
musician, Joe Walsh!

I ended up an alcoholic.

And very fond
of cocaine.

If I was awake,
I was...

I was doing that stuff.

Good morning,
rock fans.

'In the very early years,
it had briefly worked.'

And then you chase it when
it doesn't work anymore.

And I chased it
for years and years.

If you look at
your reflection

In the bottom
of the well

What you see is only
on the surface...

Could Hemingway have written
like that if he was sober,

or could Hendrix
have played like that

if he didn't experiment
with hallucinogenics?

Probably not.

I used that one for years and years,
and it never occurred to me

that all those people
are dead.

They got further and
further away from reality.

- Should I look at you or the camera?
- Look at me.

I ended up...
in bad shape.

I wanna live
with a cinnamon girl

I could be happy
the rest of my life

With a cinnamon girl

A dreamer of pictures
I run in the night...

'I had hit bottom.'

And I knew that
I was done and that...

I would probably die
if I kept going.

Mom, send me money right now
I'm gonna make it somehow

I need another chance...

Joe was a mess.

He was around a bunch of people
that were really just enablers.

Nobody wanted to
intervene.

Nobody wanted to tell him he had a
drug problem or a drinking problem.

Everybody was just
going along with Joe.

I remember what we all did
when it was an art form.

And I'd like to fight
to get it back to that.

And I was very, very happy
in the Eagles.

I was just going to say I'm sorry
we broke up, but we didn't break up.

We just stopped, I think.

We just said, you know,
The heck with the '80s.

Song 3, take 6.

In 1990, we tried to get
together to refuel it.

Everybody was in on that, but
Glenn wasn't involved yet.

Irving got us together
- Timothy, Joe, myself, and Don Henley.

Glenn was supposed
to join us in the studio,

and he was going to bring
some songs in,

and we were going to start
making another record.

So, we started rehearsing,
the four of us, then we got a call,

I think about the third or fourth
day in the studio, saying that

Glenn had refused to come be
part of it, to join the party.

So we just stopped.

He was still,
I'm not doing this.

To tell you the truth,

I was having a fine time
doing what I was doing.

There's more to life
than being in the Eagles.

The moment was always
going to be kind of

when Glenn was ready
to do it again.

I think Henley would have been
more willing than Glenn.

For me, personally, I think
that I had proved pretty much

everything that I needed to
prove in my solo career.

I had won a couple of
Grammys and had a few hits

and some
successful tours.

And I had founded
the Walden Woods Project.

When you're a solo artist,
you have to take responsibility

for everything - every mistake,
every bad record, every sour note.

But when
you're in a band,

you get to share the praise and
the blame with your bandmates.

So, I was OK with the notion
of maybe going back

and being in a band again.

The thing that sort of
turned my head

was the release of
the Common Thread album.

Irving and Don
went to Nashville

and they talked a bunch of people
into recording some Eagles songs,

with the royalties going to
the Walden Woods Project.

I'm a-running down the road
trying to loosen my load...

I don't know who asked me,
but they said,

Travis Tritt's going to do
a video of Take It Easy

and he wants to know if you
guys will be in the video.

I said, Well, OK.

Take it easy

Take it easy...

Never really talked to Travis
about whose idea it was.

I think Irving probably had
a hand in that whole thing.

Was I trying to put the band back
together by doing Common Thread?

No.

Was I waiting
for the moment? Yeah.

...Understand, just find a
place to make your stand

Take it easy...

In the Travis Tritt video, there
was a little bandstand scene

and we all picked up our
instruments and started playing.

I was thinking,
Guys, come on!. You know?

'It's interesting -
after years pass,

you really sort of remember
that you were friends first.

You have a lot of
common history together

and a lot of shared
experiences.'

I remembered mostly
the good stuff.

I didn't really think
about the bad stuff.

I just remembered how much
we genuinely had liked each other

and how much fun
we'd had.

We realised, after the success
of the Common Thread album

that there were still
a lot of people out there -

a whole lot of people - who
wanted to see us play again.

Sometimes there's
a little bit of serendipity

involved in this, and I think
what happened is everybody's life

started to line up in a way that
now it made sense for all of us.

And we discussed it.

Joe and Don came up and sat in at
a benefit that I did in Aspen.

'We had a meeting
in Aspen.'

I was one of the first guys that
they wanted to try it out on.

Joe was buzzed.
It was 1.00 in the afternoon.

And he would say,
Hey, I'm there, man. I'm fine.

Don't worry about me.

But Don and I

could both tell that he wasn't fine,
and we were worried.

They said what
they wanted to do.

They wanted to try it,
get back together again.

They didn't know what I
would say, but I said,

I understand, and,
yeah, I can get sober.

Somewhere along
the way I found the meaning

Woke up dreaming

Along the way

Never quite seems
the same when you awaken

And making up for
the time is such a price to pay

Then they take the dream away
and it just ain't fair...

We had to get Joe
into some sort of rehab,

and we couldn't be sure
it was going to work.

So we better have Felder.

The Eagles reunion had better have
at least one of the two of them,

and hopefully both.

Irving called me up
and said that Don and Glenn

and Joe had gotten together, and
they were talking about doing

something, and would I be
interested in doing it?

I said, "Absolutely".

One thing led to another,
and finally Irving

and Don Felder picked him up
and drove him to rehab.

I made a commitment to them
that I would clean up

and that I would be
in the band

if that's what
they wanted to do.

So help me
through the night

Help me
to ease the pain...

I'm really, really grateful
to those three guys.

Tell me it's all right...

Because I had a really
good reason to get sober.

And as soon as I got sober,
we started rehearsals.

He was a hard-headed man
He was brutally handsome

She was
terminally pretty

She held him up, and
he held her for ransom

In the heart of
the cold, cold city

He had a nasty reputation
as a cruel dude...

From that first phone call
from Irving

to showing up on a rehearsal
stage to start putting together

a show for MTV was only a matter
of weeks, if not a month.

Life in the fast lane. Surely
make you lose your mind...

'It was a little scary
rehearsing for the MTV thing.

'Normally, I think people would
have their act down a few weeks,

at least, before entering
into something like that,

but we just dove
in headfirst.'

'Even though we had
rehearsed really well,

for the first time to walk out
on stage and actually

play as a band in public and kind of
put the key back into the ignition

and turn it over for the first time,
it was really a lot of nerves.'

- Are we going the right way?
- Glenn!

'Not having played as a group
in 14 years, the first night,

there was
a lot of terror.'

Gentlemen, good to be with ya.
Hope I'm with ya all night!

- Have a good one, OK? OK.
- Showtime! Showtime! Showtime!

'The audience was very kind,
and they were with us.

And that was good,
but it was rough.'

Just another day
in paradise

You stumble to
your bed

You'd give anything
to silence

Those voices
ringing in your head

You thought
you could find happiness

Just over that
green hill

You thought
you would be satisfied

But you never will.

Even when we went onstage,
we were definitely a little tight.

Until, I think,
Henley forgot the words

to one of
the new songs...

You want to start
again?

I'll tell you what.

This is television, so we get
to do this till we're happy.

I thought you didn't remember
the third verse.

That was only
the second verse!

I know the third verse.

'That was sort of
the icebreaker, though.

That was a good thing,
ultimately.'

I feel like
Tommy Smothers.

We didn't think getting back
together was quite as legitimate

unless we had some
new material,

so we're going to put forth several
new songs for you this evening.

This first one Timothy B Schmit
is going to sing for you.

This is called
Love Will Keep Us Alive.

I was standing

All alone against
the world outside

You were searching

For a place to hide

Lost and lonely

Now you've given me
the will to survive

When we're hungry,
love will keep us alive...

After selling 100 million records
worldwide, was it real pressure

on you to write the new material
for the Hell Freezes Over album?

We didn't really look at it
as a body of new work.

It was more of a retrospective
piece of material.

And we look forward to writing some
new material, perhaps in the future.

We can't keep recycling
this material,

although it seems
to be working just fine.

Don and I were trying to figure out
how to write another song,

and if we could.

We hadn't written anything
together since, like, '78.

So it was a little awkward at first,
just getting back into the groove.

Here we are
starting out at 1, 2...

During The Long Run
album,

there were a lot of sessions with
Don and I where nothing got done.

We were both a little bit
reticent to introduce

our ideas for fear that
they weren't good enough.

So when we sat down to do it again
in '94, my first worry was,

Is it going to be
as hard as it was in 1978?".

We were sitting around, "What are
we going to write about?, and stuff.

And he said, I've got
this one title, Get Over It.

And he sort of proceeded
to tell me what it was that was

pissing him off - all these
people going on television

and everything that's wrong with
them is somebody else's fault.

I'm just sick
of all this whining,

and so I'm going to write
a song called Get Over It.

The intro, straight Chuck Berry.
Never play a seventh, right?

So, then I said, I think

maybe a Chuck Berry riff would be
a good way to tell that story.

Time out.
Do you want to play the...?

You want to do it
on slide?

And then Felder and I will just
play power chords low and high.

And those guys will play
Chuck Berry low and high.

And we can do
Get over it.

A couple little of them
slide answer licks is cool.

My favourite thing is when
Don and Glenn co-write stuff.

I like to play guitar
to that.

- You want me to sing it, or do you
want to wait? / - It's 10 to 6.

You can sing it
at 10 to 6 or 5 to 6.

- Do it again?
- Yeah, we'll do it twice.

Yeah, you could write it
in to the mic.

Captioned for
hard of hearing.

It was really liberating.

We both walked out of the session
and went, God, we can still do it.

I can't believe it. We just
wrote a song together.

Maybe we can write
some more.

Turn on the tube
and what do I see?

A whole lotta people crying,
Don't blame me...

That was a really
good feeling.

It was a great sort of
artistic reconciliation for us

to have been able to sit down
and write that song together.

Get over it!

Get over it!

All this bitching and
moaning and pitching a fit

Get over it!
Get over it!

Get over it!

We did Hell Freezes Over,
and then we went out on the road.

That was the question
on everyone's mind -

what if we got back together,
and no one showed up?

What kind of love
have you got?

You should be home
but you're not

A room full of noise
and dangerous boys

Still make you
thirsty and hot...

We set it up to be
a 3-month reunion.

I went back to my wife, and I
had two young kids at the time.

I said, I don't know if
you're going to recognise me.

I don't know what
this is going to do to me.

But I hope I don't change too much.
Hang in there with me.

Tell all your girlfriends

Your "been around
the world" friends

Talk is
for losers and fools

Victim of love,
I see a broken heart

I could be wrong
but I'm not

Victim of love,
we're not so far apart

What kind of love
have you got?

I was on the side of the stage
once at one of their shows

when they first got back together,
and Jack Nicholson was

euphoric listening to this band
play again, you know?

And he said: Repertoire.

What do you want
to hear?

One of these nights

One of these
crazy old nights!

One of these nights...

We didn't know how many people
were going to show up for us

to reunite, but people
came out in droves.

Somebody's
gonna hurt someone

Before the night
is through...

We were sold out
everywhere.

Audiences were having
a fabulous time.

We were having
a good time, too.

There's gonna be
a heartache tonight

A heartache tonight,
I know

Gonna be
a heartache tonight

A heartache tonight,
I know

Oh, I know.

Heartache, baby!

I listened to the guys, and
Joe Walsh, for example,

is playing better and singing
better than I've ever heard him

play in his life
since I've known him.

Hi there,
how are ya?

It's been a long time

I didn't have time
to really sit around

and miss alcohol or cold turkey
from more cocaine or anything.

And I had to go
in front of people

and play and sing sober,

which I hated,
at first.

Ooh, that was scary.

Why do we give up
our hearts to the past?

Yeah

And why must
we grow up so fast?

And all you wishing well
fools with your fortunes

Someone
should send you

a rose

With love from a friend

Nice to hear
from you again

And the storybook
comes to a close

Gone are
the ribbons and bows

Things to remember,
places to go

Pretty maids
all in a row

All in a row.

When Joe first got out of rehab
and we started rehearsing,

he was still pretty dark.

But over the course of that
first year getting sober, I think

he found
happiness again.

He found a way
to be happy.

You look very pretty.

It's OK. Once more.
Oh, now, are you ready?

Father, daughter, take 1.

We got that family thing
to ground us all now.

It's really sort of our common
thread. We've all got kids.

It changes your life and your
perspective on your work, as well.

So, the tour was so enormously
successful that we sort of

didn't want to give that up,
you know?

OK, this is good.
I could do this for a while.

Harry got up

Dressed all in black

Went down
to the station

And he never
came back

They found his clothing

Scattered somewhere
down the track

And he won't be down on
Wall Street in the morning

In a New York minute

Everything can change
In a New York minute

Things can get
pretty strange...

Doing a concert is a strange
combination of conscious

and subconscious acts.

You're not really thinking
about what you're doing

because you know it so well,
you're just doing it.

On the other hand, you have
to put some emotion into it.

When you've got a crowd
that's cheering you on,

doesn't matter how many times
you've sung the song. You just do it.

Lying in the darkness

Hear the sirens wail

Somebody's going
to emergency

Somebody's
going to jail

If you find somebody
to love in this world

You better hang on
tooth and nail

The wolf is always
at the door

In a New York minute

Everything can change
In a New York minute

Things can get a little strange
In a New York minute

We've played all over
the world, and, probably,

if we could write the script,
it was probably a genius move.

Cos when we come back,
it's bigger than ever.

How much money do you expect
to gross with this European tour?

Irving?

- I actually haven't added it up, but
I will tell you that... / - Good answer.

One thing, the costs of being
a touring rock'n'roll band

in Europe are beyond our
wildest imaginations, but this

band is here in Europe because there
was demand for us to be here.

And it's not nearly as lucrative
as anything we've done before.

It isn't?

Offers started coming in
for us to do more shows,

and I just sort of said,
Book some more.

It doesn't have to end now.
Book some more.

Where else can we play?
You haven't been in Europe.

Let's go there.

I heard some people
talking just the other day

And they said you were
gonna put me on a shelf

Let me tell you
I got some news for you

And you'll soon
find out it's true

Then you'll have to eat
your lunch all by yourself

Cos I'm al...

...ready gone

And I'm feeling strong

I will sing
this victory song...

How's it go?

Hoo-hoo-hoo!
My, my, hoo-hoo-hoo

Well I know it wasn't you
who held me down...

We had drawn a line in
the sand and said,

No drugs or alcohol during
any band activities.

And, as a result, we're playing
and singing pretty damn good.

I think the thing that brings
them together is the harmony.

When they start hearing that and
how seamless and how perfect,

they get as thrilled as the audiences
do, that, We can still do this.

We can't really understand it.
It's just the chemistry that works.

And we gave up trying to
understand it. It just works.

We're just going to do
one verse the New Kid.

One verse the New Kid. OK.
Joe's singing Smuggler's Blues.

I'll just do the beginning
of Funk 49.

- And then I'm going to go pee.
- Yeah. / - Then I'll go pee.

1, 2, 3.

Well I'm a-running the road
trying to loosen my load

I got seven women
on my mind

Four that want to own me,
two that want to stone me

One says
she's a friend of mine

Take it easy

Take it easy

Don't let the sound of your
own wheels drive you crazy

Lighten up
while you still can

Don't even try
to understand

Just find a place
to make your stand

And take it easy

Well I'm a-standing on a
corner in Winslow, Arizona

Such a fine sight
to see

It's a girl, my Lord,
in a flat-bed Ford

Slowin' down
to take a look at me

Well, come on, baby

Don't say maybe

I've gotta know if your
sweet love is gonna save me

We may lose
and we may win

Though we will never
be here again

So open up,
I'm climbing in

So take it easy...

All right, boys!

We ended up going all around
the world in about 2 years

and 9 months.

Well, you know
we got it easy

We oughta take it easy.

Thank you, Dublin!

We've learned not to make career
decisions at the end of long tours.

If we break up again, though,
you won't hear about it.

- We'll just go quietly.
- And we'll say we're still together.

They've laughed, cried, fought,
but, most of all,

they have beaten the odds
and are as popular today

as they were in that incredible
summer back in 1972.

It is an honour and a pleasure
to introduce the Eagles.

A lot has been talked about
and speculated about over

the last 27 years about
whether or not we got along.

We got along fine.
We just disagreed a lot.

I was not in the trenches
with this particular band,

so I'd like to thank my predecessor,
Randy Meisner, for being there.

I'm glad that

Randy and Bernie
got recognised.

I think
that's appropriate.

Hey, how you doin'?

It's a good feeling.
Looks good on my resume.

I'd really like to thank Don
and Glenn for writing those songs.

Thank you, guys. It makes
my job real easy. Thank you!

Charming outfit, Joe.

I'd like to, again,

thank Don Henley and Glenn Frey for
writing an incredible body of work

that's propelled this band through
20-some-odd years' worth of life.

Thank you, guys.

When a kid first picks up
a guitar or a drumstick,

it's not really
to be famous.

It's because that kid
wants to fit in somewhere,

he wants to be accepted, and
he wants to be understood, even.

And so, I like to think of
this award as something that is

acknowledging us not for being
famous, but for doing the work.

And I appreciate all the work that
all these guys behind me have done.

I want to thank
Irving Azoff,

without whom
we wouldn't be here today.

As I've said before, he may
be Satan, but he's our Satan.

We're in a dog-eat-dog
business.

Show me anybody that's going
to be responsible for guiding or

managing an artist's career
that's made too many friends,

and I'm going
to show you somebody

that's sold out their artist
and done a crappy job.

So, I was quite proud of Henley's
reference of what he said.

It was more or less, for me,
a validation of a job well done.

A lot of my job was trying to
keep the band from breaking up.

In the '70s, we formed a corporation
called Eagles, Limited.

And that was all-for-one
and one-for-all.

Well, it wasn't
the 3 musketeers.

As our friend JD Souther used to say,
"Time passes, things change".

In talking with Irving about
putting the Eagles back

together in 1994, I said,
Irving, I'm not going to do it

unless Don and I make more
money than the other guys.

We're the only guys
who have done anything

career-wise
in the last 14 years.

We're the guys that have kept
the Eagles' name alive on radio,

television and
in concert halls.

So we came up with a deal
that I was happy with,

and Don was happy with,
Timothy was happy with,

Joe was happy with, and
Don Felder was not happy with.

And I called Felder's
representative.

And I said, Hello, Barry.
This is Glenn Frey.

I'm sorry you happen to represent
the only asshole in the band,

but let me tell you
something.

You either sign this agreement
before the sun goes down today,

or we're replacing
Don Felder.

That's the final deal.

He signs by sunset, or
he's out of the fucking band.

Hung up.

So, he signed the deal,
and we started out on the tour.

I didn't sense a great deal
of camaraderie.

You hardly saw anybody

if it wasn't walking on the plane
or walking onto the stage.

Everyone thought,
If we don't get together,

we won't have problems.

And I think instead of being able
to sit down and have a beer and talk

about stuff and renew a relationship
with everyone, that independent

isolation really didn't add the
comfort necessary to make it work.

Don Felder was never, ever
satisfied, never, ever happy.

A rock band is not
a perfect democracy.

It's more like
a sports team.

No one can do anything
without the other guys,

but everybody doesn't get to
touch the ball all the time.

Time went on, and time went on, and
Felder became more and more unhappy.

Couldn't appreciate the amount
of money he was making,

more concerned about
how much money I was making.

If Don Felder
really thought about it,

it really was he wanted it to be
a -band- band in the purest

sense of the words, we're all
going to get equal songwriting,

singing, expression stuff, and
this was not a hippie commune.

And everything for them

really goes back to those
2 words: song power.

We finally made the decision that
we won't be working with him anymore.

It just broke my heart.
It's not just playing with Joe.

I miss these guys.

But I really missed the
friendship and the music.

OK.

Glenn and I, when it comes time
to make band decisions,

usually stick together.

It's difficult for 4 or 5 people
to have an equal say.

Here we are 40 years later,
and we're doing OK.

We're one of the few bands
that can say that.

The novelty of the Eagles
being back together

and those fews new songs
that we had

on the Hell Freezes Over
album is one thing.

But we needed
to make a record.

Considering that we haven't
made a record in so long,

we spent a good 2-and-a-half years
making Long Road Out of Eden.

We finally figured out that
we just needed to do what we do.

This really goes back to
the essence of what we do best,

which is singing and
songwriting.

A lot of harmony singing
on this album.

There's a hole
in the world tonight

Don't let there be a hole
in the world tomorrow...

Big tragedies like that
make you think, as a parent,

what kind of world
is coming up?

What's going
to happen next?

What's the world going to be
like when my kids are grown?

After September 11th, our
immediate visceral reaction,

our gut reaction, resulted
in Hole In The World.

Don't let there be a hole
in the world tomorrow...

The Eagles have written and
sung plenty of love songs

over the years, but we've also
written and sung songs

that have to do with
what's going on in the wider world.

We've never shied away
from social commentary.

We think it's part of a
rich tradition that dates all

the way back
to medieval times.

And so
we still engage in it.

No more walks
in the wood

The trees
have all been cut down

And where once
they stood

Not even a wagon rut
appears along the path...

The writings and the ideas
of Henry David Thoreau

and Ralph Waldo Emerson
had a huge impact on me.

They got me through some
very difficult times in my life,

one being when my father
was stricken with heart disease,

and provided a lot of
spiritual support for me.

When I found out in 1980 that
part of Walden was going to be

destroyed by
commercial development,

I decided that was something
I needed to help fight.

So I ended up founding
the Walden Woods Project.

And we are in our 27th year now,
and we've accomplished a great deal.

It's been one of the most rewarding
things that I've ever done.

We and the trees
and the way

Back from
the fields of play...

The lyrics to that song
were originally a poem

written by a great American
poet named John Hollander.

No more walks
in the wood.

Don had this title,
Long Road Out of Eden.

Timothy goes over, and
he picks up an acoustic guitar.

And I go over to the keyboards
and Joe grabs a guitar

and Don goes on the drums.

And we start making up
this sort of musical story called

Long Road Out of Eden,
a story of, really, the war in Iraq.

Moon shining
down through the palms

Shadows moving
on the sand...

And it was, like,
the last resort.

It was another opus,
another David Lean movie.

And it's a long road
out of Eden.

We finally got through,

and we finally made
Long Road Out of Eden.

And we didn't give it
to a record company.

We made a deal
with Walmart.

This was the first major artist
to do a direct-to-retail release

and bypass the major
record companies.

It was phenomenally
successful.

The album
entered at number 1.

It gave, I think, the whole industry
hope that it could find a new

and different way
to reach its fans.

They're becoming
a much greener company,

and that
was important to me.

And the other good thing was that
our fans got 20 songs for 12 bucks.

It was basically a double album, and
they weren't charged double for it.

Don said, I got a title for a song:
Busy Being Fabulous".

And I thought,
What a great title.

I came home
to an empty house

And I found
your little note...

And then Don wrote,
Don't wait up for me tonight,

that was all she wrote.

Don't wait up for me
tonight

And that was
all she wrote...

And then we were off
on the story.

You were just too busy
being fabulous

Too busy
to think about us...

Busy Being Fabulous,
Don and Glenn had gotten it

to a certain state, and I came up
with some stuff for the bridge and

tweaked
what already exist.

I was very involved
in the Long Road record.

I've always been a lot happier
getting into the entire project,

arranging stuff, producing
the stuff, co-writing the stuff.

Like, Waiting In The Weeds
and Business As Usual

were co-writes with Don.

Getting Steuart Smith in the band
was a real shot in the arm.

He's such
a terrific musician.

It's a great solo.

It's like stepping into
a space suit.

It is strange
to be playing that song.

The reaction is terrific, and
you bask in that excitement.

But I didn't write it.

I'm one part hired gun, but
also one part collaborator.

I'm one of the guitar players.
But I'm not an Eagle.

I don't know what it's like
to be one of those guys.

3, 4!

My kids were looking
on the Internet,

and they found this show
that the Eagles had done in 1974.

I was in my office watching TV,
and my kids come in and say,

Hey, Dad, come here.

You got to take a look
at your hair.

And one of the songs
was How Long.

But if I never see
the good old days

Shining in the sun

I'll be doing fine
and then some

Tell me how long...

How Long was
from my first solo album.

They found that cos Cindy saw it
on YouTube and said,

Glenn, what's this?.

And he said,
It's a song of JD's.

She said,
You didn't cut it, did you?.

How long, how long
rock yourself to sleep

JD wanted it on his solo album,
so we never recorded it.

My wife said, "Hey, that sounds
like a hit Eagles song".

Everybody feels all right you know
I heard some poor fool say

Somebody

Everyone is out there
on the loose

Well, I wish I lived in the land
of fools, and no one knew my name

But what you get is not
quite what you choose

Tell me, how long,
how long

Woman will you weep?

They are
the American band.

Yeah, they pretty much
encompassed the '70s, didn't they?

And took it all in.

That's a long time to
still have a musical impact,

and it's due to this
incredibly crisp, tight,

extraordinarily good record-making
band and the presence of good songs.

But it's also now taken
on this other thing, too,

where it's everybody through
the band wants to remember a

'70s that they may
or may not have had.

Good night, baby
rock yourself to sleep

Sleep tight, baby rock
yourself to sleep

Bye-bye, baby rock
yourself to sleep.

This band could go play
stadiums all over the country,

and people know
these songs so intimately.

They last.
The songs last.

I have one small plaque
on my wall.

It says, "Presented to the Eagles
to commemorate the best-selling

album of the 20th century,

with sales in excess
of 26 million units".

That century's gone, so
nobody's going to top that.

What's it like to be
an Eagle now?

It's just part of my life.
I do normal things.

I go to the market, and once in a
while, somebody comes up to me.

I don't walk around
being an Eagle.

I'm an Eagle when
it's time for me to be.

I made sure the dishes were done
before you guys came today.

You know?

He was a
hard-headed man

And he was
brutally handsome

She was
terminally pretty

She held him up and
he held her for ransom

In the heart of the cold,
cold city

He had a nasty reputation
as a cruel dude

They said he was ruthless,
they said he was crude

They had one thing in common
they were good in bed

She'd say, Faster, faster,
the lights are turnin' red

Life in the fast lane

Surely make you lose
your mind

Life in the fast lane...

I love everybody
in the band like a brother.

To be part of a real band -

a REAL band -

is something that not all
musicians get to do in their life.

And I'm real lucky to have
that chapter in my book.

Rock'n'roll saved my life.
It changed my life tremendously.

And as Mick Jagger so
famously and eloquently said,

It's only rock'n'roll,
but I like it.

I think that one of the reasons
that Glenn and I

wanted to write songs is
because rock'n'roll music got us

through junior high and through
high school and those difficult

times when you're searching
for your identity

and wondering
who the heck you are,

trying to get girls to notice you,
and wondering why

the football players are
doing so much better than you are.

At the end of the day, it was
and still is about the music.

You know, I've always
been a dreamer...

I regret that I didn't handle
some of the adversity

that the Eagles faced
in the late '70s better.

Fortunately, for me,

I've had another chance to be
the leader of the Eagles, another

chance to be Don's partner and do
this work again and play this music.

And in this second run, I think
I've done a pretty good job

of keeping the peace and keep the
band together, keep everybody happy.

So here we are.

Still doing it.

You gotta take it
to the limit

One more time.

Thank you.

That's it! That's it!

Bye-bye.

We wanted longevity.

It wasn't a hobby for us.
It wasn't a game.

It wasn't a pleasant diversion.
It was a life.

It was a calling.
It was a career.

It was worth it.

We went to China
last year.

We're still breaking
new ground 40 years later.

Back in the late '70s,

Neil Young sang a song about
the emerging punk ethic.

And the pivotal line
in that song was,

It's better to burn out
than it is to rust.

And I'm not sure
that even Neil himself

subscribed to that sentiment, but
I don't see rust as a bad thing.

I have an old 1962 John Deere
tractor that's covered with rust,

but it runs like a top.

The inner workings
are just fine.

You better
let somebody love you

Let somebody love you

You better
let somebody love...

To me, that rust symbolises
all the miles driven

and all the good work done and
all the experiences gained.

Before it's too

late.

From where I sit,
the rust looks pretty good.

When somebody is around 40 years,
it means they've got something,

something that people want.
And the Eagles have that.

To me, the Eagles
really expressed a mood.

California was
the place of dreams.

It was a time of
limitless possibilities.

I think they were a defining
moment in the rock'n'roll world

that I love.

You couldn't really love the
Eagles music and be an Eagles fan

and actually know them and not
aspire to greatness yourself.

I'm not really into legacies. People
talk to me, What's your legacy?.

I'm here now.

I'm doing what I want to do, and
I'm trying to make stuff happen.

I see the Eagles
in the same way.

They're not in the '70s.

They're in
2012 and 2013.

And whatever
they're doing now artistically,

that's what's important.

In the long run
In the long run

We can handle some resistance
If our love is a strong one

Is a strong one

People talkin' about us
they got nothin' else to do

When it all comes down
we will still come through

In the long run
Ooh, I want to tell you

It's a long run

You know I don't understand why
you don't treat yourself better

Do the crazy things
that you do

Cos all the debutantes...

and they started to customise
their writing to fit in with it.

...Day by day
It's only fair to wait...

I think that the Eagles
started breaking up

during the recording
of Hotel California.

There were creative tensions, but
there was always tension tensions.

By the time we got to
recording Hotel California,

if the song wasn't good enough
to survive the amount of time

we were working on the record,
it didn't make it on the record.

Perfection is not
an accident.

'Our goal was just to be
the best we could be.

'We wanted to get better
as songwriters'

and as performers,
and we worked on it.

Don and I felt like there was
no space now for filler, and

Don Felder, for all of his talents
as a guitar player, is not a singer.

Felder wanted to write more, sing
more, and Felder had kind of

demanded that, I'm going to sing
two songs on Hotel California.

We were all alphas,

and we were all very assertive
and powerful in our own way.

You could bring in a great track
to Don and Glenn

and be really excited
about it.

This happened to Felder.

I wrote the track for
Victim Of Love.

It was going to be a follow-up song
on the Hotel California

record for me to sing.

...Victim of love...

I have no recollection of anybody
being promised anything.

Victim Of Love was not brought
to the band as a complete song.

It was simply another chord progression
that Don Felder brought in.

It had no title, no lyrics,
and no melody.

Glenn and I and
JD Souther

all sat down and
hammered out the rest of it.

We did let
Mr Felder sing it.

He sang it dozens of times over
the span of a week, over and over

and over again.

It simply didn't come up
to band standards.

Victim Of Love had been recorded
with Felder as the lead vocalist,

and my job was to take
Don Felder out to lunch or dinner

while they went in the studio
and put Henley's vocal on it.

...What kind of love
have you got?

Irving took me out and said
that everybody in the band

thought that it was better
if Don sang that.

And it was a little bit
of a bitter pill to swallow.

I felt like Don was taking
that song from me.

I'd been promised a song
on the next record.

But there was no real way
to argue with my vocal versus

Don Henley's vocal.

There was no way to argue with
anybody's vocal in the band

compared to Don Henley.

Felder demanding to sing that song
would be the equivalent of me

demanding to play lead guitar
on Hotel California.

It just
didn't make sense.

If you look at my vocal
participation in the Eagles

over the course of
the 1970s, I sang

less and less.

It was intentional.
We had Don Henley.

Don and Glenn's position was,
This is the best thing for the Eagles.

And Don Felder
never forgot that.

...What kind of love
have you got?

Get it! Get it!
Run! Run! Run!

Shit!

This is a real healthy thing.

It promotes good feelings,
among... the guys,

and it keeps us from
killing each other.

Where's my glove?
Who's got my glove?

If we can yell at each other
on a baseball field,

then we don't have to yell at
each other when we're working.

- Get all my frustrations out.
- What frustrations?

I haven't been
getting laid.

We try to get out and play softball
with the crew if we have a day off.

- Swing, batter!
- Oh, it's gone, it's gone. It's gone.

Something to help
release the tension.

That's really what I do
to keep from going crazy.

How do you keep from
going crazy, Joe?

Well...

I tell you, I just...

In the press and the media,
it was presented that we were

constantly at war, and I can't say
that's exactly the case.

We were interacting and
we were all intense.

Glenn said to me one time,

I get nuts sometimes
and I'm sorry.

Hey, Joe.

But that tension
had a lot to do with

fanning the artistic fire.

Having that dynamic was
important in making the music.

We're rehearsing now,
and before we're even playing

and guys are just noodling around
and getting their amps going

and stuff,
we hear Joe go...

Do-do-do-do-do.

And everyone would kind of go,
What did you play?

Play that again.

That was an exercise I was doing
because it's a coordination thing.

It's like one of
these deals.

So, I was doing that to warm up,
and they said, "What is that?".

And I said, That's just
something I have, you know?.

There you go.

That's the lick.

That's what we should
build the song around.

I was riding shotgun in a Corvette
with a drug dealer on the way

to a poker game,
and the next thing I knew,

we were going about 90 miles
an hour, holding big time.

I was like, Hey, man.
What are you doing?.

And he looked at me,
and he grinned.

He goes,
Life in the fast lane.

And I thought, immediately,
Now, there's a song title.

Life in the fast lane
Surely make you lose your mind

Life in the fast lane...

Then they put out
the greatest hits.

There was a period
where we sold a million records

a month for 18 months.

It's a little-known fact that
the Eagles had the biggest-selling

album of the 20th century.

But the music business never ever
got honest of its own volition.

No record company ever
went to an artist and said,

You've done a great job.

We're going to increase
your royalties.

So we created
our own promotion company.

We created our own
management company.

We had our own
booking agency.

Stop any time.

Take it to the limit...

We achieved an amount of success
beyond our wildest imagination,

and Randy really
had trouble with it.

Randy used to have trouble singing the high
note at the end of Take It To The Limit.

...Come on
and take it to the limit

One more time

Take it to the limit...

Oh, yeah, I was always
kind of scared, basically.

What if I don't hit it right?.
It was a pretty high note.

And in the middle of the fade, you
crank the volume knob and go, What?!

Randy could do it,

but if you made him do it,
Oh, no, man, I...

...One more time.

- Thank you.
- Randy Meisner.

He'd call the
road manager and say,

Tell Glenn I don't want to do
Take It To The Limit any more.

Take it out of the set.
I confronted him about this.

I called him up,
and I said,

Randy, there's thousands of people
waiting to hear you sing that song.

You just can't say, 'Fuck them.
I don't feel like it.'.

Do you think I like
singing Take It Easy

and Peaceful Easy Feeling
every night?

I'm tired of those songs,

but there's people in the
audience who've been waiting

years to see us do
those songs.

We just got fed up with that and
just said, OK, don't sing it.

Why don't you just quit? You
say you are unhappy, quit.

Randy never knew how great
he was. He wasn't alpha.

Confrontations
were really hard for him.

All I want to see is 5 guys happy
playing together,

and that's what
makes the music.

We were backstage and
the crowd was going wild.

And our encore number was
Take It To The Limit.

People loved that song, they went crazy
when Randy hit those high notes.

But Randy didn't want to do
the song that night.

He'd been up partying all night
with a couple of girls

and a bottle of vodka, and Glenn
kept trying to talk him into it.

He said, Man, the people want to
hear that song. You've got to do it.

And Randy
kept saying no.

So after about the third or fourth
time that Randy refused, Glenn

just backed up a couple of steps
and said, Fuck you then!.

There were police officers standing
backstage and when they saw us

about to go at it,
they started to move in

and Henley turned right to the cops
and said, Stay out of this!

This is personal and it is
private, real fucking private!.

The writing was on the wall
and Randy was going to leave.

There was only one person to ever
replace Randy Meisner in the Eagles

and in my mind it was
Timothy B Schmit.

He replaced him in Poco, and
plugged in and sang the same parts.

And I remember sitting with Irving
and saying, Irving, I think

we should get Timothy Schmit.
He said, I just saw Timothy.

I was out on the road when the
guys in Poco were in the hotel bar

and Timothy was smashed out
of his mind, he was jacked up.

You sure about this?.

I said, Irving, if you had
been in a band for 11 years

and you were still making 250
a week working 40 weeks a year,

maybe you would be a little
smashed up yourself.

They asked me to join their band
before I had even played

a note of music
with them.

I just said, Where do you
want me? When?

I am definitely in.

We want to introduce you to
the newest member of our band.

He is our new bass player and we
got him from a really fine band, Poco.

Please give a nice Houston, Texas
welcome to Timothy Schmidt.

I went on the road with them
in 1978 as the new guy.

...Your smile
is a thin disguise...

And I heard a few, Where is
Randy? from the audience.

But I knew it was a good move
for them and me.

There were a lot of decisions
business-wise that needed to be made

in a secret session, Glenn and Don
and Irving in the back of the plane.

I didn't like that
I wasn't part of that,

but I knew that it was good
for the Eagles.

Don Felder
REALLY did not like it.

Glenn and I saw ourselves
as the leaders of the band

but other people saw us
dictators.

You just cannot have 5e leaders
in a band. It does not work.

People have to do
what they do best.

There is all this undercurrent
and resentment and plotting

and complaining and I'm sure Timothy
thought, "What have I got myself into?".

I was just really happy to be there
and all these tensions, it is

not that I did not feel it, but
I had no idea how deep it was.

In my experience, all rock 'n'
roll bands are on the verge of

breaking up at all times.

The band at that point had begun
to split up into factions.

Don Felder, in an effort to gain more
control, had co-opted Joe Walsh,

so much of the time it was Felder
and Walsh against me and Glenn.

And at that point, even Glenn and I
were beginning to have our differences.

It was tearing
the band apart.

The magic ingredient that
made the band successful was

the relationship
between Don and Glenn.

Through years of touring,
years in the studio, all of that

friction really started driving a
wedge in between that relationship.

It reached a point where
we were just tired of each other.

Tired of the hoopla, tired of touring,
tired of pretty much everything.

At that point, song-writing
was becoming very difficult.

How much sleep did you guys get?
When did you get finished loading up?

- 2 o'clock? / - 5.30.
- 5.30 this morning? / - Yeah.

After the success of Hotel California
- Grammy winner, mega sales -

top that, and we show up at the
studio and nobody has one song done.

I don't know
what we will do first but...

I had enough of a piece where
they both went "That's great.

Let's develop that", and I was
really pleased that they wanted to

develop that one because it
came out more as an R&B song.

And it is very simple.

Very simple instrumentation,
very simple arrangement.

There's a lot of air
in it.

That's why it works.

Look at us baby
Up all night

Tearing our love apart

Aren't we the same
two people who live...

About halfway through, Don comes up
to me and says, There's your hit.

...Every time
I try to walk away

Something makes me
turn around and stay

And I can't tell you why...

We are on top of the world. We are
young. We were overdoing everything.

There was a lot of chemical
dependency going on within

the band
and that was rough.

During all of that time of writing
and recording The Long Run,

and all the time on the road
that we were on the road doing

The Long Run,
we were all using cocaine.

When we first started snorting coke
it was like a writing tool.

Do a couple of bumps and kind of
get started talking about stuff,

get yourself going and launch
into some sort of idea for a song.

But in the end, cocaine brought
out the worst in everybody.

Yes, this half hour of the show
is brought to you by cocaine,

the makers of hits.

...In the long run

Ooh I want to tell you
it's a long run...

Making that album was excruciating.
We were just completely burned out.

We had driven ourselves really
hard for almost a decade

and we were just fried.

It was long too. The days
and hours would drag on, it would

feel like we were not
getting anything done.

It was more painful than
Hotel California.

It was more of a
painful birth,

because all the stuff was going on
and we were getting pretty frazzled.

And the record company didn't
care if we farted and burped.

They would put that out.
They didn't care.

When can we have it?. Because that
was their whole corporate quarter.

Who can go the distance?

We will find out
in the long run

In the long run...

At that point, we inked in
The Long Run as the title.

I think Henley said, I know what
to call this one. Look at us.

...We can handle
some resistance...

Hold it. Stop.

That is it.

Eagles, The Long Run,
song 2, take 1.

It was a struggle, an endless
start, stop, start, stop.

We called it
The Long One.

It was the beginning
of the end.

Even though I don't think
I saw it right then.

There were a lot of things
building up

and a lot of things I tried to
overlook for the good of the band,

and ultimately I just couldn't
look past some of this any more.

And it festered because we
didn't talk about these things.

It finally came to a head
in Long Beach.

We were doing a benefit for
Senator Alan Cranston.

He was concerned about a lot
of some of the same issues

we were concerned about,
including environmental destruction

and the war, so
we wanted to support him.

Felder didn't like us
doing benefits,

he just thought that was money that
should be going into his pocket.

Why are we doing it for
Jerry Brown or anti-nukes?.

Are you willing
to sacrifice?

Alan Cranston and his wife are
coming around to personally thank

every member of the Eagles
for doing this.

I was very uninformed
about politics, I couldn't care

less about politics, I didn't even
know or care who Alan Cranston was.

Senator Cranston went up
to Felder and said,

I want to thank you, and Felder
looked at the Senator and said,

You're welcome, and then as he was
turning away he said, I guess.

I guess.

I guess.
And Glenn heard it.

And I just...
got really mad.

I was drinking a long-necked Bud
and walked into the tuning room

while Walsh and Felder was
and took the beer bottle

and threw it against the wall
and smashed it.

I stormed out.

I got more mad and more mad. By the
time we went on stage, I was seething.

I wanted to kill Felder.

Thank you again very much
from all the Eagles,

and for Senator Cranston for coming
out here and checking it out.

1, 2, 3, 4.

A lot of tensions
between Glenn and Felder

and the real manifestation
of it came that night.

Somebody is going to hurt
someone before the night is through...

So now we are
playing the show

and trying to act like everything
is OK and we get through the songs,

and I just keep looking over at him,
You ungrateful son of a bitch.

There's going to be
a heartache tonight

A heartache tonight,
I know...

Just seeing that, I really saw
how serious it was at that show.

They were fighting on stage,
Szymczyk has audio of it.

You are a real pro, Don,
all the way.

Yeah, you are too, the way you handle
people, except for the people you pay.

Nobody gives a shit
about it.

Fuck you, I have been paying you
for 7 years, you fuckhead.

So it starts getting
towards the end of the set

and I am looking at him going,
Three more songs, asshole.

And I am looking at him
and I am ready to go.

I can't wait to get
my hands on him.

When we get off the stage,
I am going to kick your ass.

Fucking kill you.
I can't wait.

When that kind of stuff is on stage
and you're in front of people,

you've got problems.

Thank you very much.

We got through the show and it just,
all hell broke loose backstage.

When the set ended, he was out ahead
of me, took his cheapest guitar...

...busted it in a million pieces, jumped
into his limousine and drove off.

And that was it. That was really
the straw that broke the camel's back.

Well, baby,
there you stand...

Someone wrote the Eagles
went out with a whimper not a bang,

which was true.

...Oh my God, I can't believe
it is happening again...

I didn't want to hear it. This was
like my super dream had come true.

...And it looks like
the end...

So I called Glen and I said,
What is the status? What is going on?

Is this thing really broken up?.
He said, Yeah, it is over.

We were beat and it was really
affecting the foundational core,

the soul of the band.
We hit the wall.

You work, work, work,
you get up to a peak

and then it is almost invariably people
head-butt and, "Whose band is it?.

And, I am in charge. And, "No,
you are not. And there you go.

...You never thought you'd be
alone. This far down the line...

We had always said that we wanted
to step off the wave just before it

crashed into the beach.
And we did.

...You're afraid

it's all been wasted time...

...The autumn leaves have
got you thinking...

The Beatle guys say they never
thought, McCartney never thought that

band was going to last more than
2 years, because no pop band did.

I think it's part of it.
It comes together, it's magic

and it falls apart.

But how cool that it even
happens at all.

...I could have done
so many things, baby...

It was magical.

...If I could
only stop my mind...

They wrote a lot of great, great
songs that will be celebrated

and listened to and loved
for a long time.

We managed to represent
that period of time in the '70s,

Southern California, which was
very artistically creative.

I hope that is remembered like
the roaring '20s are, you know?

Our generation and
what we did.

...You can get on with
your search Baby

And I can get on
with mine

And maybe some day
we will find

That it wasn't really
wasted time.

We set out to become a band
for our time, but sometimes

if you do a good enough job,
you become a band for all time.

On a dark desert
highway

Cool wind in my hair

Warm smell of colitas

Rising up
through the air

Up ahead in the distance

I saw
a shimmering light

My head grew heavy
and my sight grew dim

I had to stop
for the night

There she stood
in the doorway

I heard the mission bell

I was thinking
to myself

This could be heaven
or this could be hell

Then she lit up
a candle

And she showed me
the way

There were voices down the corridor
I thought I heard them say...