All language subtitles for BOB MARLEY - (Classic Albums) -Por-en

Glenn Frey and I shared a room together for a while,
Jackson moved, I went downstairs,

Glenn moved in, Jackson and I bought
small houses on Camrose Court,

all writing in different combinations with each other.
It was always growing.

That was a little dust ball
that became a tornado.

The Echo Park group would provide the compositional basis
for the biggest band in LA history.

His musical inspirations would come from a raucous club
of music half a mile west of the Sunset Strip.

I mean, it was the heart of a
scene that encompassed James Taylor,

Ry Cooder, Randy Newman, Little Feat,

John David Souther ...

There were 20 or 30 people who
made them all very good friends

and would, on any given night,
to Troubadour bar

and then drive a short distance through
canyons for parties at one or the other

and germinations of songs and love affairs were made, and ends
of love affairs, and dealings

2 or 3 miles from the Sunset Strip.

The LA singer-songwriters
emerged from the folk tradition.

At Troubadour, they absorbed another form of music
reassuringly authentic American.

As the idealism of the 60s faded,

country music would offer troubadours
of LA a new sense of identity.

At the heart of LA's country renaissance was
a charismatic cowboy named Gram Parsons.

M�sica country era t�o horr�vel

and you never imagined that
I would dare listen to that,

but he sat me down in his office, took his
little music player on the floor

and forced us to listen to George Jones, Waylon Jennings,
Merle Haggard, and made us understand that.

During a brief period spent in the Byrds,

and as a driving force in
Flying Burrito Brothers,

Parsons was simply one of
a large sets of musicians

in love with music
and Western mythology.

Chris Hillman, at Burritos and Byrds,

he had been a player
of mandolin in bluegrass,

I had been a player
banjo in bluegrass,

Jerry Garcia had been a player
banjo in bluegrass,

so they were people who
have become influential musicians

in the late 60s and
early 70s,

that started in folk but passed
by bluegrass too.

One of the most influential figures, and the queen
uncontroversial of the Troubadour scene,

she was yet another exile in LA.

I'm going to play a song
trucker now.

I live with a bunch of people I met from Tucson,
on the beach, and we started going to Troubadour.

Troubadour is really responsible
throughout the music scene.

This song was written by my friend Lowell George
do Little Feat, e chama-se Willin'.

Of all responsible persons
pela revolu��o do country-rock,

maybe Linda Ronstadt is the one
most neglected,

because she is a woman and because she
She is considered a pop artist.

Linda, in many ways, was
the glue that held this together,

because she was never a singer-songwriter
- she barely wrote a song in her life -

but Linda chose singers, and songwriters
in particular, brilliantly.

She was the vehicle for JD Souther,

para Warren Zevon,

Karla Bonoff, Eric Kaz. She introduced me
Willin', de Lowell George.

In June 1971,

Linda Ronstadt's boyfriend,
JD Souther,

and his friend Glenn Frey were
in a country duet.

But when JD decided to follow
a solo career,

it looked like Frey, despite being signed
with David Geffen's Asylum Records,

was on the sidelines.

At the end of the year,

he was in front of the band that
would become the largest in LA.

I originally told Glenn and JD

that Glenn should form a band,

that he was not strong enough as
a solo artist to go alone.

Glenn wanted something
bigger, more sound,

and I wanted less,

I wanted to be like Jackson
and just go out and play alone.

I had left Flying
Burrito Brothers.

I had toured Troubadour,

and had met Glenn Frey
and Don Henley.

I found Don from that band, Shiloh.
I heard them at Troubadour.

Linda Ronstadt producer John Boylan
was helping them.

He told them to put Randy Meisner
on the bottom, they thought it was a good idea.

They had a player
missing guitar.

We told them that they should
put Bernie Leadon.

So I called Boylan
and he said, "yes".

So the original Eagles
there were four people,

Glenn Frey, Don Henley,
me and Randy Meisner.

Serious!

I never doubted that they would be great.

We wanted him to get us
Atlantic Records,

he said, "Well, I can
probably do that

or you can be the first
band on my new label, Asylum. "

So he was becoming our entrepreneur
and president of our record company -

obviously, there is a conflict of interest,

but we did it because we were
certain that David would succeed.

The Eagles, a shamelessly
ambitious country rock band,

it seemed an incongruous addition

to the nest of fervent Asylum singer-songwriters.

But after a brief presentation as the band
background that accompanied Linda Ronstadt,

they made their first
public appearance

in a tiny art gallery
in Venice, California.

MUSIC: "Witchy Woman"
by the Eagles

The first time the Eagles played was in
an art inauguration for Boyd Elder,

our friend from Texas.

Joni Mitchell e Mama Cass
and David Geffen were there,

Ned Doheny was, the whole gang.

Everyone was dancing on this concrete floor
wet with beer everywhere,

and the Eagles were there playing
Witchy Woman again and again.

We only know seven songs,

so we play the same
seven songs repeatedly.

It was fun. Joni was dancing.

They were the pinnacle of California sound.

This expressed sunlight and heat,

they were the core of that.

A magical combination of people who
they could create their materials,

who could choose the best of
other people's stuff,

put them back together in one of those packages
very dusty musicals.

Assisted by JD Souther
e Jackson Browne,

the Eagles compose songs that would become
iconic two 70s of LA.

But not everyone was touched by his
carefully crafted country rock brand.

The way they took on how to do

� play the disc every time
perfectly, note by note,

and it works for them,

makes a good show for the audience,
but for me this is ...

..boring.

They don't take any chances. Never.

The reward of the Eagles
for not taking chances

it was a successful album and
three songs number one.

It started in the 1960s.

We had a problem with
the word "commercial",

and everyone said,

"We don't want to be commercial."

Commercial was like the Monkees,
like the Turtles,

and commercial meant success.

For the good of the audience,
voc� � os Monkees.

When we got together,
we set the intention -

this band is about doing really well,
become famous and produce a lot of money.

That was our goal.

It was a goal that they achieved
with the debut album,

confirming the western haired troubadour
long and coated with denim

as the new image of commercial success.

The Eagles' next record was more
once written and designed

with the help of Jackson Browne
e JD Souther.

When Jackson turned 21, I gave him
The Album Of Gunfighters.

There were thieves' bodies
murdered in it,

shotgun riddled body
de John Wesley Hardin...

underneath, you could read about
how it all happened,

and, in a way, it kind of became
the temple for that Desperado record.

The notion of cowboys, those taciturns
and savage heroes,

entering a salon

and changing everyone's life forever
with a single shot or comment.

It's a mythological moment that caught on.

In Desperado, the Eagles invented
a collective identity

directly inspired by
your country roots ...

and for the latest American fantasy.

Like young boys 100 years before, before
become a guitar player in rock'n'roll,

they might as well have been rock'n'roll gunmen
- who would have been carrying guns instead of guitars -

so we decided to do this western theme
of shooting at the Malibu Hills exit.

It was almost like time travel

because we really feel that we are
back in the 1800s.

It was so real. The guys would come
running down the street

with their guns firing, and the
Eagles, and it was very heroic!

In the 1960s, LA singer-songwriters
they portrayed themselves as heroes of the counterculture.

The Eagles have reshaped themselves as fictional bandits,

an escapism that marked a timely separation
of the political world that surrounded them.

There can be no covering up of the facts ...
in the White House.

'Richard Nixon as President,'

valiums were on the rise.

People were taking tranquilizers

just to anesthetize themselves against
the reality of this right-wing regime

who was going from Vietnam to Cambodia with napalm.

What did that do with the music

was, I think, for anyone who
I wanted to be a musician and continue,

was to stop complaining.

Shut up.

What are now are console songs
that can be marketed

in the great reality of the Republican regime.

The songs were more beautiful, and a mile from
wide and an inch deep.

MUSIC: "Desperado" by the Eagles

But the western escape from the Eagles
it was a commercial failure.

They would be forced to rethink
your country roots

and reinvent their cowboy image.

And there was more bad news from their record label.

Steve Ross, who led Warners
in those days, it came to me

and said he wanted to buy

and, uh, offered me
$ 7 million dollars for that,

which, at the time, seemed to me an amount
irresistible of money,

and I watched Sonny and Cher go out of their way
show in the world to nothing,

and Otis Redding die in
a plane crash,

and I thought, "Wow! $ 7 million!"
It was such a big number.

I mean, it ended up worth ...

..much more money than
that I ended up selling

but, you know, I'm living well!

The management of Geffen and Roberts,
our management,

come to us ... oh, and our record company too,

and they tell us, "We sell
Asylum Records for Warner Brothers,

"we are sharing the management of the company, so you have to
find a new entrepreneur. "We were like" What ?! "

Geffen continued to manage Asylum Records,
now owned by Warner Brothers,

but he would be forced to surrender
the personal management of the Eagles

to another formidable and tireless
individual, Irving Azoff.

The first thing I thought was that Irving
would turn around and sue Geffen

to get the publication of the Eagles
back to Warner Brothers Music.

You know, successfully, people feel
as if they were entitled to more,

forgetting that when they
did these deals,

they had nothing and nobody
he was interested in them.

When Warner Brothers merged Asylum
with Elektra Records,

another independent record label
bought two years earlier,

there was a change in the tone of the
LA record label business.

The change was that more and more entrepreneurs
they were coming to the party.

The lawyers were being involved.

When it became more business
and less music ... I left.

What's going on in the process,

which I served contentedly,

Is the corporatisation of rock.

I mean, music died for
around the 70s medate.

At least in terms of everything that defined LA

a decade earlier.

If you go back to the Strip
in the late 60s,

there was a kind of utopian dimension,

and I think we were so excited
with that spirit

that people have failed
to see when

it was also about carrying them
ahead of Tower Records

or into a new world
all brave of consumption

in which rock'n'roll was simply
the soundtrack.

In an increasingly corporate climate,

the social scene was also moving -

away from bars like Troubadour

for a more exclusive night club.

Among the clients we had, there was a guy named
David Blue - a friend of ours, from Joni etc -

and we had scheduled all of our biggest presentations
inside Troubadour and I called Doug Weston

and asked him to put David Blue
there, and he wouldn't do that.

I said, "look, I gave you Crosby, Stills, Nash And Young,
the Eagles, Jackson Browne and Joni Mitchell,

"Linda Ronstadt etc. I want
that you put David Blue. "

He said, "I'm not going to put David Blue on."

I said, "if you don’t put David Blue,
I will start a club. "

And he said, "Do you think
can you start a club? "

I said, "a club? Yes, I think I can start a club, and
if you don't put David Blue on Troubadour, I will. "

And he said, "Fuck you, do it."

So we did.

Roxy represented a new Sunset Strip type

in which the Eagles and their entourage met
at the center of an exclusive elite.

'Suddenly,'

there was terribly a lot of money,

many celebrities,

a lot of, "you can come here,
voc� n�o."

In their composition, the Eagles started writing the chronicle
of the hedonistic lifestyle of the mid 70s

in which they were players
first-rate.

In the summer after the fourth album,
I left.

For a long time, I felt
who couldn’t talk about it,

partially because it had to do
with my personal use of drugs,

and lots of party,

and I needed to get away from it.

And when I leave,

the whole acoustic thing, bluegrass,
folk, viol�o ac�stico

left.

Bernie Leadon was replaced by
her�i do viol�o Joe Walsh,

how the Eagles abandoned
its acoustic roots,

and followed the musical drift in
towards studio rock.

There was a point in the 1970s
in which you perceived

that many of his contemporaries have become self-satisfied
and presumptuous about their own positions?

I realized this about myself but I don't
I make any judgment of the rest of them.

In 1974, Crosby, Stills, Nash And Young
embarked on a world tour,

the extravagance in which he violently collided
with the morality of their songs.

We had 85 people on the team,

we had helicopters, jets,

limosines in front of the
hotel 24 hours a day ...

It was just too much exercise.

You are the top on the charts,
everyone loved you,

you have enough women
to satisfy you for years,

you have enough money and the ability
to buy the best drugs,

and, you know, it dominates,

and dominated.

In my perspective, these were the guys who were
talking about freedom, about justice,

about respect for Mother Earth,
about going back to the Garden.

It was very difficult to do
sense of it all.

They all represented, for me,
liberal Hollywood concepts.

They favored the money

and they just forgot
this sometimes,

walking on a narrow line.

But, anyway, it was about
be successful.

In 1975, musicians once politically
LA conscious

were consumed by cynicism,

a mood fueled by a substance
that replaced marijuana and acid

as the Hollywood drug of choice.

One of his first defenders and his
biggest victims was David Crosby.

David had bowls of that, big
wooden bowls of coca�na,

and he was completely naked,
with his plump tummy,

and it was different. He felt ok.

It felt good,
in 1969, 1970.

That just slowly
it was pretty horrible.

When we started using cocaine
and heroine and methamphetamine,

as a generation ...

that essentially degraded the
original spirit that we had

in that group of people,
in California,

to a very low level ...

and moving from one to another
it was a palpable thing.

You could feel it.

More greed, more anger,
more madness,

more...

darkness.

MUSIC: "Hotel California"
by the Eagles

In less than a decade,

collective optimism gave way to a
ruthlessly egocentric culture

and, in 1976, with typical honesty
of LA singer-songwriters,

the Eagles captured the mood
with a scathing tribute

to the city whose appeal has been proven
seductive long before the 70s.

A full view of
Hotel California -

finally, the pilgrims come to Paradise,

just to find a hotel
ruined in a tedious ocean,

where people were all
thinking about suicide -

this is a very consistent view.

Remember, in the 1940s,

all the big stars, and half of
Bloomsbury, were in Los Angeles,

along with an entire generation
of American writers,

and they ended up rehearsing all possible
forms of despair and alienation,

all kinds of pleasure and euphoria.

Everyone could find some
part of Los Angeles

that could be the carrier of
any of your dreams

or your nightmares.

So, in a way, the emotional landscape
that the rock generation lived

was repeating what the writers
passed in the 1920s,

changing between the land of light
of the sun and the land of black.

The Eagles had evolved from
a generation of artists

whose determination to success
they brought them to LA,

and in the same year with Hotel California, that
ambition has reached its final peak

when the Eagles released another record

that marked the commercial climax
ten-year journey.

People always put the greatest hits albums
when the bands are declining.

I wanted to put it on when they
were at their absolute peak.

That album is the biggest of
sales of all time.

Sales of the Eagles' greatest hits prompted
the invention of the platinum record.

It was the first time in a long line of
Multi-million albums in sales

commercially and musically inspired
for Los Angeles.

And that marked the end of the journey
in which the collective ambition

of a community of troubadours united by
strong relationships and common interests

made LA the corporate capital
of the musical world.

Don't miss it. Don't miss it.

Tradu��o pt-br por jf2021rms - 2014