Remembering Glenn Frey

[Outlawman13]

Thank you ladies for sharing this with us!! I will never forget this man!! And that tribute (on the Hard Rock Café Hotel) is just so awesome!!

[Brooke]

Especially love the Springsteen/lights photo!

Actually, it's all good! Thanks everyone!

[thelongrun]

I posted this on Facebook. May I share it wit you friends.

Soon will be a Week already since Glenn’s passing and what I hate the most is the fact of it has been News you know, but Everyday life and the World naturally, takes it’s rhythm and goes back to normality. Naturally yes, but the same I feel frustrated because on that basis Glenn soon will be left out, I feel I have not mourn enough and maybe I won't ever, so is up to us to keep the fire burning and do not let his memory be eaten by political, terrorism, disasters or whatever issues. If it wasn't for you friends and fans these moments could have been unbearable so please let’s keep united through this social networks. As I said, no more Holes in the World either Heartache Tonight, let's celebrate this huge Artist life and works. My best.

[Ive always been a dreamer]

I agree TLR - I think we all want to keep Glenn's memory alive and I'm sure gonna do what I can to make that happen.

Here is a tribute from veteran rock journalist and suthor Ben Fong-Torres ...

http://www.billboard.com/articles/ne...torres-tribute

The Eagles made great music.

That's something many critics had a tough time saying. Early on, the Eagles had a California punk attitude. Mix that in with infectious, harmony-rich country-rock and huge chart records, and they suddenly had four targets on their backs.

It didn't help when, at a concert in New York, they bashed the New York Dolls and lectured the audience about real music.

But Glenn Frey and Don Henley, along with guitarist Bernie Leadon and bassist Randy Meisner, delivered the goods. Glenn and Don were the Laurel Canyon, mid-'70s answer to Lennon and McCartney. They concocted songs, hip and clever, that reflected their times, their surroundings, and their rapidly developing lifestyle -- that is, life in the fast lane.

That life led to dysfunction. But through their breakups and makeups, I thought of Glenn Frey as the backbone, the strength of the band, the main force in keeping the Eagles in the public consciousness. The band credited the rise of classic rock radio in the '80s for giving them and their music a new life. "I couldn't get away from the Eagles even after I left," Frey told me. "It was like the band broke up, but we were still around." Don Henley's solo efforts also helped, as did Frey's work, both in music ("The Heat Is On," "You Belong to the City") and on screen, on Miami Vice and other shows.

I met him only a couple of times, once at the legendary Eagles vs. Rolling Stone grudge softball game in Los Angeles in 1978, when Gov. Jerry Brown and Linda Ronstadt were among those in the stands rooting against us rock journalists. The band killed us, and we learned later that they'd been practicing for two weeks. We were at our typewriters. Afterwards, Glenn and Don wrote a piece about the game for the magazine. Sure, they still hated us, but ink is ink.

Many years later -- it was 2005 -- I saw them at Madison Square Garden for a magazine piece and spoke with each of them. Glenn struck me as the most serious; the Jagger of the Eagles. The band was big business, and he took care of it. On stage, the band played their parade of hits, note-for-note, covering themselves perfectly, even coolly. Joe Walsh was the comic presence; Glenn, the host, with practiced lines like, before launching into "Lyin' Eyes," "This goes out to my first wife: Plaintiff." He joked about the band's never-ending farewell concerts. They were on "Farewell Tour 1" at the time, and Frey told the audience, "It's a clever ploy by our management. He's plotting 'Farewell VI' right now.'" Off stage, when I asked about that sixth "Farewell" run, he laughed. "I wonder who's going to be playing my part!"

Besides the tours and the record royalties, the Eagles were making big money by playing corporate gigs. I'd heard that their fee could be as much as $2 million for a show.

Frey did not argue. "We get paid a lot of money," he said, "but I feel we've earned it by virtue of how long we've survived." He continued: "We didn't set out to be a band for all times. We set out to be a band for our times. And sometimes, if you're good enough to be a band for your time, you become a band for all time."

[AlreadyGone95]

I agree as well, TLR. We live in such a fast paced world that after a few days, a person's death becomes "old" news because of the "current" news. I'm glad and thankful that my uncle recorded several tributes off of NBC Nightly News and The Today Show, plus both Tavis Smiley episodes, so that I can watch them again. Glenn will live on through his music, his legacy, and his fans, both young and old(er).

Here's an article which talks about New Kid in Town. In all of the tributes and obits I've seen, NKIT seems to be forgotten about or passed over, which is a huge shame.

http://americansongwriter.com/2016/0...w-kid-in-town/

Remembrances of the life and work of Glenn Frey have been plentiful since his passing just a week ago. When recalling his music with the Eagles, many retrospectives have listed the incredible string of hit songs the band ripped off in the ’70s and yet also noted the fact that these chroniclers of California excess and ennui were rarely critical darlings. It’s an odd conundrum, one that the band addressed in part on “New Kid In Town,” the chart-topping lead single off their 1976 masterpiece Hotel California.

Frey wrote the song in tandem with bandmate Don Henley and frequent Eagle collaborator J.D. Souther. In the liner notes to the Eagles compilation album The Very Best Of, Henley recalled the dual meaning of “New Kid In Town”. “It’s about the fleeting, fickle nature of love and romance,” he said. “It’s also about the fleeting nature of fame, especially in the music business. We were basically saying, ‘Look, we know we’re red hot right now but we also know that somebody’s going to come along and replace us — both in music and in love.”

The insight about their standing in the rock world could have come off as snarky, but Frey’s compassionate lead vocal removes any chance of that occurring. As the “talk on the streets” subtly advances from praise of the song’s “Johnny come lately” to shunning him in favor of somebody new, Frey’s vocal captures every nuance. Even when things are going well, he’s there to warn about the tricky business of “great expectations”: “Everybody loves you/ So don’t let them down.”

In the second verse, the song concentrates on romance, particularly a tender dance between two lovers, as Henley comes aboard for high harmonies. The line “Hopeless romantics, here we go again” subtly hints at both failure and boredom. This foreshadowing is seen through when the girl looks elsewhere, leading to one of those simple, yet deeply bittersweet lines the Eagles seemed to produce in abundance pulled off better than anybody thanks to those pristine harmonies: “It’s those restless hearts that never mend.”

After the bridge leaves the protagonist with “tears on your shoulder” and an eloquent guitar solo by Don Felder clears the air, the final verse shows how easily praise can turn to jealousy: “You’re walking away, and they’re talking behind you.” The closing refrain completes the kid’s journey from hero to has-been, from lover to loser: “Where you been lately? There’s a new kid in town/ Everybody loves him, don’t they?/ Now he’s holding her, and you’re still around.”

By that time the walled harmonies are soaring all around Frey, leaving him to deliver the stinging punch line which highlights both the disposability of fame and the ephemerality of romance: “Just another new kid in town.” Frey’s vocal performances were often understated, sweet and soulful on the slow songs or rambunctious and rascally on the fast ones. On “New Kid In Town,” he brings down the house.

The fact that the Eagles were self-aware enough to beat the critics to the punch on a song like “New Kid In Town” didn’t temper the vitriol they faced at the time, but none of that matters now. What matters is a body of work that’s unassailable and how much music fans have lost now that Glenn Frey, creator and performer of much of that work, is gone.

[Ive always been a dreamer]

Well that was a beautiful encapsulation of this amazing song, with one exception - the writer ignored my favorite line, which I think is one of the most important to the theme of the song and one of the best Eagles' lyrics ever ...

"They will never forget you 'til somebody new comes along."

One thing's for sure though, that'll never happen for many of us here. No one can ever replace the incomparable Glenn Frey!

[UndertheWire]

The Daily Telegraph's music critic (and much better than their obituary):

The Eagles' Glenn Frey: a towering talent checks out

Neil McCormick, Music Critic
19 January 2016 • 12:47pm

Glenn Frey, the musical brain and guiding personality behind one of pop’s most glistening harmonic machines, has checked out at 67. In a sad opening to 2016, music lovers have lost another towering talent.

With his musical partner, Don Henley, Glenn Frey was one of the defining songwriters of the Seventies, responsible for the kind of tunes that will be carried on the breeze long after he’s gone. Every Eagles song is as immaculate as the expensive business suits Henley took to wearing in his later years, a sleek concoction of meaningful lyrics, flowing melody and gilded harmony. There is a seductive genius to be heard in the way all the parts blend together on shining gems such as New Kid in Town, Lyin’ Eyes, Heartache Tonight and, of course, that absolute monster Hotel California, a song that will always soar into the forever, achieving a kind of immortality.

Frey’s was the high-strung, mournful voice gliding through the gears on Take It Easy (which he wrote with Jackson Browne), Peaceful Easy Feeling, Tequila Sunrise and Already Gone. He played guitar, keyboards and sang lead and harmony, but what he mostly did, from the earliest days of the Eagles, was put the band through their paces, insisting his assembly of gifted LA players approached their pioneering brand of country rock as if they were a crew of hard-working city professionals, not a bunch of cowboys. If country boy Henley, with his aching voice and poetic dreaminess, was the soul of the Eagles, Glenn Frey was its brains, the architect of their urban groove, a Detroit native who brought the values of the motor city to the hippy ethic of the troubadours of Laurel Canyon.

Frey was a room-mate of Jackson Browne, backing musician for Linda Ronstadt and a friend of Joni Mitchell, but he was also a fan of James Brown and Motown. During the Eagles' hiatus, between 1980 and 1994, Frey had a few solo hits, and it is here, in tracks like The Heat Is On and You Belong to The City, that you can really his urban soul roots.

The Eagles played country music like they meant business. It was no accident that they took over the pop world in the Seventies, and rode on like conquering heroes for decades to come. They weren’t always the darlings of the music press, but listeners know perfection when they hear it, and there is a very good reason that the Eagles Greatest Hits 1971-1975 was the best-selling album of the Seventies. It remains among the best-selling albums ever made, with more than 40 million copies sold – and that was before they shifted 30 million copies of Hotel California and over 12 million copies of Greatest Hits Volume Two.
When the Eagles first went their separate ways, they were repeatedly asked when they would get back together, to which Don Henley famously replied: “When hell freezes over.” It was Frey who provided the cool head and calm spirit to soothe those troubled waters, making the Eagles the first of the great reunions. I saw them many times in the second half of their career, and for that, I am genuinely grateful.

I met Glenn a couple of times. He was friendly but all business, easy to respect but hard to warm to. Everything I saw of him confirmed my conviction that he was the driving force in the Eagles, a gifted writer and arranger but also a tough taskmaster.

But Henley saw other sides of his long-serving partner, and spoke to me about Frey with genuine affection. “We were like the odd couple. He would make a mess and I would clean up after him. We had a routine, every day we’d get up, shake off the hangover and start writing songs. I think it was a good balance. Glenn was very spontaneous and uninhibited - he would just sit down with the guitar and start throwing it out there. I was more reserved and introverted, and he certainly encouraged me as a writer and lyricist. Glenn’s always been a team leader. He’s a big sports fan, so he applied a lot of coaching principles to running this band. He recognises people’s strengths and gets them to do what they do best.”

It is a tough time to be a rock and roll fan. In the wake of the death of David Bowie, I wrote about the twilight of the rock gods and the ways in which the passing of our idols represents the end of a generation. But we remain thankful for the music, the soundtrack to so many lives. I hope hell has frozen over and there was no place for him down there. I hope the Hotel California has left its doors open. It is, of course, the end for the Eagles now, because there can be no Eagles without Glenn Frey. To quote their outlaw cowboy song, Doolin’ Dalton: “Four men ride in… three ride out.” But we’ll hear him on the breeze, humming in the airwaves, already gone.

http://www.telegraph.co.uk/music/art...nt-checks-out/

[Ive always been a dreamer]

The way we experience grief sure can be strange. I was actually beginning to feel better the last couple of days and had started to read some of these tributes to Glenn. I read the article above that UTW posted and was really enjoying it until I got here ...

"To quote their outlaw cowboy song, Doolin’ Dalton: “Four men ride in… three ride out".”

That just hit me like a ton of bricks, and I lost it. Now, it's 'pick me up' time again.

[Freypower]

The way we experience grief sure can be strange. I was actually beginning to feel better the last couple of days and had started to read some of these tributes to Glenn. I read the article above that UTW posted and was really enjoying it until I got here ...

"To quote their outlaw cowboy song, Doolin’ Dalton: “Four men ride in… three ride out".”

That just hit me like a ton of bricks, and I lost it. Now, it's 'pick me up' time again.

I had already had that line running through my head numerous times. Unfortunately it still has not had the desired effect.

The part about 'humming through the airwaves' makes me think of this:

'All I do is miss you & the way we used to be
All I do is keep the beat & the bad company
All I do is kiss you through the bars of a rhyme'....

The following line belongs to me & I won't quote it.

The article about NKIT confirms my passion for it & my belief that yes, it is often overlooked & underrated, & I hope it never will be again.

[NightMistBlue]

That Telegraph article was interesting; thank you, UtW. I don't think I've ever heard Glenn's voice described as mournful before.