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Guitar Techniques - - NEWS - Neville Marten, Editor neville.marten@fu­turenet.com

And yet an­other iconic mu­si­cian passes on. Like many of my era, I first heard The Ea­gles when songs like Lyin’ Eyes, Take It Easy and Des­per­ado filled the air­waves. Coun­try was so out of fash­ion at the time yet this band, with its stun­ning vo­cal har­monies, ef­fort­less in­stru­men­tal abil­ity and the whole be­ing even greater that the sum of its parts, shone through like di­a­monds in the sea of glam and pseudo-doo-wop that seemed to be all the rage.

Our band did at least five Ea­gles cov­ers so I – and I bet many GT read­ers pe­rus­ing this right now – got a les­son in ar­range­ment, in play­ing ‘for the song’ (thank you Bernie Leadon), in gui­tar tones and, most cer­tainly in my case, in how to cre­ate a stack of vo­cal har­monies.

As the band moved on through its var­i­ous phases – the ad­di­tion of Don Felder with his sub­lime touch and feel on the One Of Th­ese Nights al­bum, and the won­der­ful Joe Walsh lend­ing his funky-blues-rock style, slide gui­tar, quirky voice and ob­vi­ous hu­mour to the group – we fol­lowed the changes and were amazed at ev­ery turn. I’ve played Ho­tel Cal­i­for­nia along­side at least five other gui­tarists, and there’s al­ways been the: ‘Do you play the outro har­monies in chord-shaped arpeg­gios or along the neck?’ dis­cus­sion.

Glenn Frey and Don Hen­ley’s per­fect voices, clever com­po­si­tions and sub­lime song ar­range­ments have never failed to please th­ese ears. I also love and com­mend their un­spo­ken ethic of ‘sim­ple songs played su­perla­tively’.

So I hope you will help GT bid farewell to Glenn by hav­ing a crack at the ex­am­ples in Richard Bar­rett’s trib­ute to Frey and his fel­low Ea­gles six-stringers. Do en­joy the fea­ture, and the rest of the is­sue, and I’ll see you soon.

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