Re: Memphis concert 11-16-08
Review: They're the Eagles -- what can you say?
Fans seem OK with uneven concert at FedExForum
By Bob Mehr (Contact), GoMemphis.com
Originally published 04:08 p.m., November 17, 2008
How, or more accurately, why would anyone bother criticizing the Eagles at this point? Four decades and 120 million albums into their career, they're a group that has thrived on the slings and arrows directed at them by the press and their haters, actually reveling in the fact that they've been demonized far and wide for their rock-and-roll excess and success. Even the laid-back Dude, the protagonist in the Coen Brothers' "The Big Lebowski," famously ranted "I hate the (expletive) Eagles, man."
Brandon Dill/The Commercial Appeal
Don Henley delivers most of the strong vocal moments at Sunday's show.
As the group rolled into FedExForum Sunday night, in support of Long Road Out of Eden, their first new studio album since 1979, they remained the very picture of defiance -- even if their edges have been sanded down, and a self-referential humor has come to replace the smug arrogance of their '70s heyday.
That's why it would be churlish to point out that the Eagles took the stage in suits, dressed like bankers, and occasionally played with all the enthusiasm of a group of bored loan officers. For the near-capacity crowd that filled the arena, none of that mattered. By the time a lonely bolero trumpet signaled the start of "Hotel California" a few songs into the set, the audience was sold, eagerly anticipating each of the hits that followed from "Peaceful Easy Feeling" to "Witchy Woman" to "Lyin' Eyes."
While drummer Don Henley delivered most of the standout vocal moments, his partner Glenn Frey handled the bulk of the in-between song banter, and got off a number of good lines, recalling his hometown of Detroit as "the fertilizer of my genius" and a city where "mother is half a word."
Ever-goofy guitarist Joe Walsh provided most of the evening's sparks, turning out a trio of songs from his own catalog, including an especially spirited romp through "Life's Been Good." Walsh -- who spent a couple years living here in the late '80s -- even managed to get Frey to show a little local love, as they duetted on a version of Chuck Berry's "Memphis, Tennessee" which then segued into his James Gang signature "Funk #49."
Lithe, soft-spoken bassist Timothy B. Schmit also got his turn in the spotlight, delivering a handful of soulful ballads like "Love Will Keep Us Alive" and the Hi Records-influenced "I Can't Tell You Why" (though you had to wonder if 14 handicap golfer Frey was already thinking about his morning tee time when he congratulated Schmit with a strangely detached and robotic: "Thanks, Timothy... that ...was ... great.")
Carrying a full horn section, a trio of pianists/ keyboardists, a multi-instrumentalist and an extra percussionist, at times they sounded more like the Eagles Show Band and Revue, than a lean rock-and-roll outfit. But guitarist Steuart Smith capably filled the role of "Fifth Eagle" -- replacing the deposed Don Felder -- and his polished pop playing was a clear highlight as he nailed solo after solo on everything from "One of These Nights" to Henley's "Boys of Summer."
Unfortunately, the pacing of the show was poorly planned. A batch of mostly new, and frankly snoozy, songs followed a long intermission, making the set feel particularly flabby in the middle. The guitar-heavy title track of the new album was meant to be the dramatic centerpiece of the show. Written as a barbed criticism of the war in Iraq and the decaying state of American politics, policy and culture, it simply came off as ham-handed and po-faced (although listening to Henley -- a man whose '70s motto for bagging chicks was "Love 'em and Lear 'em" -- railing against the dangers of environmental abuse and global warming, never gets any less funny or ironic).
For a tour that's expected to gross tens of millions of dollars, the Eagles also should've invested in some better production values. Their JumboTron graphics were a curiously inept mix of stock footage (the sight of urban youths chest bumping during "In the City" was particularly hilarious) and images that looked like screen savers; it was almost a shock when a squadron of flying toasters didn't materialize.
But, of course, the crowd didn't come for such frills, but rather to hear the band's catalog of familiar to ubiquitous songs. On that count they delivered, mixing solo favorites like "Dirty Laundry" and surefire floor fillers like "The Long Run," bringing things full circle as they encored with the song that launched their career, "Take It Easy."
By show's end, as the four Eagles lingered onstage, soaking up the applause and scooping up bouquets of flowers, it was hard not to be won over -- if not by their music, then by the sheer unwavering self-belief that's carried them this far.
************************************************** ****
In the spirit of the above-mentioned Big Lebowski, I feel like ranting, "I hate this (expletive) Eagles review, man."
Poor pacing? Nope.
"Snoozy" songs after the intermission? Only snoozy to you, bub.
Invest in some better production values? Are you kidding? I was at the Eagles show, Bob--what show were YOU watching?
Why would anybody bother criticising the Eagles at this point? You tell me, Bob Mehr, since you contradicted your lead throughout this piece. I think the real question should be--since you obviously dislike the Eagles, why did you bother writing this review?
At least the flowers got a mention.
Reply With Quote
Originally Posted by DonFan
