I just woke up from watching this documentary before bed....and literally had nightmares and uneasy feelings all through the night.It's not just that they are disrespectful to the band members who they shared the stage with, and contributed to the success of the group.It's not just that they seem to have contempt for their fans. (henley during hotel californtia interview)It's not that they seem completely devoid of gratitude for the good fortune, or humbled by the experience.It's just that they're both the kind of guys you meet and afterwards go...."What a dick."And rather than see them as somewhat troubled artists and geniuses, their lack of reverence for their own music, and the craft of writing it and recording it... makes them seem more like record executives who pulled off a brilliant ten year scam.What's worse is that time hasn't healed their wounds - they seem to have gotten even more bitter. Which is truly sad, Frey got to take his unwillingness to forgive to his death bed. You can literally see him seething as he relays the story of his and Felder's onstage near fist fight. Some of the early footage and story was interesting. Love seeing Linda and Jackson. But the interviews were so formulaic, and pre-scripted, you could literally tell they were reading from a teleprompter. No moments of vulnerability. No insight or introspection. Above all, no LOVE. For the music. For the memories. And certainly not for each other.I was left seeing their songs in a new light. Formulaic and contrived and utterly lacking in heart.

There was a lot of speculation on the "Why the Eagles split up" and without giving too much away this does answer a lot.Some people have said in musical fields that Glen Frey is an ego- maniacal, glory-seeking, talentless musician. The reality is between Glen Frey, Don Henley, Timothy Schmitt, Randy Meisner, J.D. Souther and Jackson Browne, the Eagles possibly have more hits than most bands could hope for since the Beatles.There is a feeling of an arrogant man in the way Glen Frey presents himself and as the movie clearly states it was not until Frey decided he was ready that The Eagles could reform and play again. The different ventures each went on and the use of musicians in Henley's solo career such as Pino Palladino certainly give Henley more musical kudos in some circles than Frey will ever get, but the reality is together they wrote great songs. The same was said of Lennon and McCartney in other ways.Simply as the title of this summary says, he that writes owns. Any musician ever involved with any label or record company as it used to be known, knew that "He that pays owns". This is no different. So basically,they can do whatever they like. The glue that holds them together is the songs and if I was to pick the most likable person and peacemaking soul that holds the band together, where humanly possible, it would be Timothy B Schmitt who Frey could take some humility lessons from because he comes across as what his critics say in paragraph #2.All that said and done, it is one of the better historical and pedagogical films made and worth watching if you liked the Eagles music which I did. There are sad moments and one cannot help but feel sadness at youthful ignorance and the pitfalls of the industry, but it is a great eye opener and worth the money to buy the DVD. :)

One might think that should there ever be a Mount Rushmore of country rock, they may well etch the faces of the Eagles into the cliff side. However, they might need some time, for there have been quite a few comings and goings and line-up changes in camp Eagles over the years. This documentary ventures into the first chapter of the band's existence and provides evidence of the rifts, drifts, differences and fallouts that have occurred. It is probably fair to say that the Eagles are one of the most notoriously disharmonious of bands, who inexplicably and ironically orchestrate some of the most harmonious musical harmonies of any group since CSN. It is still a struggle today to meet a band that matches up vocally.Although they may not straddle the earth with an omnipresence that marked their original inception and 1970s heyday, the reformed country rockers are still synonymous with classic radio and the rock album format.Running at 2 hours, there is a lot of ground to cover. For a casual viewer, there is a mercifully breezy skip through respective childhoods and the pace is pushed with momentum towards the inspiring and prolific late-60s underground music scene of LA that homed residencies of Poco, Buffalo Springfield, Joni Mitchell, Jackson Browne, Linda Ronstadt et al. There is acknowledgment as to the creatively incestuous backdrop of the times, of the area and of the era. The sort that enabled artists to shift, move and collaborate seemingly at will. As the late 60s moved into the early 70s and success increased for the bulk of the aforementioned artists, it is clear that all look back with giddy rose-tinted glasses of nostalgia. The creativity was clearly as intoxicating as the drugs that they were recreationally self-medicating.The Eagles were always a band that stood apart from their peers. They did so for a few reasons. One, is that they were massively successful in a way that the others could only dream of, another is that they had a steely core that made them efficiently consummate and business-like. Both of these aspects are highlighted by the documentary. The band reflect openly upon their motivations and inclinations, with a mix of new interviews and footage that dates back to the period. To see how much and how little they've changed is part of the joy of the feature. Around the mid-point, Joe Walsh arrives into the frame and is spotlighted in both the past and the present as an impassioned guitarist who is part-talent, part-court jester. His phrasing exudes a humorous hybrid of Keith Richards and Stephen Stills along with a healthy dose of his own breezy personality. For a music film, the tone is more or less consistently serious throughout, so his appearance offers some light hearted respite.On the downside, there is not as much insight into the studio processes as a fan may want, but the band members are all given a fair hearing from both time periods and talk candidly about being in the epicentre of the Eagles whirlwind.Understandably, Part One ends on a decisively sour note; their downfall and break-up. Although the pressures of topping the totemic Hotel California engulfed them all to a certain extent, it is clear that decisive fractures of the intragroup relationships had crippled the band. It is also evident that the distractions around the process was a demon that gobbled them up. Power may corrupt and absolute power may corrupt absolutely, but I am sure there is a pithy equivalent for success. Life in the fast lane had brought this group crashing into a ditch.This is a tale that has enough acrimony to give Pink Floyd a run for their money. They may have been back together since 1994, as they will happily testify, but in case you're wondering, they only speak to Don Felder through lawyers. Some things don't change and won't be taken easy.

After watching this again I still feel this was a monetary project from start to finish. It is nice to sit back and enjoy some of the music that you remember so well from the 70's decade. It is a pity that today's kids have nothing in the form of music or an identity that I had as a teenager in the seventies period. They have their phones and social internet and nothing else. There is not a single musician today that can even come close to entering the hero spaces musicians had in my teen years such as Dylan, Lennon, Roger Waters, down home southern poets like R.VanZant, and yes, Henley and Frey. For this reason I can relax some of my initial reaction to their egomania which is still painfully obvious. Don Henley's reaction to his very successful solo career which led to some masterful music in my opinion he just blows off with "I won some awards and had some hits" and finishes with his usual bombardment of everyone else and their unwillingness or inability to reach his own genius level-mainly producers, agents, songwriters and other musicians. He comes across as a total a$$ and seems to know it and not care the least-so be it.The total highlights of the entire program belong to Joe Walsh for his honesty and in an indirect way to Linda Ronstadt and her blossoming sexually and "voice as big as a house" that I remember so, so well from that period. Again, there is nothing or no one today in terms of young female singers, that could match her talent or her effect on young men that I also remember so well- Henley's admission that she was "one of the boys" also reflects as an identical feeling I had about her at that time.The star of the show is Joe Walsh as he seems so separated from the narcissistic love Henley and Frye have for themselves. His honest approach comes off as realist and sincere especially his reflections on how he remembers that era, as if it were a fiction novel, and using it for an example-brilliant! Perhaps some young people will take to heart what he has to say and use it to improve their own lives.All the partying and some senseless nudity come across as flush material and the catfights between the former and current members of the group are nothing new to even casual fans of the band. I saw the Eagles live once during the Hotel California tour and their abilities as a live band, along with inspiring melodies and well rehearsed harmonies, were the impression I remember even today. Lynda Ronstadt was also touring with Jackson Browne about the same time and, of course, her show was unforgettable to say the least.All in all this is a good production and I think people can use the ole saw "take what you want and leave the rest" and find this an enjoyable program to watch.paHow can you write a spoiler for a music program about 40year old songs?