The Eagles created a distinctly American sound that merged country-rock sensibilities with mainstream appeal, crafting some of the most enduring songs in popular music history. The best The Eagles songs represent more than commercial dominance—they’re masterclasses in vocal harmony, lyrical sophistication, and meticulous studio craftsmanship that set new standards for rock production in the 1970s. From their folk-rock beginnings to their polished later work, the band’s catalog demonstrates an evolution that never abandoned melodic accessibility while exploring increasingly complex themes about fame, love, and the American dream’s darker undercurrents. Whether experienced through modern headphones that reveal every harmonic detail or blasting from car speakers during a desert highway drive, these tracks maintain their emotional resonance and sonic excellence decades after their creation.
Hotel California
The title track from their 1976 masterpiece remains The Eagles’ most iconic composition, blending mysterious lyrics with one of rock’s most celebrated dual guitar solos. Don Henley’s vocals convey world-weary wisdom over Don Felder’s haunting guitar intro, while the song’s allegorical narrative about excess and entrapment in Southern California continues generating interpretive debate. The production, helmed by Bill Szymczyk, achieves remarkable depth and separation—each instrument occupies distinct sonic space, from the crisp acoustic rhythm guitars to the lush harmonies that emerge during the chorus. Joe Walsh and Don Felder’s intertwining lead guitar work in the extended outro represents collaborative musicianship at its finest, with each player’s melodic lines complementing rather than competing, creating a harmonic conversation that builds to the song’s fade. The track spent time on the Billboard Hot 100 and helped push the album to over 26 million copies sold in the United States alone, cementing its status as essential American rock.
Take It Easy
Co-written with Jackson Browne, this breezy opener from the band’s 1972 debut established The Eagles’ signature sound and launched them into the mainstream consciousness. Glenn Frey’s lead vocal captures youthful optimism mixed with cautious wisdom, while Bernie Leadon’s banjo and pedal steel contributions ground the track in country-rock tradition without sacrificing pop accessibility. The production emphasizes clarity and space, allowing the intricate vocal harmonies to shine through the mix—a hallmark that would define the band’s approach throughout their career. The lyric about standing on a corner in Winslow, Arizona, became so culturally embedded that the town erected a statue commemorating the reference, demonstrating the song’s impact beyond mere chart performance. The song’s arrangement builds naturally from acoustic intimacy to fuller band instrumentation, showcasing dynamics that many contemporary productions sacrifice for compressed loudness, making it rewarding listening on systems capable of reproducing genuine dynamic range.
Desperado
This piano-driven ballad showcases Don Henley’s emotional vocal range and the band’s ability to craft genuinely moving material beyond their country-rock comfort zone. Written by Henley and Glenn Frey, the song uses outlaw imagery as metaphor for emotional unavailability and self-destructive patterns, with lyrics that achieve poetic depth without pretension. The sparse arrangement—primarily piano, bass, and strings—gives Henley’s vocal the spotlight it deserves, while the orchestration arranged by Jim Ed Norman adds cinematic sweep without overwhelming the intimate core. Despite never being released as a single, “Desperado” became one of the band’s most covered and beloved songs, with numerous artists from Linda Ronstadt to The Carpenters recording their interpretations. The track demonstrates songwriting maturity beyond the band’s years, addressing adult themes with nuance rarely found in early-1970s rock music, and the decision to keep the arrangement understated shows artistic restraint that serves the emotional content perfectly.
Life in the Fast Lane
This hard-rocking departure from the band’s typically mellow sound emerged from a Joe Walsh riff and captures the cocaine-fueled excess of mid-1970s Los Angeles. The song’s driving rhythm, anchored by Don Henley’s powerful drumming and a distorted guitar riff that Walsh developed while stuck in traffic, creates genuine tension that matches the lyrical themes of relationship dysfunction and drug-fueled lifestyle. The production maintains clarity despite the heavier instrumentation, with each element—from the layered guitars to the tambourine accents—remaining distinct in the mix rather than blurring into muddy aggression. Glenn Frey’s vocal delivery combines swagger with an underlying weariness that suggests awareness of the lifestyle’s ultimate emptiness, adding complexity to what could have been mere celebration of excess. The track’s success on rock radio demonstrated the band’s versatility and willingness to incorporate harder edges while maintaining their meticulous approach to production and arrangement, proving they could compete with the era’s heavier acts without abandoning their identity.
One of These Nights
The title track from their 1975 breakthrough album showcases the band’s increasingly sophisticated approach to rhythm and production. Don Henley’s falsetto verses demonstrate impressive vocal control, while the groove-oriented arrangement incorporates R&B and funk influences rarely heard in country-rock contexts. The interplay between Randy Meisner’s high harmony vocals and Henley’s lead creates a distinctive texture that sets this track apart from their earlier work, while Don Felder’s guitar solo balances technical proficiency with melodic sensibility. Bill Szymczyk’s production captures the rhythmic complexity with precision, ensuring the bass line’s movement remains clear despite the dense layering of guitars and vocals. The song reached number one on the Billboard Hot 100, proving that musical sophistication and commercial success weren’t mutually exclusive, and the track’s influence can be heard in countless subsequent attempts to blend rock with dance-oriented rhythms. When experienced through quality audio equipment, the bass line’s subtle movements and the carefully panned backing vocals reveal production details that casual listening might miss.
Lyin’ Eyes
This narrative masterpiece tells a vivid story of infidelity and class anxiety with cinematic detail and non-judgmental observation. Glenn Frey’s lead vocal captures the protagonist’s desperation and calculated deception, while the acoustic guitar foundation keeps the track grounded despite the emotional complexity of the lyrics. The song’s structure follows traditional country storytelling conventions while maintaining pop accessibility, demonstrating how the band bridged genres without diluting either influence. Bernie Leadon’s banjo and pedal steel contributions provide authentic country coloring that prevents the track from feeling like rock musicians merely dabbling in country aesthetics. The production allows the lyrics to remain audible throughout, essential given the detailed narrative, while the harmony vocals add emotional commentary on the story being told. “Lyin’ Eyes” won a Grammy Award for Best Pop Performance by a Duo or Group with Vocals and reached number two on the Billboard Hot 100, proving that sophisticated songwriting could achieve mainstream success even in the mid-1970s singles market dominated by simpler material.
The Long Run
The title track from their 1979 album incorporates disco and funk influences while maintaining the band’s core identity, demonstrating their ability to acknowledge contemporary trends without chasing them desperately. Don Henley’s lead vocal combines determination with exhaustion, matching the lyrical themes about relationship endurance and the effort required to maintain long-term commitments. The rhythm section drives the track with uncharacteristic funk influences, featuring a bass line that moves constantly and drumming that emphasizes the backbeat more strongly than earlier material. The production places the rhythm elements prominently in the mix, creating a groove-oriented track that still features the meticulous vocal harmonies that defined the band’s sound. Despite representing a stylistic departure, the song reached number eight on the Billboard Hot 100 and demonstrated the band’s commercial viability even as musical tastes shifted toward new wave and punk aesthetics. The bridge section’s tempo shift and building intensity showcase arrangement sophistication that separates professional craft from mere competent songwriting.
Heartache Tonight
Co-written with Bob Seger and J.D. Souther, this uptempo rocker captures raw energy often absent from the band’s more polished material. Glenn Frey’s lead vocal embraces a rougher edge than typical for the band, while the song’s straightforward structure and driving rhythm create immediacy that contrasts with their usual meticulous construction. The production, while maintaining clarity, allows more spontaneous feel than the band’s reputation might suggest, with the rhythm section pushing forward relentlessly and the guitar work emphasizing power over finesse. Joe Walsh’s influence shows in the guitar tone and the overall less-precious approach to the arrangement, bringing some of his solo work’s looseness to the band context. The track topped the Billboard Hot 100 in 1979, proving that The Eagles could compete with era’s harder rock while maintaining their identity, and the song became a concert staple that allowed the band to demonstrate their rock credentials alongside their softer material. For those exploring the broader catalog of classic rock, this track represents an essential example of how established acts adapted to changing musical climates while preserving core strengths.
Witchy Woman
This moody, minor-key track from the debut album showcases the band’s darker side and Bernie Leadon’s finger-picked acoustic guitar expertise. Don Henley’s lead vocal embraces mysteriousness, with production that adds reverb and space to enhance the supernatural lyrical themes without becoming gimmicky. The song’s arrangement builds gradually from sparse verses to fuller choruses, maintaining tension throughout rather than resolving into comfortable major-key territory. Randy Meisner’s bass line provides melodic movement that drives the track forward despite the mid-tempo pace, while the percussion includes subtle tambourine and shaker parts that add texture without cluttering the mix. The track reached number nine on the Billboard Hot 100, demonstrating commercial viability for darker material in an era dominated by brighter pop-rock, and established the band’s range beyond the country-rock expectations that “Take It Easy” created. The guitar solo’s bluesy phrasing and the overall atmospheric production influenced countless subsequent attempts at mysterious rock songs, though few achieved this track’s balance between accessibility and genuine edge.
New Kid in Town
This bittersweet ballad addresses fame’s fickle nature and the music industry’s tendency to discard yesterday’s stars for newer attractions. The song’s sophisticated chord progressions and jazz-influenced harmony vocals demonstrate the band’s growing musical ambition and willingness to incorporate complex elements into radio-friendly formats. Glenn Frey’s lead vocal conveys vulnerability and resignation, understanding the inevitability of being replaced while clearly feeling the emotional impact of that reality. The production features pristine clarity that was becoming the band’s trademark, with each instrument occupying perfect sonic placement and the vocals sitting prominently without overwhelming the musical bed. Don Felder’s guitar solo demonstrates restraint and melodic development rather than technical display, serving the song’s melancholic mood perfectly. The track reached number one on the Billboard Hot 100 in 1977, proving that thoughtful, adult-oriented material could still dominate commercial radio, and won a Grammy Award for Best Vocal Arrangement for Two or More Voices, recognizing the exceptional harmony work that elevated the composition.
Peaceful Easy Feeling
This gentle track from the debut album captures the laid-back California sound that the band would become synonymous with, though songwriter Jack Tempchin wasn’t an official band member. Glenn Frey’s relaxed vocal delivery perfectly matches the lyrical contentment and the unhurried arrangement, while Bernie Leadon’s pedal steel guitar adds country authenticity. The production emphasizes warmth and space rather than the crystalline clarity of later work, giving the track an organic feel that suits the peaceful themes. The harmony vocals enter sparingly but effectively, adding depth without overwhelming the intimate mood, and the bass line moves melodically without drawing unnecessary attention. While not a major chart hit, the song became a concert favorite and exemplifies the country-rock fusion that defined the band’s early identity before they evolved toward more polished pop-rock. The track’s enduring appeal demonstrates that simple, well-executed ideas often outlast more ambitious but less focused material, and its accessibility makes it an ideal entry point for listeners new to the band’s extensive catalog.
I Can’t Tell You Why
Timothy B. Schmit’s first lead vocal showcase with the band demonstrates his distinct voice and songwriting sensibility, contributing essential variety to the band’s sonic palette. The song’s smooth, almost yacht-rock production represents the polished direction the band pursued in the late 1970s, with lush synthesizer pads and pristine guitar tones creating sophisticated adult contemporary sound. The bass line moves with R&B-influenced fluidity, while the drumming remains understated, supporting rather than driving the arrangement. Schmit’s falsetto reaches impressive heights without strain, and his vulnerable lyrical approach to relationship confusion adds emotional authenticity. The track reached number eight on the Billboard Hot 100 and demonstrated that the band could maintain commercial relevance even as their sound evolved toward smoother territory that some critics dismissed as overly calculated. The guitar solo, played by Glenn Frey, follows the vocal melody closely before developing its own melodic ideas, showing that even featured instrumental moments served the song’s overall emotional arc rather than existing as mere technical display opportunities.
Already Gone
This Robb Strandlund and Jack Tempchin composition features some of the band’s most rocking guitar work and straightforward lyrical approach. The song’s driving rhythm and prominent electric guitars create energy that contrasts with their mellower material, while maintaining the vocal harmony sophistication that distinguished them from harder rock acts. Don Henley’s lead vocal embraces a rougher edge appropriate to the song’s themes about relationship endings and moving forward without regret. The production, handled by Bill Szymczyk, allows the guitars to dominate without burying the vocals or losing the rhythm section’s propulsive drive. The dual guitar solo showcases melodic phrasing and harmonic interaction that would become more developed in later tracks like “Hotel California,” demonstrating technical proficiency without abandoning accessibility. The track reached number 32 on the Billboard Hot 100 and became a staple of album-oriented rock radio, appealing to listeners who found some of the band’s material too soft while maintaining enough polish to satisfy their established fanbase seeking quality musicianship and production values.
Best of My Love
This gentle ballad became the band’s first number-one Billboard Hot 100 hit, establishing their commercial viability and demonstrating that soft rock could dominate mainstream charts. The acoustic guitar foundation and understated arrangement create intimate atmosphere, while the harmony vocals on the “beautiful” refrain create memorable hooks without bombast. Don Henley’s lead vocal conveys the bittersweet realization that love alone can’t sustain a failing relationship, lending emotional weight to the deceptively simple melody. The production emphasizes warmth over clarity, with a slightly softer mix that suits the song’s nostalgic and melancholic themes. Randy Meisner’s harmony vocals add essential texture, his higher register blending with Henley and Frey to create the band’s signature three-part sound. The song’s success proved that The Eagles could compete in the singles market beyond rock radio, reaching pop and adult contemporary audiences that might dismiss harder country-rock material, and established them as hitmakers capable of crafting songs that satisfied both commercial and artistic criteria without obvious compromise.
Tequila Sunrise
This country-flavored ballad showcases Bernie Leadon’s pedal steel guitar mastery and the band’s ability to craft vivid imagery through simple, economical lyrics. The song’s languid pace and Western imagery create a cinematic quality, with the arrangement supporting the narrative rather than overwhelming it through excessive instrumentation. Glenn Frey’s vocal delivery emphasizes the weariness and regret embedded in the lyrics, while the harmony vocals add depth during the chorus without becoming the track’s focal point. The production maintains the intimate feel of a late-night confessional, with reverb and space allowing the pedal steel to weep appropriately without becoming melodramatic. While not a major chart hit, the song demonstrated the band’s range and their connection to country music traditions beyond superficial appropriation. When heard through quality earbuds during a solitary evening, the track’s subtle instrumental details and vocal nuances become more apparent, revealing production choices that reward attentive listening and demonstrate why the band’s catalog continues attracting serious music enthusiasts beyond casual radio listeners.
Victim of Love
Don Felder’s co-writing contribution emphasizes guitar-driven hard rock while maintaining the band’s vocal excellence and production standards. The song’s aggressive riffing and faster tempo represent the heavier direction that Joe Walsh’s arrival encouraged, though the track predates his official membership. Don Henley’s lead vocal matches the intensity of the musical backing, while the harmony vocals during the chorus create the signature Eagles sound even within a harder context. The guitar solo showcases technical proficiency and melodic development, avoiding mere note flurries in favor of structured improvisation that builds logically. Bill Szymczyk’s production captures the energy while maintaining clarity—each guitar part remains distinct, and the rhythm section drives forward without becoming muddy despite the density of the arrangement. The track demonstrated that the band could compete with contemporary hard rock without abandoning the meticulous approach that defined their identity, and while it didn’t achieve major commercial success as a single, it became an album-oriented rock radio staple that balanced their softer reputation.
Seven Bridges Road
This stunning a cappella showcase, arranged by the band from a Steve Young composition, opens their Eagles Live album and demonstrates their vocal prowess without instrumental safety nets. The five-part harmony arrangement achieves choral richness typically associated with studio overdubbing, yet the live performance captures spontaneous magic that overdubs rarely achieve. The song’s structure builds from solo voice through increasingly complex harmonies, creating natural crescendo that showcases each member’s vocal contributions. The decision to open a live album with unaccompanied voices represented boldness in an era when live albums typically emphasized extended instrumental jams and crowd interaction. The track’s success led to single release that reached number 28 on the Billboard Hot 100, demonstrating commercial viability for material that risked seeming like a novelty or album filler. For listeners evaluating vocal purity and harmonic sophistication, this track serves as an excellent reference point, revealing individual voices’ timbral qualities and the blend achieved through proper balance and complementary ranges rather than studio processing.
Take It to the Limit
Randy Meisner’s lead vocal showcase demonstrates his impressive falsetto and emotional vulnerability, creating one of the band’s most beloved ballads. The song’s build from quiet verses to soaring chorus showcases dynamic range that many contemporary productions sacrifice, with Meisner’s vocal reaching extraordinary heights during the climactic moments. The arrangement supports the vocal journey without overwhelming it, with guitars and keyboards adding texture while the rhythm section maintains steady foundation. Don Henley and Glenn Frey’s harmony vocals during the chorus create a supportive blanket rather than competing with Meisner’s lead, demonstrating the collaborative spirit that characterized the band’s best work. The track reached number four on the Billboard Hot 100 and became a concert highlight, though the demanding vocal eventually contributed to tensions with Meisner, who grew uncomfortable with the nightly pressure of hitting the high notes. The production captures both the intimate verses and powerful chorus effectively, maintaining clarity throughout the dynamic journey and providing a listening experience that reveals new details during repeated hearings through quality playback systems.
The Sad Café
This melancholic closer to The Long Run reflects on the Troubadour club and the Los Angeles music scene that birthed the band, with lyrics addressing lost innocence and community. The song’s arrangement builds from sparse piano and vocal through increasingly lush orchestration, creating genuine emotional sweep without melodrama. Don Henley’s lead vocal conveys world-weary nostalgia, understanding that the past can’t be recaptured while clearly mourning its loss. The production incorporates orchestral elements and backing vocals that recall “Desperado” in ambition while demonstrating the sonic sophistication the band achieved by the late 1970s. The guitar work remains understated, serving the song’s reflective mood rather than providing flashy solos or dominating riffs. The track never achieved significant chart success as a single, but its thematic depth and emotional authenticity made it a fan favorite that showcases the band at their most introspective, willing to examine their own history and the scene that created them with honest assessment rather than simple celebration or bitter dismissal.
In the City
This Joe Walsh composition, originally recorded for the Warriors soundtrack, fits seamlessly into The Eagles’ repertoire while bringing Walsh’s distinctive energy and perspective. The song’s urban imagery and driving rhythm contrast with the band’s typical Western and Southern California references, expanding their thematic range. Walsh’s lead vocal brings a different texture than Henley or Frey, his slightly rougher delivery adding authenticity to the street-level narrative. The production maintains the band’s clarity standards while allowing more raw edges than typical, with the guitars embracing distortion and the rhythm section pushing harder than the band’s reputation might suggest. The track represents a synthesis of Walsh’s solo work sensibility with The Eagles’ meticulous approach, demonstrating how his addition changed the band’s sound without overwhelming their established identity. While not a major commercial single, the song provided concert energy and demonstrated the band’s ability to incorporate new members’ contributions genuinely rather than forcing them into preexisting templates, creating evolution rather than mere expansion.
How Long
This Ace composition, covered for the band’s 2007 reunion album Long Road Out of Eden, demonstrates their ability to interpret material and make it unmistakably their own despite not writing it. The song’s groove-oriented arrangement incorporates modern production touches while maintaining the signature vocal harmonies and attention to instrumental detail that defined their classic work. Glenn Frey’s lead vocal captures the weary resignation of the lyrics, questioning a partner’s infidelity with more exhaustion than anger. The production, handled by the band members themselves, achieves clarity and separation that modern compressed aesthetics often sacrifice, with each instrument occupying distinct sonic space. The guitar work blends Joe Walsh’s bluesy approach with Don Felder’s (though Felder had departed by this recording) precision, creating solos that balance technical proficiency with melodic content. The track won a Grammy Award for Best Country Performance by a Duo or Group with Vocals, demonstrating continued relevance and the ability to compete in contemporary contexts while maintaining the musical values that made them legendary, proving that quality songwriting and exceptional musicianship remain commercially viable regardless of prevailing trends.
Frequently Asked Questions
What is The Eagles’ most famous song?
“Hotel California” stands as The Eagles’ most famous and culturally significant song, achieving iconic status that transcends typical commercial success. The track’s mysterious lyrics, haunting guitar intro, and legendary dual guitar solo have made it one of rock’s most recognizable compositions, while the album of the same name sold over 26 million copies in the United States alone. Beyond chart performance—the song reached number one on the Billboard Hot 100—”Hotel California” has achieved enduring presence in popular culture through countless film and television placements, cover versions, and references in other media. The song’s allegorical narrative about excess and entrapment continues generating interpretive debate decades after release, demonstrating lyrical depth that separates it from disposable pop hits. Streaming statistics consistently show “Hotel California” as the band’s most-played track across digital platforms, introducing new generations to The Eagles while maintaining resonance with original fans who remember its initial impact and the ways it captured specific cultural anxieties about American life in the mid-1970s.
Who were the main songwriters in The Eagles?
Don Henley and Glenn Frey formed The Eagles’ primary songwriting partnership, collaborating on the majority of the band’s most successful and enduring compositions. Henley typically handled lyrics and vocal melodies, bringing poetic sensibility and thematic depth that elevated the material beyond typical rock fare, while Frey contributed melodic ideas and arrangements that maintained commercial accessibility without sacrificing artistic ambition. Other band members made significant contributions—Bernie Leadon brought country and bluegrass influences during the early period, Randy Meisner co-wrote several tracks including “Take It to the Limit,” and Joe Walsh added harder rock sensibility and his own compositions after joining in 1975. The band frequently collaborated with outside writers including Jack Tempchin, J.D. Souther, and Bob Seger, demonstrating openness to external contributions when material served the band’s vision. Don Felder co-wrote “Hotel California” and several other tracks, contributing particularly to the band’s guitar-driven material, though his songwriting role remained smaller than his instrumental contributions, and his eventual departure stemmed partly from disputes over creative control and songwriting credit distribution.
Why did The Eagles break up?
The Eagles’ initial breakup in 1980 resulted from accumulated tensions including creative differences, personality conflicts, financial disputes, and exhaustion from years of intensive recording and touring schedules. The pressure of maintaining commercial success while satisfying individual artistic ambitions created conflicts, particularly between Don Henley and Glenn Frey’s partnership and other members who felt marginalized in creative decisions. The grueling Long Run recording sessions exposed growing divisions, with perfectionist approaches clashing against members who felt the process had become joyless and overly controlled. Personal relationships deteriorated as business pressures intensified, and the band’s attempt to maintain their commercial dominance while musical tastes shifted toward punk and new wave created additional stress. Don Felder and the Henley-Frey partnership particularly clashed over musical direction and financial arrangements, tensions that would eventually lead to litigation decades later. The band members pursued successful solo careers during the 1980s and 1990s, with Henley and Walsh achieving particular commercial success, before reuniting in 1994 for the “Hell Freezes Over” tour that proved surprisingly successful commercially and artistically, though underlying tensions never fully resolved and eventually led to Felder’s contentious departure in 2001.
What makes The Eagles’ vocal harmonies distinctive?
The Eagles’ vocal harmonies achieve exceptional blend and precision through meticulous arrangement, complementary vocal ranges, and extensive rehearsal that other bands often sacrificed for spontaneity. The band typically employed three-part harmonies featuring Don Henley’s powerful lead, Glenn Frey’s supportive middle range, and Randy Meisner or later Timothy B. Schmit’s soaring high tenor, creating rich harmonic texture without individual voices overwhelming the blend. Unlike many rock bands where harmonies feel like afterthoughts, The Eagles arranged vocal parts with the same attention to detail applied to instrumental arrangements, often spending hours perfecting specific harmonic moments. The influence of country and folk traditions—particularly through Bernie Leadon’s contributions—brought authentic understanding of harmony singing’s structural principles rather than mere pop music’s typically simpler approach. The band’s use of close harmonies, where voices move in parallel maintaining small intervals, created the warm, unified sound that became their trademark, while occasional wider intervals during climactic moments added dramatic impact. Their live performances maintained this vocal excellence, demonstrating that the recorded harmonies weren’t merely studio creations but reflected genuine musical ability and the chemistry developed through extensive practice and performance together.
What albums should I start with when exploring The Eagles?
Hotel California (1976) represents the ideal starting point for exploring The Eagles’ catalog, offering the perfect balance of commercial accessibility, musical sophistication, and thematic depth that defines their best work. The album contains several of their most famous songs while maintaining cohesive artistic vision throughout, demonstrating the band at peak creative power with exceptional production values. Following that, Their Greatest Hits (1971-1975) provides an efficient overview of the earlier country-rock period, though compilation albums sacrifice the album-format listening experience that the band clearly valued in their sequencing and thematic development. Desperado (1973) showcases the band’s conceptual ambitions and willingness to pursue artistic vision over commercial calculation, though its consistent Western themes make it less representative of their overall range. One of These Nights (1975) captures the transition between their country-rock origins and the more polished pop-rock direction, featuring both styles and demonstrating the evolution that would culminate in Hotel California. For those wanting to understand the band’s harder rock capabilities and Joe Walsh’s influence, The Long Run (1979) provides essential context despite its reputation as lesser work compared to earlier albums, and the live album Eagles Live (1980) offers excellent performances that sometimes surpass studio versions while demonstrating the band’s considerable musical chops beyond studio perfectionism.