I chose this album cut, often derided by die hard fans and even by Glenn himself, because it ultimately speaks volumes about Glenn's talent when you listen to the terse rocker, its a rare moment where Glenn's singing AND lead guitar took central focus; this song being unique along with Most of Us are Sad as being his only sole writing credits with the Eagles.
When away from his usual collaborators Don Henley, Jack Tempchin and JD Souther you see both his strengths and weaknesses; his songs are melodic and flow quite naturally but the lyrics lack sophistication and depth. Just look at the awkwardly worded titles, though within the tunes themselves are some lines bearing tremendous subtlety and insight such as "I've been shadows of myself, how was I to know" in 1972's Most of Us are Sad.
When away from his usual collaborators Don Henley, Jack Tempchin and JD Souther you see both his strengths and weaknesses; his songs are melodic and flow quite naturally but the lyrics lack sophistication and depth. Just look at the awkwardly worded titles, though within the tunes themselves are some lines bearing tremendous subtlety and insight such as "I've been shadows of myself, how was I to know" in 1972's Most of Us are Sad.
Or in today's gem, Chug All Night, which opens with the classic opening line, "You scare me a bit, but that's alright"; which keeps to one of the themes of the band's 1972 debut album; the theme of supernaturally evil women also visited in Henley's Navajo flavoured Witchy Woman. Notice how Chug All Night's falsetto bridge features Frey and bassist Randy Meisner harmonising in a Native American styled melody itself, similar to modal sounds of Witchy Woman, as they sing "No devil ever cast a voodoo, So long and dark and real". Glenn was real talented at linking songs to a creative vision for a specific album and the band overall output; he branded the group with his own mix of syrupy smooth, down home harmonies as well and a Detroit chug they brought to even their most acoustic hits.
While the title itself did put me off I came to appreciate its song's sonic quality over it's lack of substance, Chug all Night is in the vein of the cacophonous, brawling Detroit rock n roll of Out of Control off the Desperado album, and undoubtedly the main hook is Glenn's killer lead guitar tone.
We open with a punchy, stinging guitar line that erupts like a cluster lightning storm tearing through the sky. It bursts with electrifying menace in a flurry of blues notes; Glenn's guitar sounding almost like Jimmy Page's. The malevolent rhythm chords that run through in the background almost rage as they hang over the song, revving up at the end of each phrase like a beat up oldsmobile. Also listen to Glenn's orgasmic solo full of his signature meaty pull offs and lyrical slids that he would use in Already Gone, Too Many Hands etc.
While Bernie Leadon is in there too like he is in Out of Control, adding a buoyant, cleaner tone as a twangy counterpoint and adding a few honkytonk licks in there to keep the country vibe present too. Frey mentioned he struggled to return the favour and play country guitar during Bernie's songs; the Eagles were ultimately a rock band not a country band.
For me Glenn's best vocal moment is also in this song; when he sings the line "Till I'm blind and black and bluuuuee" with a high note on the word blue. Then he delivers the follow up line, "No one else will dooo", in a low, greaser voice almost in a animated sprechgesang register.
While Bernie Leadon is in there too like he is in Out of Control, adding a buoyant, cleaner tone as a twangy counterpoint and adding a few honkytonk licks in there to keep the country vibe present too. Frey mentioned he struggled to return the favour and play country guitar during Bernie's songs; the Eagles were ultimately a rock band not a country band.
For me Glenn's best vocal moment is also in this song; when he sings the line "Till I'm blind and black and bluuuuee" with a high note on the word blue. Then he delivers the follow up line, "No one else will dooo", in a low, greaser voice almost in a animated sprechgesang register.
Meanwhile the song is packed with fantastic lyric couplets like "I'm wired for sound, Are you wired for light?", Glenn was amazing at this in particular. His skill at writing colourful little phrases epitomised his brand of breezy but flippant country rock songwriting, that gained substance and scope from Don Heney's overarching themes of discontent. Who can forget his single greatest lyric contribution of the 'flatbed Ford' line to Take It Easy, the best line in that masterpiece of a composition that only Glenn could pull off and deliver with 100% sincerity. Another great example is the couplet that opens Lyin Eyes about how 'City girls just seem to find out early, How to open doors with just a smile' and also pay attention to After the Thrill is Gone; a whole song built around these ingenious quips.
I no longer know how I could have had such a disdain for this song that I rarely got past the first chorus of 'I do believe we can Chug all night, I do believe we can Hug all night'. This was just one cut on their very first album and they were looking ahead to loftier ambitions and higher plains; after all these Eagles weren't meant to be grounded. Besides, I ask you; how can you hate a song which contains the line "If I'm alive in the morning, I'll be alive in a dream"; Glenn Frey the king of the couplet!
I no longer know how I could have had such a disdain for this song that I rarely got past the first chorus of 'I do believe we can Chug all night, I do believe we can Hug all night'. This was just one cut on their very first album and they were looking ahead to loftier ambitions and higher plains; after all these Eagles weren't meant to be grounded. Besides, I ask you; how can you hate a song which contains the line "If I'm alive in the morning, I'll be alive in a dream"; Glenn Frey the king of the couplet!
No comments:
Post a Comment