In one of Caspar's favorite movies, called the Big Lebowski, the dude asks a cab driver to put on another channel because he had a rough night and he 'fucking hates the Eagles, man'. That line always puzzled me. To Caspar, the Eagles were nothing more than a solid, maybe a little middle of the road, country-rock band, with one of those international mega hits to their name. No need to hate them though, or is there?
With this thought in mind I sat down to have a look at the documentary on the Eagles called To the Limit. From the early start it is obvious that the back bone of the band was formed when guitarist Glenn Frey and drummer Don Henley met in legendary club Troubadour, became friends, and were invited to play in Linda Ronstadt's band. They found out that the best way to learn to play, and really get to know your instrument was by playing live. Another big influence was Jackson Browne. When he lived in the apartment below Glenn Frey's, he showed the way to learning to write songs: every day, almost on office hours, he sat down to play his piano, the same song over and over again until he got it right.
In the documentary on David Geffen casparcritique-david-geffen-always-wins.html, we saw that it was Geffen who advised Frey and Henley to start their own band. To the Limit shows how they were invited to stay on with Ronstadt, but decided to do what Geffen had advised: they formed their own band. They got a guitar/banjo player and a bass player, called Bernie Leadon and Randy Meissner, and that was the beginning of the Eagles.
As I called the band middle of the road, maybe that is what is wrong with the band, and with the documentary for that matter. It just doesn't get any more interesting than the average struggles of guys in a band. Yep, there were the rock 'n roll parties, fights and stuff, but nothing too spectacular. Yes, there were quarrels between the band members, but nothing too much. I mean, in any group there are leaders, and there are followers. And the followers would like to be leaders one day. So, other band members want to contribute to writing of songs, they want to be lead singer. But if their songs are not so great, their voices average (compared to Henley's anyway), these kind of problems can only be solved when they are discussed. And that is what is probably the most difficult thing to do, when at the same time you make the best selling record in the USA ever (Greatest Hits), and a gigantic, world-wide evergreen (Hotel California). I mean, you do what you love to do, and extremely successful doing it, then what is the problem?
Again, the documentary seems to be just a little boring. Eagles make a few good albums, and a collection of great songs, but there is just not much to tell. One band member quits, another joins in. There is just one thing really interesting that made me sit up straight. The actual split of the band is recorded. The fight between Glenn Frey and guitarist Don Felder on stage comes after Felder disrespects an American politician for who the Eagles play at a fundraising event. At the end one promises to kill the other after the show is over. Pictures were taken of Frey throwing things at Felder's limo. For sure the Eagles were over and done with.
To get back at where we started, the only plausible reason I can think of the Dude to hate the Eagles is their middle of the roadness. And yes, I'll prefer the Creedence Clearwater Revival as much as the Dude does, but I get the feeling there should be more to it then just that. Unfortunately, The Eagles: To the Limit does a good job at telling a chapter in rock history, but doesn't get anywhere near to unravel such perceptions people have of the band. Three stars, out of five!
Showing posts with label Jackson Browne. Show all posts
Showing posts with label Jackson Browne. Show all posts
Casparcritique: David Geffen always wins
So far, at the CasparSongs blog, we have been looking at artists, their songs, maybe the studio where they recorded. But, we haven't looked at the the world behind the stage; the managers, record company executives, etcetera. Why not? Maybe because it is about the music, the creativity, the artists themselves. Maybe because there are not many people in that section of the industry that interesting to pay attention to. And hey, if these people were not around, there still would be music, but not the other way around!
These were more or less my thoughts when the documentary about legendary entertainment manager, and record label boss, David Geffen started last night. Again, I knew his name because I read it on albums like Aerosmith's Get a Grip, or Guns 'n Roses' Appetite for Destruction. Big selling albums, but not necessarily history changing. The bigger was my surprise when I kept on watching and was really entertained by the film.
The film starts with Geffen's upbringing from very humble background in Brooklyn, New York, when he sets himself out to be an artist manager, lies about his education, and gets a job at the mailroom of a company called William Morris Agency. He soon left to become the personal manager of a singer-songwriter called Laura Nyro. To be honest, CasparSongs never had heard from her before. But, Geffen made sure that after her debut album didn't sell too much, other artists recorded her songs and that way the two made a lot of money. Then Geffen started a company together with Elliot Roberts. This is the time when Geffen showed his great entrepreneurship talents. He managed to get David Crosby, Stephen Stills and Graham Nash out of their respective record deals at three different companies, so that they could form their own new super group. The next big thing for them was to get a young, and promising new talent Jackson Browne started. After failing to get him into a mainstream record company, they decided to found their own label, called Asylum Records. The word Asylum was choosen to show that the label was a place for struggling artists to find shelter. And a good name it was: Geffen is still hailed for his unconditional support for his people!
As the artists were haning out smoking pot along with the staff of Asylum, Geffen is the only one that didn't. In stead, he was constantly on the phone making deals, and he never took no for an answer. His style is not a pleasant one, when you're against him, but you cannot think of a better manager on your side when he is with you. In that respect, he has got an amazing staminae, a 100% drive to succeed.
Until this moment in the film, it all seem to be positive, an ordinary, though good, story about how anyone can make it in the USA. But then a set-back occurs. His first protegee, Laura Nyro, decides to leave Asylum, and signs for another company. She didn't tell Geffen, she just did. For Geffen, whose style it was to, almost, parent his artists, it feels like he is stabbed in the back. He cries for days about Nyro's decision, and finally understands he has got to change things. He leaves Asylum, starts a relationship with Cher (while being gay), and moves into the movie business. He doesn't feel very at home there though, also because he gets a boss above him, and he is not used to that. Also, in his personal life some things happen concerning his health and the break up with Cher. So he returns to the music industry by starting a new label: Geffen Records in 1980. And, in 1990, Dreamworks, the blockbuster movie studio.
There is a lot more to tell about David Geffen and the documentary. For example his charity work, or his political affiliation with the Clintons, and Barack Obama. Again, he shows his ability to tell people straight in their face what he thinks. When Bill Clinton doens't live up to his promise to have gays accepted in the American armed forces, Geffen drops him and doesn't hesitate to attack him in public. Again we are shown a piece of his mind. And that is just what I found so very interesting about the portrait: the psychology of a succesful entertainment tycoon. On the one hand, he gives more than 100% for his artists, going through walls to get them their success. But on the other hand, he demands 100% loyalty of the people he works with. If the other person doesn't deliver, you'd better hide. In my opinion, one cannot continue like that. Even if the other person would be able to give 100%, I bet you it is not 100% the same thing you're talking about. Any normal person would not be able to survive this 'all or nothing' attitude. David Geffen has got this incredible and rare talent to rise again, starting new initiatives, and a radar for what will be succesful in entertainment.
The documentary David Geffen always wins (of which the American title is Inventing David Geffen, but I liked the Dutch title more) shows us an insight of a world we know it exists, but never saw it so personal, moving, and entertaining. Let alone the incredible amount of information any fan op popular music would love. A solid account of a survivor, a macher in the entertainment industry, that would have existed without him, but that wouldn't have been the same. *****
These were more or less my thoughts when the documentary about legendary entertainment manager, and record label boss, David Geffen started last night. Again, I knew his name because I read it on albums like Aerosmith's Get a Grip, or Guns 'n Roses' Appetite for Destruction. Big selling albums, but not necessarily history changing. The bigger was my surprise when I kept on watching and was really entertained by the film.
The film starts with Geffen's upbringing from very humble background in Brooklyn, New York, when he sets himself out to be an artist manager, lies about his education, and gets a job at the mailroom of a company called William Morris Agency. He soon left to become the personal manager of a singer-songwriter called Laura Nyro. To be honest, CasparSongs never had heard from her before. But, Geffen made sure that after her debut album didn't sell too much, other artists recorded her songs and that way the two made a lot of money. Then Geffen started a company together with Elliot Roberts. This is the time when Geffen showed his great entrepreneurship talents. He managed to get David Crosby, Stephen Stills and Graham Nash out of their respective record deals at three different companies, so that they could form their own new super group. The next big thing for them was to get a young, and promising new talent Jackson Browne started. After failing to get him into a mainstream record company, they decided to found their own label, called Asylum Records. The word Asylum was choosen to show that the label was a place for struggling artists to find shelter. And a good name it was: Geffen is still hailed for his unconditional support for his people!
As the artists were haning out smoking pot along with the staff of Asylum, Geffen is the only one that didn't. In stead, he was constantly on the phone making deals, and he never took no for an answer. His style is not a pleasant one, when you're against him, but you cannot think of a better manager on your side when he is with you. In that respect, he has got an amazing staminae, a 100% drive to succeed.
Until this moment in the film, it all seem to be positive, an ordinary, though good, story about how anyone can make it in the USA. But then a set-back occurs. His first protegee, Laura Nyro, decides to leave Asylum, and signs for another company. She didn't tell Geffen, she just did. For Geffen, whose style it was to, almost, parent his artists, it feels like he is stabbed in the back. He cries for days about Nyro's decision, and finally understands he has got to change things. He leaves Asylum, starts a relationship with Cher (while being gay), and moves into the movie business. He doesn't feel very at home there though, also because he gets a boss above him, and he is not used to that. Also, in his personal life some things happen concerning his health and the break up with Cher. So he returns to the music industry by starting a new label: Geffen Records in 1980. And, in 1990, Dreamworks, the blockbuster movie studio.
There is a lot more to tell about David Geffen and the documentary. For example his charity work, or his political affiliation with the Clintons, and Barack Obama. Again, he shows his ability to tell people straight in their face what he thinks. When Bill Clinton doens't live up to his promise to have gays accepted in the American armed forces, Geffen drops him and doesn't hesitate to attack him in public. Again we are shown a piece of his mind. And that is just what I found so very interesting about the portrait: the psychology of a succesful entertainment tycoon. On the one hand, he gives more than 100% for his artists, going through walls to get them their success. But on the other hand, he demands 100% loyalty of the people he works with. If the other person doesn't deliver, you'd better hide. In my opinion, one cannot continue like that. Even if the other person would be able to give 100%, I bet you it is not 100% the same thing you're talking about. Any normal person would not be able to survive this 'all or nothing' attitude. David Geffen has got this incredible and rare talent to rise again, starting new initiatives, and a radar for what will be succesful in entertainment.
The documentary David Geffen always wins (of which the American title is Inventing David Geffen, but I liked the Dutch title more) shows us an insight of a world we know it exists, but never saw it so personal, moving, and entertaining. Let alone the incredible amount of information any fan op popular music would love. A solid account of a survivor, a macher in the entertainment industry, that would have existed without him, but that wouldn't have been the same. *****
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