"DESPERADO-Unheralded musical milestone"--this week's newspaper column

[Willie G. Moseley]

Desperado—Unheralded musical milestone

One of the numerous reasons why the most creative half dozen years or so in popular music was from 1967 to 1973 involved the advent of what has become known as “concept albums”; i.e., records that were put together with an overall (if somewhat-loose) “theme.”

Such classic examples include the Vanilla Fudge’s The Beat Goes on (history lessons, musical and otherwise), the Who’s Tommy (a “rock opera,” which is a concept itself, and also evolved during the same time period), the Moody Blues’ Days of Future Passed (a day in the life on an individual, morning to night).

The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band was a 1967 “bookend,” and it, too, has been cited by some as “conceptual.” Ditto a 1973 “bookend,” Pink Floyd’s Dark Side of the Moon.

Yet one wonders why another ’73 album (and obvious concept album), the Eagles’ Desperado, doesn’t seem to figure all that often into a stereotypical historical discussion regarding innovative albums from such times.

Many knowledgeable music fans would probably agree that the so-called country-rock genre began in the late Sixties with certain Buffalo Springfield songs and/or the Byrds’ Sweetheart of the Rodeo album, and the Eagles would easily slip into that pigeonhole, soon leaving other bands in their wake.

The quartet had burst on the musical scene in 1972 in a big way, with a debut album that had spawned three hit singles (and “Take It Easy,” “Witchy Woman” and “Peaceful Easy Feeling” are still classics).

Accordingly, it may have seemed somewhat uppity or audacious for a band to tackle a historical subject like Western outlaws—the Dalton gang in particular—on their sophomore effort the next year (and who remembers when musical artists used to put out an album a year?).

But the Wild West idea fit the Eagles’ sonic approach like a glove—churning acoustic guitars, abetted by an occasional banjo or dobro, evoked the type of imagery that fit the presentation.

The introduction is one of three versions of “Doolin-Dalton” on the album, and by the time the lyrics ride through “Well, the towns lay out across the dusty plains, like graveyards filled with tombstones, waitin’ for the names,” a listener knows that this isn’t some lightweight collection of pop songs.

The two hits from Desperado, “Tequila Sunrise” and the title track, were listenable as stand-alone efforts, but their inclusion and location on the song list was also critical to the album’s flow, particularly since “Desperado” was the last song on Side One (of the album or cassette).

The album addresses all of the names involved with the historical events being chronicled—Dalton, Doolin, Bitter Creek, Coffeyville. It’s one of those rare presentations where a topic that isn’t particularly upbeat can be addressed without getting melancholy or sanctimonious (but some critics would expectorate that latter term regarding some subsequent works by the Eagles, or solo efforts from band members).

Ideally, Desperados should be heard all the way through in one sitting, and the same could be said for any concept album. The point is, Don Henley’s plaintive vocals on the reprise of “Desperado” could bring tears to a listener’s eyes, if he/she has indeed experienced the album non-stop. It’s now difficult to imagine anyone other than Henley lamenting “The Queen of Diamonds let you down, she was just an empty fable…”.

Other historical trivia includes the fact that Desperado is the only Eagles album where the band appeared on the cover, and the back cover photo, lampooning a historical photo, includes Eagles cohorts Jackson Browne and J.D. Souther.

Desperado was an ambitious and underrated project, debuting at the tail end of an exciting musical era. Its approach validates the Eagles’ abilities before the band became a corporate Don and Glenn show.

[LefThanDed]

I remember this headline from about that same time:

http://www.theonion.com/articles/january-23-1973,10591/

[rugby1970]

Hmmmm.......interesting point of view. While I'm a big fan of the Eagles and their music, I do remember many, many people ranting that their music was not rock and roll. And even though I thoroughly enjoy the Desperado album and I'm conscious, on some level, that it is a concept album, I just can't place it in the same strata as Tommy. Like I said, interesting point of view and I'm glad someone had the cojones to put forth the proposition........

[killerteddybear]

I fully agree, Willie. Desperado doesn't get the recognition it deserves.

I continue to like the way the songs mimic a lifetime, starting off full of piss 'n' vinegar with 21 (with Doolin' Dalton as an intro), following through ups and downs of life and love, and ending up tired and bitter in the final song.

Yeah, this is a desert island album. If I had something to play it on...

[Boomerang~Junkie]

Strong work and very well written.

[Disturber]

The first five Eagles albums are awesome. Thanks for sharing your thoughts.

[Willie G. Moseley]

One post-column addendum: Lotsa folks also consider Hotel California to have been a concept album. Didn't put that in the commentary on accounta word count limitations, and it was outside the 1967-1973 time frame.

[Hfan]

Never thought of Desperado that way but I agree now that it is presented that way. Well said Willie.

I loved that Country Rock genre. Maybe because I was raised in an urban area watching westerns as a kid..kinda an escape or fantasy. Was a huge Dead fan as well by the end of High School after starting that period as a hard rock fan, then prog rock..pretty odd how tastes can change so quickly at that age.

[soli'd]

[custom53]

Personally I like Alice Cooper's "Desperado" more.. But that's just me..

[Dasein]

What do you mean by ambitious? The idea that the album itself had a narrative thread? I think the fact that Desperado is never mentioned when people talk about "concept" albums speaks to i's failure as a concept album (though I'm talking out my own ass here a bit). The two "hits" from that album seemed to exist culturally outside of the album with Desperado being itself a concept song. I would have found that conceit too boring and cliched to carry a full album...

But then again -- I don't think I've ever listened to the whole album through and through so I might be missing something and you've at least inspired me to check it out. What I'd want to hear from you Willie is more about what makes this underrated and what makes it good as an album -- how successfully the narrative carries through (or not) and what it's legacy was. Some might say that Desperado was a crass attempt to appropriate an American mythology for a band that didn't have one and that it was the bands most disingenuous album of stolen images, stories.... I've never really heard it discussed though as an album so that's what I'll have to do next.

Thanks for sharing the article and inspiring me to check it out. I'll report back when I do.