70s. glyn had worked with the rolling stones at the time they went to the studio and did nothing, except wait for keith to go down in the basement and play his guitar until he came up with some riff. so glenn was impatient. the stones had burned him out on the, you know, get high in the studio and wait for something to happen kind of thing. one, two, three. i like the way your sparkling earrings lay against your skin so brown and i want to sleep with you in the desert tonight there were three hit singles
echoed voices in the night, she s a restless spirit on an endless flight whoo-hoo witchy woman, see how high she flies whoo-hoo witchy woman, she got the moon in her eyes during the time that the eagles were on for the first album, we had just come from the 60s, civil rights movement, 68, all the assassinations, all the rioting. the vietnam war is still winding up. nixon, watergate. i really think that part of the reason that the eagles succeeded the way they did was because the country and people and young people needed to feel like things were okay.
that s all right, mama, just any way you do that s all right that s all right the very first rock n roll record i bought was by elvis presley. my playing the drums was sort of an organic process. i began by beating on my school books with my fingers and with pencils. i would beat out little cadences. i used to drive my classmates crazy doing that. i think one day somebody said to me, i think my friend, richard, he said, why don t you just start playing the drums? i managed to cobble together a drum kit from old drums that i found stashed in the back of the band hall at high school. then one day my mom said, come on, get in the car. and she drove me to a town about an hour and a half away called sulfur springs, texas, to mccay music company. to my surprise, she bought me a set of red sparkle drums that i still have today. so i have to give my parents a lot of credit. they bought me that drum kit even though they couldn t really afford it.
the time. it s a lot. to bernie, success on any scale was synonymous with selling out. he wanted us to remain sort of an underground band. we had our problems with beern bernie and he had his problems with us. some of it was based on him being able to record the songs he wanted to the way he wanted to. we were getting more and more rocked out and i think bernie was less and less happy about that. to the pinpoint we had worked on a track all night it was a rocked out track. we re all sitting at the board the next day trying to decide which take we liked the best. bernie hasn t said i word. i said bernie what do you think. there was a long pause and he gets up and stretches and says, i think i m going surfing. and he left.
humiliating to him, i would say. and it s something i m really not proud of. it did illustrate a breaking point. during that time, we got a couple shows opening for the rolling stones. and irving was managing joe walsh. joe walsh was a bona fide rock n roll guitar player. so for a couple of those shows just for our encores we put joe walsh in a road box and we come back to do an encore and we d roll the road box out and just like the model jumping out of a cake, we d open the guitar case and there would be joe walsh with his les paul and he d climb out of the box and plug in and we d play rocky mountain way.