I’ve saved the most controversial of my bad songs for last.
I suspect more people would put The Eagles’ ‘Hotel California’ on a “best” list than a “worst” one. No doubt, this song (and the album from which it comes) is considered a classic by most people.
It’s not my fault they’re all wrong.
I dislike The Eagles in general, and this song specifically, for reasons I can’t effectively articulate. Maybe it’s the weird Jamaican vibe, or Don Henley’s clipped, tinny vocals. Maybe it’s the oh-so-deep and therefore oh-so-silly lyrics.
But I think it’s just that I don’t like The Eagles. And if you don’t like The Eagles, you can’t like their signature song, right?
Warm smell of colitas, rising up through the air
Up ahead in the distance, I saw a shimmering light
My head grew heavy and my sight grew dim
I had to stop for the night.
There she stood in the doorway;
I heard the mission bell
And I was thinking to myself
‘This could be heaven or this could be Hell’
Then she lit up a candle and she showed me the way
There were voices down the corridor,
I thought I heard them say
Welcome to the Hotel California
Such a lovely place (such a lovely place)
Such a lovely face.
Plenty of room at the Hotel California
Any time of year (any time of year) you can find it here
Her mind is Tiffany-twisted, she got the Mercedes bends
She got a lot of pretty, pretty boys, that she calls friends
How they dance in the courtyard, sweet summer sweat
Some dance to remember, some dance to forget
So I called up the Captain,
‘Please bring me my wine’
He said, ‘we haven’t had that spirit here since nineteen sixty-nine’
And still those voices are calling from far away,
Wake you up in the middle of the night
Just to hear them say”
Welcome to the Hotel California
Such a lovely place (such a lovely place)
Such a lovely face.
They livin’ it up at the Hotel California
What a nice surprise (what a nice surprise), bring your alibis
Mirrors on the ceiling,
The pink champagne on ice
And she said, ‘we are all just prisoners here, of our own device’
And in the master’s chambers,
They gathered for the feast
They stab it with their steely knives,
But they just can’t kill the beast
Last thing I remember, I was
Running for the door
I had to find the passage back to the place I was before
‘Relax’ said the night man,
‘We are programmed to receive.
You can check out any time you like,
But you can never leave!’
Meet Me In Montauk 
I knew this was coming, and all I can say is that you are bat shit crazy on this one.
I don’t love everything the Eagles have done, particularly the songs done by Glen Frey, but I like or love those done by Henley and Joe Walsh.
“Hotel California” well deserves its lauded place among rock’s greatest songs. The lyrics (not so terribly deep, but far from silly) work as a perfect metaphor for the debaucherous, hedonistic lifestyle of the 70’s emanating from California. Arguably, the metaphor still holds up to some extent four decades later.
And the music! Oh, the music! Highlighted by one of the greatest, most recognizable dual guitar solos of all time.
You say you don’t care for Henley’s voice? Er, okay…but this from the man who actually likes voices such as Rufus Wainwright and Morrissey?
I have nothing more to say except, good day to you sir. Good day!
Wow! You have taken on an icon. I like the narrative poetry of the song, the music and don’t mind the vocals. I have always found it a little monotonous in the refrain. I like the fact that your musical taste is not mainstream. I like Dana’s critique too. After that I am out of ideas. Very plucky of you to take this on.
I do like Henley’s voice generally, but not on this song.
It’s always fun to rip apart that which is loved by all, I suppose. Like the
Golden Raspberry, which aims to “award” the worst film/actor/actress of each year, the fun comes in choosing something unexpected rather than just heaping on hatred for something we all can agree is awful (“Accidental Racist” anyone?!)
So… I appreciate the reason you chose this song, though I agree with Dana that you’re stubbornly and intentionally choosing to overlook what makes this song so great. And how you could dislike Henley’s voice is beyond me.
That’s a silly comment (the one about stubbornly and intentionally overlooking the song’s greatness)! It assumes that the song is objectively great, which it isn’t. No song is.
Is Dana stubbornly and intentionally ignoring what makes U2 or The Smiths so great? Or does he just not like them?
In response to your question, I recognize and understand why U2 and the Smiths are considered great by critics. In many respects, however, it is the exact quality appreciated by those critics –the making of “big” important songs, the anthem nature of the music, the arrogance and hubris of the artists’ personality (particularly to the extent it emanates through their songs, though probably described by critics as self-confidence and assuredness) for which I do not care.
And, yes, it also doesn’t help that I don’t really like either of their voices, particularly Morrissey’s–and not just on one song or one version of a song, but any song.
You like Henley’s voice generally, but don’t like it on the studio recording of “Hotel California?” Well, then, for God’s sake, man! Find a live or alternate version, but to condemn the song itself? Just absurd!
I like Henley’s voice on ‘Desperado,’ ‘The Boys of Summer,’ ‘Heart of the Matter’ and ‘The End of the Innocence,’ to name a few. I don’t like it on ‘Little Tin God,’ ‘All She Wants to Do is Dance’ or, yes, ‘Hotel California.’ I guess it depends on the quality of the song.
Your recognizing why critics think something is great doesn’t mean you recognize that it is great, right?
I was wondering whether Clay was going to poke a hornets nest by listing a monster hit of some sort. I am an Eagle fan, mostly Henley’s stuff, but I do find “Hotel California” extremely overplayed and perhaps over-lauded. That said, I think the guitar work is flawless, This week’s thread has been very enjoyable … I applaud all who got involved. It seems to me when one makes lists of favorites, comments are usually calm and amenable … but when one makes lists of “non-favorites” the comments can get quite passionate. Many years ago, in the U.K. music magazine “Uncut”, there was a monthly article called “The Sacred Cow” whereupon the author would scathingly rip apart famous musicians like McCartney, Elton John, Neil Young, Sting etc. I always thought that was a very interesting premise, it gets people riled up and passionate to defend their heroes. Well done all. What’s next?
Clay, I think you are taking issue with the quality of the song, not the voice. His voice is not different on “Boys of Summer” than it is on “All She Wants Do Is Dance.” You just like “Summer” better than “Dance.” I’m okay with “Dance,” but I would agree that “Summer” is a better song for reasons that go beyond the quality of the voice.
To me, here’s the test as to whether its the voice or the song for “Hotel California” What do you think of this version?
Nope, don’t like this version either. It’s the song.
But I think a distinction can be made between a singer’s voice and his performance of a given song.
Maybe. I don’t like Dylan’s vocals in “Lay Lady Lay,” but he was clearly trying to sing differently on that song/album. Can you think of any other examples of a singer whose voice you generally like, but don’t like in a particular song?
I’d say Elvis Costello in some of his more strident performances — ‘20% Amnesia’ and ‘Swine,’ for example.
Yeah, maybe. Though I still think even there it is as much about the song quality as the singing.
To your point, however, most of the songs you cited that you like from Henley are a bit slower/mid-tempo and sung in a generally lower or at least more mellow way (“Desperado,” “Heart of the Matter” and “End of the Innocence” as compared to “Hotel California” (at least the chorus, which you seem to find most objectionable and “All She Wants to Do is Dance”) And, obviously, the Costello songs you name are him at his most gruff voice.