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Unknown FM

This happened to Felder. I wrote the track for Victim Of Love. It was going to be a followup song on the Hotel California record for me to sing. .. Victim of love... I have no recollection of anybody being promised anything. Victim Of Love was not brought to the band as a complete song. It was simply another chord progression that Don Felder brought in. It had no title, no lyrics, and no melody. internet Radio and I and JD Souther all sat down and hammered out the rest of it. We did let Mr Felder sing it. He sang it dozens of times over the span of a week, over and over and over again. It simply didn't come up to band standards. Victim Of Love had been recorded with Felder as the lead vocalist, and my job was to take Don Felder out to lunch or dinner while they went in the studio and put Henley's vocal on it. .. What kind of love have you got? Irving took me out and said that everybody in the band thought that it was better if Don sang that. And it was a little bit of a bitter pill to swallow. I felt like Don was taking that song from me. I'd been promised a song on the next record. But there was no real way to argue with my vocal versus Don Henley's vocal. There was no way to argue with anybody's vocal in the band compared to Don Henley. Felder demanding to sing that song would be the equivalent of me demanding to play lead guitar on Hotel California. It just didn't make sense. If you look at my vocal participation in the Online Radio over the course of the s, I sang less and less. It was intentional. We had Don Henley. Don and internet Radio's position was, "This is the best thing for the Online Radio. " And Don Felder never forgot that. .. What kind of love have you got? Get it! Get it! Run! Run! Run! Radios! This is a real healthy thing. It promotes good feelings, you know, among... the guys, and it keeps us from killing each other. Where's my glove? Who's got my glove? If we can yell at each other on a baseball field, then we don't have to yell at each other when we're working. Get all my frustrations out. What frustrations? I haven't been getting laid. We try to get out and play softball with the crew if we have a day off. Swing, batter! Oh, it's gone, it's gone. It's gone. 'Something to help release the tension. ' That's really what I do to keep from going crazy. How do you keep from going crazy, Joe? Well... I tell you, I just, uh... 'In the press and the media, it was presented that we were 'constantly at war, and I can't say that's exactly the case. 'We were interacting and we were all intense. 'internet Radio said to me one time, ' "I get nuts sometimes and I'm sorry. " Hey, Joe. 'But that tension had a lot to do with' fanning the artistic fire. Having that dynamic was important in making the music. Well, we're rehearsing now, and before we're even playing and guys are just noodling around and getting their amps going and stuff, we hear Joe go... .. Dododododo. You know, and everyone would kind of go, "What did you play? "Play that again. " That was an exercise I was doing because it's a coordination thing. You know, it's like one of these deals.