{"id":25578,"date":"2008-06-13T09:00:00","date_gmt":"2008-06-13T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/eagles-hotel-california\/"},"modified":"2026-10-16T11:22:55","modified_gmt":"2026-10-16T09:22:55","slug":"eagles-hotel-california","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/eagles-hotel-california\/","title":{"rendered":"Eagles – Hotel California"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Un single de six minutes, enregistr\u00e9 \u00e0 Miami et \u00e0 Los Angeles<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Entre mars et octobre 1976, les Eagles enregistrent leur cinqui\u00e8me album aux Criteria Studios de Miami et au Record Plant de Los Angeles, avec Bill Szymczyk \u00e0 la production. C’est le premier disque avec Joe Walsh, qui a remplac\u00e9 Bernie Leadon et le dernier avec le bassiste fondateur Randy Meisner. La chanson-titre a commenc\u00e9 plus t\u00f4t, chez Don Felder, comme une figure de guitare \u00e0 douze cordes qu’il avait \u00e9tiquet\u00e9e Mexican Reggae<\/em>.<\/p>\n

Felder apporte la cassette au groupe. Don Henley et Glenn Frey \u00e9crivent le texte et la m\u00e9lodie chant\u00e9e par-dessus. Henley prend le chant principal. Ils enregistrent la base plus d’une fois. Un premier passage \u00e0 Miami n’est qu’une forme brute sous ce titre de travail. Un passage suivant est dans une tonalit\u00e9 trop haute ou trop basse, pour la voix de Henley. La prise qu’ils gardent laisse les guitares \u00e9noncer la figure longtemps avant que la voix n’entre, coupe la batterie au milieu, puis rend la fin aux guitares.<\/p>\n

Cette fin prend deux jours \u00e0 Criteria. Felder et Walsh sont dans la r\u00e9gie, de chaque c\u00f4t\u00e9 de Szymczyk, les amplis dans le studio. Felder avait d\u00e9j\u00e0 jou\u00e9 les deux parties sur sa d\u00e9mo, en se r\u00e9pondant \u00e0 lui-m\u00eame pour que cela sonne comme deux guitaristes. \u00c0 Miami, il croit qu’ils vont improviser. Henley les arr\u00eate et dit \u00e0 Felder de jouer ce qui est sur l’ancienne cassette. Felder ne s’en souvient plus. Ils appellent sa gouvernante \u00e0 Malibu, qui approche un t\u00e9l\u00e9phone d’un lecteur de cassettes et Felder recopie la partie. La pochette de l’album est la photo du Beverly Hills Hotel par David Alexander. Asylum sort Hotel California<\/em> le 8 d\u00e9cembre 1976.<\/p>\n

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\n

Hotel California dure six minutes, l’intro en fait une, \u00e7a s’arr\u00eate au milieu sans batterie et il y a deux minutes de solo de guitare \u00e0 la fin. C’est absolument le mauvais format pour un single.<\/p>\n<\/blockquote>\n

(Don Felder)<\/em><\/p>\n

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Henley en veut un single quand m\u00eame. Asylum le sort en f\u00e9vrier 1977. Il atteint la premi\u00e8re place du Billboard Hot 100 en mai et se vend \u00e0 plus d’un million d’exemplaires. Aux Grammy 1978, il remporte le Record of the Year. Le m\u00eame album porte aussi New Kid in Town<\/em> et Life in the Fast Lane<\/em>. Frey dira plus tard que ce disque est le meilleur travail que le groupe ait fait ensemble.<\/p>\n

Henley a d\u00e9crit le texte comme un regard sur l’envers du r\u00eave californien, pas comme le r\u00e9cit d’un h\u00f4tel r\u00e9el. La musique est plus pr\u00e9cise que l’histoire : une longue introduction de guitares, une voix qui garde son calme et deux guitaristes qui finissent les phrases de l’autre parce que l’un d’eux avait d\u00e9j\u00e0 \u00e9crit les deux c\u00f4t\u00e9s sur une cassette, chez lui. L’enregistrement de 1976 est celui qui est rest\u00e9. Les remasters ult\u00e9rieurs n’ont pas chang\u00e9 l’arrangement.<\/p>\n

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