Chords for Interview with Don Felder of The Eagles
Tempo:
123 bpm
Chords used:
F#
E
D
F#m
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [F#]
[D]
[E] [F#] [G#m]
[A] [D] [E]
[F#] [F#m] [A]
[D] [E]
[F#m]
[F#m] I first saw Elvis Presley on the Ed Sullivan Show, and I saw about 500 young girls screaming
at him, and I realized right then and there that that's what I wanted to do.
But once I got into really [F#] looking at music and understanding music and learning to play
music, I would say my earliest influences were people like B.B.
[N] King, Chet Atkins, people that really had a masterful hand in both blues, country, unique techniques.
Later, obviously, it was people like Jimi Hendrix and Jimmy Page and those kind of people
that had really unique kind of rock [F] and roll styles.
Eric Clapton was a big influence along the way, but my earliest influences were B.B.
[D#] King and Chet Atkins.
Well, I was actually living in Boston working in a studio from nine to six.
I'd get out of that studio, I'd get on a train and go to downtown Cambridge, and I would
just play nylon string guitar in the Holiday Inn while people were eating dinner and ordering
wine like everybody else works at a gig.
And I developed being able to play movie themes, just about anything on that gut string guitar by myself.
Back in the kitchen, I had a fake book, so if somebody asked me for a special song for
their anniversary, I'd go, I'll do this right after I get back from my next break.
Go back in the kitchen, open up the fake book, [F#] learn how to play the song, go back out and
dedicate it to them for their anniversary.
And I'd get a $5 tip.
So it was a great way for me to be able to develop those skills of playing nylon string
guitar and make a few extra bucks at the same time.
Of all the guitars in my collection that I love the most, it's got to be a 59 Les Paul Sunburst.
I just love that guitar when I first picked it up, and I still have it today.
As a matter of fact, it's the one that I used on Hotel California and on many Eagles records,
and I still record with it [D#] today.
I don't tour with it because I'm afraid it'll either be lost or damaged or stolen, but I
do still love the feel of that guitar.
I actually recorded the music for that on a Tiak four-track tape recorder in my one-year-old
daughter's bedroom, which was my temporary demo studio.
When she was awake, I'd go in and write tracks for what was going to become the Hotel California record.
So I had finished about 16 or 17 different song ideas.
One of them became a song called Victim of Love, and the other one became Hotel California.
But I put all those ideas on a cassette, if anybody remembers what a cassette is, gave
copies of it to everybody in the band, and a few days later Don Henley called me and
said, you know, I like that track that sounds kind of like a Mexican reggae.
And it was obviously the only one on that tape that sounded like Hotel California.
So we started talking about the idea of the [G] nobody in the band was from California.
We all drove here from different parts of the country.
And the imagery that we have in our minds of what California is, which is palm trees,
bathing suits, surfers, stars on Hollywood Boulevard, the entertainment business, movie
stars, music business, all of that stuff that worldwide has a concept of what California is.
So Don was brilliant and came up with the concept of Hotel California and finished the
lyrics and that's how that song came about.
The first thing that's the most important for any aspiring musician is you have to love
what you're doing.
Don't think about the money, don't think about the fame, don't think about success.
You have to really love what you're doing and be very passionate about it.
That will drive you, as it did me and everybody else that I know that's successful in the
music business, to become somewhat obsessed with perfecting your art, whether it's writing,
playing, [G#] singing, whatever it is you're doing.
You have to be able to just be obsessed with it and put in the 10,000 hours per se to really
master it to the point where you stand head and [B] shoulders above a lot of people in your business.
So the first thing that you have to really decide is, is this something I really love doing?
If it's not something you really love doing, stop right now and just go watch people in
a show or something.
But if you really truly love it, then you're going to be doing not work, but you're going
to be doing what you love to do.
So to me, that's the key to being successful in the music business.
[N]
[D]
[E] [F#] [G#m]
[A] [D] [E]
[F#] [F#m] [A]
[D] [E]
[F#m]
[F#m] I first saw Elvis Presley on the Ed Sullivan Show, and I saw about 500 young girls screaming
at him, and I realized right then and there that that's what I wanted to do.
But once I got into really [F#] looking at music and understanding music and learning to play
music, I would say my earliest influences were people like B.B.
[N] King, Chet Atkins, people that really had a masterful hand in both blues, country, unique techniques.
Later, obviously, it was people like Jimi Hendrix and Jimmy Page and those kind of people
that had really unique kind of rock [F] and roll styles.
Eric Clapton was a big influence along the way, but my earliest influences were B.B.
[D#] King and Chet Atkins.
Well, I was actually living in Boston working in a studio from nine to six.
I'd get out of that studio, I'd get on a train and go to downtown Cambridge, and I would
just play nylon string guitar in the Holiday Inn while people were eating dinner and ordering
wine like everybody else works at a gig.
And I developed being able to play movie themes, just about anything on that gut string guitar by myself.
Back in the kitchen, I had a fake book, so if somebody asked me for a special song for
their anniversary, I'd go, I'll do this right after I get back from my next break.
Go back in the kitchen, open up the fake book, [F#] learn how to play the song, go back out and
dedicate it to them for their anniversary.
And I'd get a $5 tip.
So it was a great way for me to be able to develop those skills of playing nylon string
guitar and make a few extra bucks at the same time.
Of all the guitars in my collection that I love the most, it's got to be a 59 Les Paul Sunburst.
I just love that guitar when I first picked it up, and I still have it today.
As a matter of fact, it's the one that I used on Hotel California and on many Eagles records,
and I still record with it [D#] today.
I don't tour with it because I'm afraid it'll either be lost or damaged or stolen, but I
do still love the feel of that guitar.
I actually recorded the music for that on a Tiak four-track tape recorder in my one-year-old
daughter's bedroom, which was my temporary demo studio.
When she was awake, I'd go in and write tracks for what was going to become the Hotel California record.
So I had finished about 16 or 17 different song ideas.
One of them became a song called Victim of Love, and the other one became Hotel California.
But I put all those ideas on a cassette, if anybody remembers what a cassette is, gave
copies of it to everybody in the band, and a few days later Don Henley called me and
said, you know, I like that track that sounds kind of like a Mexican reggae.
And it was obviously the only one on that tape that sounded like Hotel California.
So we started talking about the idea of the [G] nobody in the band was from California.
We all drove here from different parts of the country.
And the imagery that we have in our minds of what California is, which is palm trees,
bathing suits, surfers, stars on Hollywood Boulevard, the entertainment business, movie
stars, music business, all of that stuff that worldwide has a concept of what California is.
So Don was brilliant and came up with the concept of Hotel California and finished the
lyrics and that's how that song came about.
The first thing that's the most important for any aspiring musician is you have to love
what you're doing.
Don't think about the money, don't think about the fame, don't think about success.
You have to really love what you're doing and be very passionate about it.
That will drive you, as it did me and everybody else that I know that's successful in the
music business, to become somewhat obsessed with perfecting your art, whether it's writing,
playing, [G#] singing, whatever it is you're doing.
You have to be able to just be obsessed with it and put in the 10,000 hours per se to really
master it to the point where you stand head and [B] shoulders above a lot of people in your business.
So the first thing that you have to really decide is, is this something I really love doing?
If it's not something you really love doing, stop right now and just go watch people in
a show or something.
But if you really truly love it, then you're going to be doing not work, but you're going
to be doing what you love to do.
So to me, that's the key to being successful in the music business.
[N]
Key:
F#
E
D
F#m
A
F#
E
D
_ _ _ [E] _ _ _ _ [F#] _
_ _ _ _ _ _ [D] _ _
_ [E] _ _ _ [F#] _ _ [G#m] _ _
[A] _ _ _ _ [D] _ _ _ [E] _
_ _ _ [F#] _ _ [F#m] _ _ [A] _
_ _ _ [D] _ _ [E] _ _ _
_ _ [F#m] _ _ _ _ _ _
[F#m] _ _ _ I first saw Elvis Presley on the Ed Sullivan Show, and I saw about 500 young girls screaming
at him, and I realized right then and there that that's what I wanted to do.
But once I got into really [F#] looking at music and understanding music and learning to play
music, I would say my earliest influences were people like B.B.
[N] King, Chet Atkins, people that really had a masterful hand in both blues, country, unique techniques.
_ Later, obviously, it was people like Jimi Hendrix and Jimmy Page and those kind of people
that had really unique kind of rock [F] and roll styles.
Eric Clapton was a big influence along the way, but my earliest influences were B.B.
[D#] King and Chet Atkins. _ _
_ Well, I was actually living in Boston working in a studio from nine to six.
I'd get out of _ that studio, I'd get on a train and go to downtown Cambridge, _ and I would
just play nylon string guitar in the Holiday Inn while people were eating dinner and ordering
wine like everybody else works at a gig.
And I developed being able to play movie themes, just about anything on that gut string guitar by myself.
Back in the kitchen, I had a fake book, so if somebody asked me for a special song for
their anniversary, I'd go, I'll do this right after I get back from my next break.
Go back in the kitchen, open up the fake book, [F#] learn how to play the song, go back out and
dedicate it to them for their anniversary.
And I'd get a $5 tip.
So it was a great way for me to be able to develop those skills of playing nylon string
guitar and make a few extra bucks at the same time. _
_ _ _ _ Of all the guitars in my collection that I love the most, it's got to be a 59 Les Paul Sunburst.
I just _ love that guitar when I first picked it up, and I still have it today.
As a matter of fact, it's the one that I used on Hotel California and on many Eagles records,
and I still record with it [D#] today.
I don't tour with it because I'm afraid it'll either be lost or damaged or stolen, _ but I
do still love the feel of that guitar. _ _ _ _
_ I actually recorded the music for that on a Tiak four-track tape recorder in my one-year-old
daughter's bedroom, which was my temporary demo studio.
When she was awake, I'd go in and write tracks for what was going to become the Hotel California record.
_ So I had finished about 16 or 17 different song ideas.
One of them became a song called Victim of Love, and the other one became Hotel California.
But I put all those ideas on a cassette, if anybody remembers what a cassette is, gave
copies of it to everybody in the band, and a few days later Don Henley called me and
said, you know, I like that track that sounds kind of like a Mexican reggae.
And it was obviously the only one on that tape that sounded like Hotel California.
So we started talking about the idea of the [G] nobody in the band was from California.
We all drove here from different parts of the country.
And the imagery that we have in our minds of what California is, which is palm trees,
bathing suits, surfers, stars on Hollywood Boulevard, the entertainment business, movie
stars, music business, all of that stuff that worldwide has a concept of what California is.
So Don was brilliant and came up with the concept of Hotel California and finished the
lyrics and that's how that song came about. _
_ _ _ The first thing that's the most important for any aspiring musician is you have to love
what you're doing.
Don't think about the money, don't think about the fame, don't think about success.
You have to really love what you're doing and be very passionate about it.
That will drive you, as it did me and everybody else that I know that's successful in the
music business, to become somewhat obsessed with _ perfecting your art, whether it's writing,
playing, [G#] singing, whatever it is you're doing.
You have to be able to just be obsessed with it and put in the 10,000 hours per se to really
master it to the point where you stand head and [B] shoulders above a lot of people in your business.
So the first thing that you have to really decide is, is this something I really love doing?
If it's not something you really love doing, stop right now and just go watch people in
a show or something.
But if you really truly love it, then you're going to be doing not work, but you're going
to be doing what you love to do.
So to me, that's the key to being successful in the music business. _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ [D] _ _
_ [E] _ _ _ [F#] _ _ [G#m] _ _
[A] _ _ _ _ [D] _ _ _ [E] _
_ _ _ [F#] _ _ [F#m] _ _ [A] _
_ _ _ [D] _ _ [E] _ _ _
_ _ [F#m] _ _ _ _ _ _
[F#m] _ _ _ I first saw Elvis Presley on the Ed Sullivan Show, and I saw about 500 young girls screaming
at him, and I realized right then and there that that's what I wanted to do.
But once I got into really [F#] looking at music and understanding music and learning to play
music, I would say my earliest influences were people like B.B.
[N] King, Chet Atkins, people that really had a masterful hand in both blues, country, unique techniques.
_ Later, obviously, it was people like Jimi Hendrix and Jimmy Page and those kind of people
that had really unique kind of rock [F] and roll styles.
Eric Clapton was a big influence along the way, but my earliest influences were B.B.
[D#] King and Chet Atkins. _ _
_ Well, I was actually living in Boston working in a studio from nine to six.
I'd get out of _ that studio, I'd get on a train and go to downtown Cambridge, _ and I would
just play nylon string guitar in the Holiday Inn while people were eating dinner and ordering
wine like everybody else works at a gig.
And I developed being able to play movie themes, just about anything on that gut string guitar by myself.
Back in the kitchen, I had a fake book, so if somebody asked me for a special song for
their anniversary, I'd go, I'll do this right after I get back from my next break.
Go back in the kitchen, open up the fake book, [F#] learn how to play the song, go back out and
dedicate it to them for their anniversary.
And I'd get a $5 tip.
So it was a great way for me to be able to develop those skills of playing nylon string
guitar and make a few extra bucks at the same time. _
_ _ _ _ Of all the guitars in my collection that I love the most, it's got to be a 59 Les Paul Sunburst.
I just _ love that guitar when I first picked it up, and I still have it today.
As a matter of fact, it's the one that I used on Hotel California and on many Eagles records,
and I still record with it [D#] today.
I don't tour with it because I'm afraid it'll either be lost or damaged or stolen, _ but I
do still love the feel of that guitar. _ _ _ _
_ I actually recorded the music for that on a Tiak four-track tape recorder in my one-year-old
daughter's bedroom, which was my temporary demo studio.
When she was awake, I'd go in and write tracks for what was going to become the Hotel California record.
_ So I had finished about 16 or 17 different song ideas.
One of them became a song called Victim of Love, and the other one became Hotel California.
But I put all those ideas on a cassette, if anybody remembers what a cassette is, gave
copies of it to everybody in the band, and a few days later Don Henley called me and
said, you know, I like that track that sounds kind of like a Mexican reggae.
And it was obviously the only one on that tape that sounded like Hotel California.
So we started talking about the idea of the [G] nobody in the band was from California.
We all drove here from different parts of the country.
And the imagery that we have in our minds of what California is, which is palm trees,
bathing suits, surfers, stars on Hollywood Boulevard, the entertainment business, movie
stars, music business, all of that stuff that worldwide has a concept of what California is.
So Don was brilliant and came up with the concept of Hotel California and finished the
lyrics and that's how that song came about. _
_ _ _ The first thing that's the most important for any aspiring musician is you have to love
what you're doing.
Don't think about the money, don't think about the fame, don't think about success.
You have to really love what you're doing and be very passionate about it.
That will drive you, as it did me and everybody else that I know that's successful in the
music business, to become somewhat obsessed with _ perfecting your art, whether it's writing,
playing, [G#] singing, whatever it is you're doing.
You have to be able to just be obsessed with it and put in the 10,000 hours per se to really
master it to the point where you stand head and [B] shoulders above a lot of people in your business.
So the first thing that you have to really decide is, is this something I really love doing?
If it's not something you really love doing, stop right now and just go watch people in
a show or something.
But if you really truly love it, then you're going to be doing not work, but you're going
to be doing what you love to do.
So to me, that's the key to being successful in the music business. _ _ _ _
_ _ _ _ _ _ _ [N] _