TOP   APC   PEAK   title   YEAR  
  1   38   3   HOTEL CALIFORNIA   1977  
  2   987   281   THE BOYS OF SUMMER   1984  
  3   1080   140   ONE OF THESE NIGHTS   1975  
  4   1418   527   THE LAST RESORT   1976  
  5   1437   538   NEW KID IN TOWN   1977  
  6   1572   615   DESPERADO   1972  
  7   1963   826   LYIN' EYES   1975  
  8   3117   1345   TAKE IT EASY   1972  
  9   3279   1395   TEQUILA SUNRISE   1973  
  10   7375   3167   PEACEFUL EASY FEELIN'   1972  
  11   12066   3820   PLEASE COME HOME FOR CHRISTMAS   1978  
  12   12338   3035   HEARTACHE TONIGHT   1979  
  13   14416   7264   WITCHY WOMAN   1972  
  14   16489   7734   THE HEAT IS ON   1985  
  15       11016   NEW YORK MINUTE   1989  
  16       3989   BEST OF MY LOVE   1975  
  17       7443   THE LONG RUN   1979  
  18       7445   I CAN'T TELL YOU WHY   1980  
  19       15088  
TAKE IT TO THE LIMIT
  1976  
  20       16152   YOU BELONG TO THE CITY   1985  
                     
                     
  In the hazy heat of early 1970s Los Angeles, when music shaped the minds of a young generation, a band emerged that would do more than write hits—it would create the soundtrack of the American soul. The Eagles were formed in 1971, when Glenn Frey (born November 6, 1948, in Detroit, Michigan) and Don Henley (born July 22, 1947, in Gilmer, Texas) met as backing musicians for Linda Ronstadt. Soon, they decided to go their own way and were joined by Bernie Leadon (born July 19, 1947, in Minneapolis, Minnesota) and Randy Meisner (born March 8, 1946, in Scottsbluff, Nebraska).

Though only in their early twenties, they had a mature musical instinct. Their debut album, Eagles, was released in 1972 and produced three instant classics: “Take It Easy,” an upbeat tune that captured the band’s spirit, “Witchy Woman,” mysterious and sultry, and “Peaceful Easy Feeling,” which highlighted their softer side. Tight vocal harmonies—one of their trademarks—melodic writing, and a unique blend of country, rock, and folk defined their sound.

In 1973, they released Desperado, an album that departed from the light, sunny tone of their debut and embraced a more conceptual approach. Inspired by the romance of the Wild West, it drew parallels between musicians and outlaws. Songs like “Tequila Sunrise” and the title track “Desperado” showed the Eagles were far more than a party band—there was emotion, depth, and literary reflection in their music. Still, commercial success was slow to arrive.

The turning point came with their third album, On the Border, released in 1974. They added Don Felder (born September 21, 1947, in Gainesville, Florida), giving the band a rougher, guitar-driven sound. With tracks like “Already Gone” and “Best of My Love,” they began moving away from their country roots. “Best of My Love,” a heartfelt ballad, became their first number-one hit on the U.S. charts.

Their shift to mainstream rock was completed with the 1975 album One of These Nights. The title track was dark and funky, revealing their experimental side. “Lyin' Eyes” stood out with its bitter, story-driven lyrics about an unhappy marriage, while “Take It to the Limit” highlighted Meisner’s yearning falsetto. Yet behind the success, cracks began to form. Musical tensions, personality clashes, and the pressure of fame started to weigh on them. Bernie Leadon, uncomfortable with the band’s new direction, left in late 1975. He was replaced by Joe Walsh (born November 20, 1947, in Wichita, Kansas), a wilder soul and exceptional guitarist, known for his work with the James Gang.

With Walsh onboard, their sound evolved again. Their next album, Hotel California (1976), became their magnum opus. The title track—a layered, haunting reflection on alienation and excess—grew into an icon of the 1970s. “Hotel California” wasn’t just a pop song; it was a poetic short story that flipped the American Dream upside down. Its legendary guitar solo—played by Felder and Walsh—is among the most recognizable in rock history.

Beyond the title track, the album featured “Life in the Fast Lane,” where Walsh’s sharp riffs and critical lyrics captured the wild LA lifestyle. “New Kid in Town” offered a bittersweet look at fame—its fleeting nature, and the constant presence of someone waiting to take your place. The band was at the peak of its power, though not everything was going smoothly. Randy Meisner, overwhelmed by the pressure and constant touring, left in 1977. He was replaced by Timothy B. Schmit (born October 30, 1947, in Oakland, California), who had previously replaced Meisner in Poco as well.

With Schmit now part of the group, the Eagles worked on what would become their final studio album of their first era: The Long Run (1979). It took three years to complete, slowed down by perfectionism, exhaustion, and internal strain. Still, it produced several big hits: “Heartache Tonight,” raw and energetic, “I Can’t Tell You Why,” a graceful ballad sung by Schmit, and “The Long Run,” a song that captured both the pressure of success and the determination to keep going.

Despite The Long Run’s success, the band was burned out. The magic that had marked their early years seemed lost. In 1980, after a tense tour, they called it quits. The members began solo careers: Henley with “The Boys of Summer,” Frey with “Smuggler’s Blues” and “The Heat Is On,” Felder and Walsh released solo albums, and Schmit worked as a session musician and with Poco. Though each found their own path, fans kept hoping for a reunion.

In an interview, Glenn Frey once said, “We’ll get back together when hell freezes over”—a statement that would later prove unintentionally prophetic. The Eagles were temporarily gone, but their music stayed alive. “Hotel California,” “Desperado,” “Take It Easy”—these songs remained staples on the radio, in movies, at parties. They had become an unforgettable part of American culture.

So the band that had split up in 1980 was back on stage together in 1994—not as a one-night reunion for nostalgia, but as a reborn group with fresh energy. Hell Freezes Over wasn’t just the name of their album; it was a statement, a playful nod to Glenn Frey’s famous words. With original members Glenn Frey, Don Henley, Joe Walsh, Don Felder, and Timothy B. Schmit, they formed a five-piece band again, thrilling audiences with both old classics and new songs. “Get Over It” came out swinging with sharp lyrics; “Love Will Keep Us Alive” touched hearts; and their live performances proved they hadn't lost any vocal or instrumental magic.

The tour was a huge success. Concerts sold out, reviews were glowing, and fans around the world embraced the new music with their memories. But behind the scenes, tensions began to rise again—this time mainly around Don Felder. He got into conflicts over rights and earnings, and in 2001 was dismissed from the band—a painful moment that changed the group's dynamic. Felder’s lawsuit against Frey and Henley dragged on for years, leaving a bitter aftertaste in an otherwise shining history.

Still, the Eagles kept going. In 2003, they returned for a tour without Felder. The rest of the band came back with a clear focus and tight harmonies. By now, they were in their early fifties, but their voices stayed strong and their guitar playing precise. Fans continued to show up—proof that the music of their youth hadn’t aged.

In 2007, nearly thirty years after their last studio album, they released Long Road Out of Eden. A double album filled with introspective lyrics and sharp reflections on politics, consumerism, and the passage of time. “No More Walks in the Wood” opened softly and poetically; “Busy Being Fabulous” offered sarcastic commentary on modern relationships; and the title track “Long Road Out of Eden”—nearly eleven minutes long—was an epic musical journey through the darker corners of the American dream. The album reached number one in several countries, proving that the Eagles were still relevant—not because of nostalgia, but because of their timeless perspective and mature sound.

Their live shows reached a new level of brilliance. Band members took turns with solos, their voices blended like before, and the crowd was treated to performances of “Hotel California,” “Desperado,” “Take It Easy,” and new songs that hit just as hard. In interviews, Henley and Frey shared that even though they were older, the band was now more musically disciplined than ever.

When Glenn Frey passed away on January 18, 2016, at age 67, the music world was in mourning. Frey—co-founder and unmistakable voice behind so many classics—had battled rheumatoid arthritis and pneumonia, but lost the fight. Henley said he couldn’t imagine the Eagles continuing without Frey, and fans feared this might be the final goodbye.

But the band found a way to move forward and honor his legacy. In 2017, Glenn’s son Deacon Frey joined the band, along with country singer Vince Gill. They weren’t chosen to replace Glenn, but to celebrate him. Deacon had an uncanny resemblance to his father—in voice, presence, and heartfelt performances. Gill, with his warm tenor and musical grace, added calm and depth. Together, they gave the Eagles a new layer—a fusion of past and future that reached across generations.

The new lineup went on tour, performing entire albums like Hotel California backed by orchestras and light shows that deepened the mythical atmosphere. “The Last Resort,” “Wasted Time,” “Life in the Fast Lane”—all took on new dimensions, carried by Henley’s voice, Walsh’s unmatched guitar solos, Schmit’s smooth bass lines, and the respectful playing of Deacon and Gill.

What began as four young musicians searching for their sound had grown into a musical monument that spanned generations. Now in their seventies, the band played with calm confidence and deep emotion. Henley, with his signature voice and sharp lyrics, remained the steady heart of the group; Walsh, with his quirky humor and explosive guitar work, brought fire; Schmit was still pure and soulful, offering stability; and Deacon and Gill added respect, color, and freshness.

The Eagles were never just a band—they were the sound of a transitional era, from the vibrant California of the '70s to the reflective America of the 21st century. Their songs are journals—of youth and growth, of fame and introspection. In “Take It to the Limit” you hear ambition, in “Lyin' Eyes” disappointment, and in “Hotel California” the loss of innocence. Their legacy isn’t just a list of hits—it’s a reflection of the American soul: complex, full of contradictions, but always musical.

Today, they’re no longer a trend—they’re timeless. Their concerts celebrate memory and music, and their albums document growth and truth. Though members have passed on and the world has changed, the voice of the Eagles—a blend of life stories—still echoes. As Henley once said: “Our songs are the only things that stay young forever.” A truth that’s confirmed again with every listen.