Glenn Frey

小簡(jiǎn)介
Glenn Frey全名Glenn Lewis Frey。身兼歌手、詞人和演員，擅長(zhǎng)吉他、貝斯、鍵盤(pán)和口琴。生于密西根州的汽車工業(yè)中心底特律，曾是70年代美國(guó)最偉大的樂(lè)隊(duì)Eagles（老鷹樂(lè)隊(duì)）的核心成員及主唱之一。
Glenn Frey是老鷹樂(lè)隊(duì) The Eagles的創(chuàng)立成員。Glenn Frey 在The Eagles里負(fù)責(zé)鋼琴及鍵盤(pán)，并且與Don Henley一起擔(dān)任主唱。老鷹合唱團(tuán)的特色是有著整齊優(yōu)美的和聲。這些和聲編排大多是Frey的功勞（尤其是樂(lè)團(tuán)成立初期），因此團(tuán)員們給了他一個(gè)外號(hào)叫“The Lone Arranger”（西部片和卡通《獨(dú)行俠》的諧音）。Frey 主唱了一些Eagles的熱門(mén)歌曲，比如 "Take It Easy", "Peaceful Easy Feeling", "Tequila Sunrise", "Already Gone", "Lyin' Eyes", "New Kid in Town", "Heartache Tonight"。
老鷹樂(lè)隊(duì)?wèi)?yīng)該說(shuō)是天才中的天才，說(shuō)它是美國(guó)最偉大的搖滾樂(lè)團(tuán)，一點(diǎn)也不為過(guò)。他們的專輯的銷量超過(guò)了其他所有的美國(guó)樂(lè)隊(duì)。迄今為止,他們專輯的銷量在全球超過(guò)三億八千萬(wàn)，贏得了四次最佳專輯，五次最佳單曲和四次葛萊美大獎(jiǎng)。沒(méi)有聽(tīng)過(guò)老鷹樂(lè)隊(duì)的歌就不可能懂得什么是真正的搖滾樂(lè)！ 
1971年7月唐亨利（Don Henley）、伯尼利登（Bernie Leadon）、蘭迪麥斯納（Randy Meisner）、格倫弗雷（Glenn Frey）開(kāi)始了實(shí)現(xiàn)他們夢(mèng)想的征程。這群1947年、1948年出生的二十來(lái)歲的小伙子一出手便令大眾刮目相看，四個(gè)人都擅長(zhǎng)寫(xiě)詞譜曲，都擅長(zhǎng)演唱，因此在1972年樂(lè)隊(duì)首張單曲《Take It Easy》便遍掃全美，排行榜第十二。同年推出的與樂(lè)隊(duì)同名的專輯在“專輯銷量榜”上排名第二十二。這一張專輯有著典型的鄉(xiāng)村風(fēng)格，是一張崇尚自然、歌頌自然的作品。吉他、班卓琴、滑弦琴相互交映，呈現(xiàn)出濃厚的鄉(xiāng)村搖滾的氣息。而在這張專輯的幕后有著一位日后鼎鼎大名的女歌手琳達(dá)倫絲苔特（Linda Ronstadt)。這位女歌手不但在女性世界是獨(dú)一無(wú)二的，而且在某些方面與男性歌手相比也毫不遜色。她的歌路幾乎涉及所有的搖滾樂(lè)種：鄉(xiāng)村、民謠、游行、爵士等等，如果有一天她玩起重金屬，我想廣大樂(lè)迷也不會(huì)驚奇，因?yàn)樗信c生俱來(lái)的歌喉：唱抒情歌曲時(shí)哀怨柔情，唱搖滾時(shí)激昂如虹。雄鷹樂(lè)隊(duì)在一片叫好聲中推出了他們的第二張專輯《Desperado》，這是一張概念唱片。整張專輯大概講述這樣一個(gè)故事：1880年的美國(guó)西部，21歲的杜林達(dá)頓（Dooling Dalton)由于誤人歧途而觸犯法律踏上吉兇未卜的征程。
1974年由于唐弗爾德（Don Felder）的加入，以及唱片制作人的更替，樂(lè)隊(duì)的風(fēng)格有些偏重于搖滾，這一年推出的第三張專輯《邊緣》（On The Border)既體現(xiàn)出此特點(diǎn)。同年的夏季，雄鷹樂(lè)隊(duì)單曲《Best Of My Love》榮登排行榜冠軍之位。在1974年，“雄鷹”樂(lè)隊(duì)接連參加了幾個(gè)大規(guī)模的演出，尤其是四月在樂(lè)隊(duì)的發(fā)祥地加州舉辦的“加洲搖滾會(huì)串”藝術(shù)節(jié)上，在近二十萬(wàn)觀眾注目下，樂(lè)隊(duì)樹(shù)立起一個(gè)嶄新的形象，成為西海岸音樂(lè)的主力軍。此時(shí)的雄鷹樂(lè)隊(duì)已完成了由早期的鄉(xiāng)村搖滾向搖滾音樂(lè)的蛻變過(guò)程。1975年樂(lè)隊(duì)推出的第四張專輯《這些夜晚之一》（One Of These Nights)榮登排行榜冠軍。唐弗爾德（Don Felder）在此專輯里有出色的表現(xiàn)，尤其是那首標(biāo)題曲。在該曲中，唐亨利的鼓頗有加重的趨勢(shì)，而唐弗爾德（Don Felder）的吉他更帶有炫技的色彩，在樂(lè)曲兩分多鐘時(shí)的一段吉他過(guò)門(mén)中充分體現(xiàn)出來(lái)。在這張專輯里與一首旋律極其流暢的中板歌曲《說(shuō)謊的眼睛》于一九七五年獲得葛萊美最佳流行歌曲獎(jiǎng).樂(lè)隊(duì)的元老伯尼利登于1975年離隊(duì)后，喬沃什（Joe Walsh）加入，這樣樂(lè)隊(duì)風(fēng)格更接近純搖滾.1976年是雄鷹樂(lè)隊(duì)最為輝煌的一年，年底樂(lè)隊(duì)推出的第五張專輯《加洲旅店》（《Hotel California》）莆一問(wèn)世便贏得了一片叫好聲，這張專輯被譽(yù)為七十年代美國(guó)最重要的專輯。在這張專輯里雄鷹以一種極為頹廢曖昧的方式反映了70年代美國(guó)那種世風(fēng)日下，混沌與散漫的社會(huì)風(fēng)氣。在這首標(biāo)題歌曲中，唐弗爾德（Don Felder）和喬沃什（Joe Walsh）運(yùn)用嫻熟的吉他技巧，搭配出雙吉他的神奇效果，而唐亨利（Don Henley）的嗓音顯得異常嘶啞。歌詞本身也很玄妙，充斥著一種超現(xiàn)實(shí)的意境，更似一個(gè)人的夢(mèng)中囈語(yǔ)。大意是說(shuō)走了很長(zhǎng)很長(zhǎng)路的旅客在落日時(shí)分見(jiàn)到了這加洲旅店，而這旅店十分熱情地接待所有客人，只是這里有進(jìn)無(wú)出，你在任何時(shí)間都可以去結(jié)帳，但你卻出不了門(mén)。在這張專輯里的另一曲子《New Kid In Town》（《鎮(zhèn)里的新小伙兒》）雙雙登上1977年葛萊美最佳錄音獎(jiǎng)和最佳聲樂(lè)改編獎(jiǎng)?！都又蘼玫辍罚ā禜otel California》）可以說(shuō)是雄鷹樂(lè)隊(duì)在最佳狀態(tài)最佳組合時(shí)完成的曠世杰作。專輯混亂而低調(diào)內(nèi)容使他成為70年代社會(huì)問(wèn)題的代表作，銷量在一千五百萬(wàn)張以上。
終于，樂(lè)隊(duì)的路走到了盡頭，一九七九年推出的第六張專輯《The Long Run》成為樂(lè)隊(duì)的最后一張專輯。這張專輯一共制作了18個(gè)月，在隊(duì)員的一片爭(zhēng)吵聲中完成。雖然節(jié)奏感非常強(qiáng)烈的單曲“Heartache Tonight”非常流行，樂(lè)迷的捧場(chǎng)使她遠(yuǎn)超出白金蝶的銷量，但不可否認(rèn)，樂(lè)隊(duì)的顛峰狀態(tài)已經(jīng)過(guò)去，專輯的整體水平有所下降。不過(guò)值得指出的是，該專輯的一首抒情歌《我無(wú)法告訴你為什么》（《I CAN'T TELL YOU WHY>)是由一位新人提摩西蘇密特（Timothy B.Schmit)與格倫弗雷（Glenn Frey）合作演唱的。
終于自一九八一年后樂(lè)隊(duì)再也沒(méi)有新曲推出，在跨入八十年代門(mén)檻時(shí)，這個(gè)名噪一時(shí)的雄鷹折翼斷翅，煙消云散。解散后的雄鷹成員各自尋找自己的歸宿，格倫弗雷（Glenn Frey）于1982年推出解散后的個(gè)人專輯，喬沃什喬沃什（Joe Walsh）于1981年，伯尼利登（Bernie Leadon）于1982年，蘭迪麥納斯（Randy Meisner）于1980年和1982年都各自推出個(gè)人專輯，雖也獲得好評(píng)，但遠(yuǎn)不及樂(lè)隊(duì)成功之時(shí)。而反省后的唐亨利（Don Henley）東山再起于1983年推出的專輯《骯臟的洗衣店》備受好評(píng)，銷量相當(dāng)不錯(cuò)。在進(jìn)入九十年代時(shí)，唐亨利（Don Henley）又以一曲《告別純真》（The enf of the innocence)獲1990年葛萊美最佳搖滾男歌手的桂冠。如今的唐亨（Don Henley）利渾身透出成熟的男子特有的深沉和持重，堅(jiān)持的而略含幾分悲涼的沙啞的嗓音，略得更加樸實(shí)自然。1993年他和女歌手帕蒂史密斯合唱一曲《僅有愛(ài)情是不夠的》（Sometime Love Just Isn`t Enough)又獲得一片喝彩，因?yàn)檫@不是一首簡(jiǎn)單的情歌，而是一首從社會(huì)的角度審視愛(ài)情，探討婚姻失敗問(wèn)題的作品。在進(jìn)入1994年時(shí)，媒介就開(kāi)始紛紛報(bào)道雄鷹樂(lè)隊(duì)將重組。消息傳來(lái)樂(lè)迷們一個(gè)個(gè)都興奮異常，這意味著他們又將目睹這個(gè)在70年代名噪一時(shí)的超級(jí)樂(lè)隊(duì)的風(fēng)采。有道是合久必分，分久必合，果然，樂(lè)隊(duì)于1994年又宣告東山再起，幾位元老再次重聚。重組后的雄鷹立刻馬不停蹄地開(kāi)始全美巡回演出，并于該年推出一張新歌+精選《煉獄之上》（Hell Freeze Over ).專輯精選部分是演唱會(huì)的實(shí)況，鼎沸的人群、流暢的旋律又一次在耳邊回蕩。到底“姜是老的辣”，在演唱會(huì)上唐亨利（Don Henley）身著一件格子絨襯衣，在萬(wàn)眾矚目下又唱起那首膾炙人口的《加洲旅店》，而唐弗爾德（Don Felder）和喬沃什（Joe Walsh）的吉他技藝更件爐火純青，開(kāi)篇大段的吉他華彩奏得暢快淋漓，重重的鼓點(diǎn)仿佛擊在人們的心房，亨利沙亞的嗓音堅(jiān)實(shí)而富磁性，而樂(lè)隊(duì)成員鬢際的白發(fā)尤見(jiàn)蒼涼。這支超級(jí)樂(lè)隊(duì)又一次踏上未知吉兇的漫漫征程。在這個(gè)喜新厭舊的時(shí)代，雄鷹還能象早先那樣任意在天空翱翔嗎？我們拭目以待。
Eagles 作品記錄
1972年：推出第一張專輯《Eagles》（《雄鷹》）,其中包括了三支美國(guó)排行榜熱門(mén)金曲《Take it Easy》（《別緊張》）,《Witchy Woman》（《女巫》）和《Peaceful Easy Feeling》（《和平容易感覺(jué)到》）。
1974年：推出《On The Border》（《在邊境線上》）,其中《The Best Of My Love》成為他們第一支銷量達(dá)百萬(wàn)的排行榜冠軍單曲。
1975年：樂(lè)隊(duì)推出的《One Of These Nights》（《其中一個(gè)夜晚》）連續(xù)五周占據(jù)榜首位置。以及集錦《Their Greatest Hitsl971-1975》。
1976年2月：樂(lè)隊(duì)以《撒謊的眼》榮獲格萊美獎(jiǎng)，被授予最佳流行成就獎(jiǎng)。同年,他們又推出另一張專輯《Hotel California》（《加州賓館》）,可以說(shuō)是Eagles在最佳狀態(tài)和組合下完成的曠世之作。
1979年：出版的專輯《The Long Run》也倍受樂(lè)迷的青睞，高居榜首長(zhǎng)達(dá)8周之久。其中的單曲《今夜心痛》排行第8位。
1980年：推出《Eagles Live》成為又一張白金銷量專輯。就在這一年,這群偉大的鷹各自單飛。
1994年：在鷹迷們的翹首期待中,這支解散已14年的經(jīng)典班霸再次組合。發(fā)表新專輯《The Very Best Of The Eagles》。
2000年：出版《Selected Works 1972-1999》。
摘自藝術(shù)中國(guó) 
by Bruce Eder & Jason Ankeny
Glenn Frey is best known as one of the two most popular and longest tenured members (along with Don Henley) of the Eagles, and as an intermittently successful solo artist in the decades since that band ceased being a full-time working group. Although associated closely with the Eagles brand of Southern California-spawned laid-back country-rock, Freys origins were a long way away from either the place or the music that his work came to epitomize. He was born in Detroit in 1948, and grew up in Royal Oak, MI. Music was just one of many interests that drove him during childhood — a precocious youth, he was an avid reader and, despite his relatively small stature, a serious athlete in elementary and junior high school. He also took piano lessons from age five — at the insistence of his parents — until just before his teen years. His interests in high school included such advanced and outre subjects for the time as the writings of Jack Kerouac and the films and image of actor James Dean, who died when Frey was seven years old; they reflected a rebellious and aggressive nature that also manifested itself in an attraction to rock & roll. The music had come along during Freys childhood — he was seven when Rock Around the Clock shot to number one on the charts, and eight when Elvis Presley became a national phenomenon. In contrast to his future bandmate Timothy B. Schmit, Frey was never a would-be folkie, but jumped right into rock & roll, especially after he saw — at age 16 — how girls reacted to rock stars on stage.He took up the guitar in earnest after seeing the Beatles perform in 1964, and passed through several amateur and semi-professional Detroit-based bands in his late teens, including the Mushrooms, who became a major local attraction on the local television show Robin Seymours Swinging Time, and appeared regularly at a teen club called The Hideout, as well as cutting a single, Such a Lovely Child, for Hideout Records (produced by a somewhat older, more advanced local rocker named Bob Seger). The Mushrooms split soon after, and Frey joined the folk-rock group the Four of Us; he subsequently formed two more Detroit teen bands, the Subterraneans and the Heavy Metal Kids. Frey attended college somewhat reluctantly, preferring to devote most of his energy to playing music, chasing girls, and smoking marijuana — in the course of his early career, he did manage to sit in on a couple of sessions with Seger, and at age 19 played acoustic guitar and sang backup on Ramblin Gamblin Man from the latters Capitol Records debut in 1968.Frey eventually decided, however, that Detroit wasnt the place for him to launch a serious career in rock music and headed west to California. He was fortunate enough to make contact with John David Souther, a fellow Detroit transplant who was already a promising practitioner of what would soon be known as country-rock. He was dating Freys girlfriends sister, and he soon showed Frey how to play and sing country music, which was increasingly making itself felt in the rock music coming out of the Golden State. The two tried composing as a team, even landing a publishing contract that helped keep them going during those lean late-60s years, splitting 90 dollars a week between them — the publishing deal fell apart through their inability to write the kind of commercial material that was being sought, but in the course of writing together, they also developed a coherent sound that soon became very attractive, and something they could build on. Thus was born Longbranch Pennywhistle, a country-rock group whose timing was a little premature on a commercial level but not too soon to be signed to Amos Records, a small Los Angeles-based label. The groups self-titled album, which included Doug Kershaw, as well as Ry Cooder and the renowned L.A. sessionmen James Burton on guitar, Larry Knechtel on piano, and Joe Osborn on bass, never got the promotion it would have taken to make it a success. Souther and Frey kept making the rounds of the folk clubs in the city and the surrounding area, crossing paths with the likes of Jackson Browne — then an ex-member of the Nitty Gritty Dirt Band with some great songs to his credit as a composer — and Linda Ronstadt. Eventually, Frey, Souther, and Browne ended up sharing a house together, and the two of them sang on Brownes demo of Jamaica Say You Will. Browne was already being managed by David Geffen, who, at Brownes urging, also became Freys informal music business advisor. Meanwhile, he and Souther were forced to disband their own group in order to get out of the contract with Amos Records, which seemed like a dead end, and both spent a fair amount of time around The Troubadour, the club that constituted the folk-rock mecca for the West Coast. Frey wanted to try and form a new group, but was persuaded instead to consider going on the road backing Linda Ronstadt, who was about to tour in support of the release of her debut Asylum Records album, Silk Purse. Frey also met Don Henley, who was in a band called Shiloh — which was also signed to Amos Records and also getting nowhere fast — and persuaded him, in the course of their mutual commiserations, to join the band working behind Ronstadt. The ranks of the band, formed in the summer of 1971, eventually came to include Frey and Henley, and Randy Meisner, whod lately played with Rick Nelson on-stage and on the Rudy the Fifth album, and ex-Flying Burrito Brothers member Bernie Leadon. Within a short time, however, theyd made plans to separate themselves from Ronstadt and go off on their own. After a cold audition — with no advance demo tape — in front of Geffen, they had a manager and, after getting Frey out of his contract with Amos Records, they went to Colorado for some time off. There they worked out who they were and what their sound would be, picked up their first producer, Glyn Johns, took on the name the Eagles, and were signed to Geffens newly formed Asylum Records.Although all four members of the Eagles composed songs and sang, Frey and Henley quickly emerged as the two with the most commercial musical ears, Frey as co-author (with Jackson Browne) and lead singer on their first single, Take It Easy, which reached number 12 on the charts in the summer of 1972, and Henley as co-author (with Leadon) of Witchy Woman, which got to number nine that fall. Although the group had succeeded in attracting generally favorable press attention and reasonably good sales, with one Top Ten single and a debut album that peaked at number 22 in a seven-week run on the charts, Frey and Henley between them decided that this was not enough, and that their next album would have to be something more than just a body of good tunes and a couple of AM-friendly cuts — between them, they turned what became Desperado into a very ambitious (for the time) thematic-based concept album, which was something relatively unusual in country-rock. Frey and Henley also co-wrote the title track, which was perhaps the finest album track in the groups history (although its arguable that every track on Desperado that didnt make it onto a 45 fits into that category). Although the concept caught Leadon and Meisner by surprise, especially as songwriters, they quickly came aboard and Desperado ended up being one of the finest records ever to come out of the 70s country-rock scene.And it was a measure of the unity that the band still felt at this time that, when Desperado stalled on the charts just outside of the Top 40 and neither of its two singles did better than number 59 — mostly owing to disorganization of Asylum Records at the time, which was being sold and merged with Elektra Records — all of the members took this as a professional affront. Freys singing also improved markedly between the first two albums, and he was now effectively, with Henley, the one of two co-equal focal points in the band. By the time of their third album, a fifth Eagle had joined in the guise of Don Felder, whose guitar sound toughened up the bands overall sound, and especially their harder rock & roll side. By the time he joined, for the On the Border album, which marked a commercial comeback, peaking at number 17, the band had split into two divisions, with Frey and Henley more or less the stable core, while Leadon — who wasnt entirely happy over Felders guitar being added to their sound, when he wanted to play more straight-ahead electric guitar — and Meisner seemed to be part of a less cohesive unit just outside of that core. By the time they toured in support of their fourth album, One of These Nights, Leadon was on his way out, to be replaced by Joe Walsh, and Meisner followed out the door on the Hotel California tour. By that time, Frey and Henley (in coordination with their manager, Irving Azoff, a protégé of Geffens whod taken the latters place when he became too wired up in running his record label), as co-authors of the string of hit singles that included One of These Nights, Lyin Eyes, Take It to the Limit, Hotel California, New Kid in Town, Life in the Fast Lane, The Long Run, I Cant Tell You Why, and Heartache Tonight, and one or the other of them on lead vocals for all but two of those songs, were more or less running things. Walsh, Felder, and new member Timothy B. Schmit stayed along for the ride that continued through 1982, when Frey and Henley, in conjunction with the others — all of whom were now set up financially better than they ever could have dreamed, following a string of arena- and stadium-scale tours, hit singles, and three more multi-million-selling albums — put the group on hiatus. Whats more, the Eagles catalog continued to sell for decades after, on LP and CD, in multiple editions of the latter.Frey began a solo career in 1982 with No Fun Aloud, notching a pair of Top 40 hits with I Found Somebody and The One You Love. He also embarked on an unexpected acting career in the wake of 1984s The Allnighter, which spawned the hit Smugglers Blues, a song that subsequently inspired an episode of the hit TV series Miami Vice on which Frey guest starred; his acting work later continued in an extended guest role on the acclaimed Wiseguy as well as a starring turn in 1993s South of Sunset, which as a result of its premiere episodes 6.1 Nielsen rating — believed to be the lowest fall debut in major network history — was canceled after only one episode.Freys solo musical career reached its peak in 1985 with the Top Ten smash The Heat Is On, a single from the soundtrack to the Eddie Murphy comedy Beverly Hills Cop. Freys contribution to the Miami Vice soundtrack, You Belong to the City, was also a blockbuster, narrowly missing the top of the charts. However, his next solo LP, Soul Searchin, did not follow until 1988, notching only one Top 40 entry, True Love; Strange Weather, issued four years later, missed the charts altogether. After issuing Glenn Frey Live in 1993, he joined the reunited Eagles on their phenomenally successful Hell Freezes Over tour, with a live album of the same name reaching number one a year later. Since then, his releases have consisted of compilations of earlier solo work. In the late 90s, Frey co-founded his own label, Mission Records, with attorney Peter Lopez.