Eagles – Hotel California

Best version of the album I've heard from any format, listening to it on the DSD stereo layer. Tonally on point, great bass, full midrange without sounding congested, and just enough highs to make it sparkle. We need more releases like this.

Best version of the album I've heard from any format, listening to it on the DSD stereo layer. Tonally on point, great bass, full midrange without sounding congested, and just enough highs to make it sparkle. We need more releases like this.

My favorite way to listen to this album. Streaming (high quality), vinyl, CD, all sound good but this is miles ahead. The imaging in the surround mix is just incredible. It really showcases your surround channels. I do have a better than average setup but even on budget average systems the surround component is just so well done I can’t imagine wanting to hear it any other way.

This is a review of the Japanese-import SACD version of the album.

In short, it's great. I previously owned the DVD-Audio version of this surround mix but decided to sell it after it went out of print and prices skyrocketed. Unfortunately, I missed having the album in 5.1; fortunately, the SACD version is just terrific.

In fact, it may even be better. The DVD-Audio was amazing, but I actually prefer the slightly softer feel of the SACD. The mix, as far as I know, is identical to the one that was done for DVD-A, but SACDs just seem to have a bit more warmth.

Of course, you don't get the visual extras, which included some nice photos and one of the most attractive DVD-A menus I've ever seen. If your focus is the music, that obviously won't matter to you.

And for those who don't or weren't around ... well, the Eagles were probably at the creative peak on this album. The title track, "New Kid in Town," "Life in the Fast Lane," Victim of Love," "Try and Love Again" and "The Last Resort" all became FM radio rock standards, and in fact were so overplayed in the 1970s and 1980s that some fans (myself included) needed a long break. But there's no denying the talent on display here. Drummer/singer Don Henley was at his swaggering best. Bassist Randy Meisner's songwriting contribution ("Try and Love Again") was the best of his career. Glenn Frey, Henley's most frequent writing partner, was often overshadowed in the band, both instrumentally and vocally, but his wistful vocal on "New Kid in Town" and wicked Clavinet on "Fast Lane" were superb. Finally, the dual leads of guitarists Joe Walsh and Don Felder just shredded everything in their path.

Felder would later be dismissed by Henley and Frey, with the result being a legal mess. Walsh returned to the fold after many years, but my understanding is that, financially, he's never been a full partner. Tim Schmidt took over bass duties for Meisner after this record, playing on "The Long Run."

The latter was a decent album, but it didn't stand up to its predecessor. There were a few great songs ("King of Hollywood," for example) but also a few too many few duds -- "Teenage Jail," the duh-hey "The Greeks Don't Want No Freaks."

"Hotel California," by contrast, is the Eagles signature record. The 5.1 mix isolates the instruments beautifully; on every nearly every song, there is at least one moment that emerges as breathtaking:

1. The separation of the acoustic and electric guitars on the title track, plus Henley's ghostly percussion.

2. Walsh's first organ riff on "New Kid."

3. The opening-note onslaught of the electric guitars on "Fast Lane."

4. Henley's vocal on the final stanza of "Wasted Time"; he sounds both suitably exhausted and engaged.

5. The clarity of the orchestra at the end of "Wasted Time (Reprise)."

6. The ENTIRETY of "Victim of Love." On the runoff track of the original pressing of the album, the careful eye could find this message: "V.O.L. is five-piece live," meaning there were no studio overdubs. The performance of the song was spot-on and crackled with energy.

7. Walsh's battered, nasal but somehow perfectly suitable voice on "Pretty Maids All in a Row."

8. Meisner's entirely unbattered, stratospheric singing on "Try and Love Again."

9. And finally, Frey's glorious but restrained piano on "The Last Resort"; on the 5.1 mix, you can actually hear the hammers striking the strings in one age.

Great album, great mix, and a great look back at one of the landmarks of 1970s rock.

Nice Multichannel mix DSD. Clear and detailed. Pretty bass & dynamic.

This SACD have high detail. Sounds good if you can listen the DSD layer without pcm conversion, unfortunately is too loud! The compression added is noticeable. A little bass boost compared to any other version. Ear fatigue, not pleasant for repeated listenings. I prefer the MFSL vinyl, a lot more relaxed and not compressed.

I wish all rock recordings sounded like this.
As good as it gets.

This sounds absolutely phenomenal. Truly like hearing it for this first time.