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to the secret spot of all the old time dopers, way out in the back overlooking Palm Springs; had this old barber's chair way at the top of the mountain, you could sit there and it was great. We took Henry and Gary and the four of us, carried some guitars and all the camera equipment in the middle of the night, stumbled up this fucking mountain. We made a fire and a camp and began making peyote tea and trying to eat peyote without throwing up—from, even more, the combination of no sleep, alcohol and a lot of joints. And the peyote was starting to come on and keep us awake; gives you that acid-like speed effect, plus, you know—those pictures are well stoned.

We stayed all day, until that night, and drove back after dark. I remember driving out of it, and Gary and Henry, who were in the jeep while I was driving—there was no moon at all—and they were going, 'Cut out your lights, man, we can feel where the road is!' Both sides of the road are Joshua trees and huge boulders and the road is twisting like this. . . . It was O.K. for a while, you could sort of see, and then it was like—Ohh man! I felt a rock right in front of me, and I'd turn the lights on and it would be O.K. So then I'd get into flashing them on and off.

But it was the Eagles' second album, Desperado, which really established them as a major force. It was a conceptual album revolving around the theme that a rock 'n' roller's life is not unlike an outlaw's, an idea that had been discussed for a long time by Glenn and Don, along with Jackson Browne, John David Souther and Ned Doheny.


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