Mr Felder is one of that select bunch of musicians who can string a sentence together. He seems to have survived the cash, coke and chicks remarkably well. He is remarkably lucid, given the number of brain cells he must have obliterated over the years...

The matter of fact-ness in which names reel off his tongue, regaling us with his story - yet never coming across as "I was in The Eagles, you know!".

Good work, Mr. Hepworth.

Genuinely didn't want it to end. Well done Heppo.

Great band in their time and I love the Hell Freezes Over DVD.

This was a fantastic podcast - please more of the same.

Perhaps you can re-visit Mr Springsteen and catch up after nearly 25 years?

He talks early on about how after the commercial damp squib of Desperado they specifically set out to write songs in a style that would be more likely to get airplay, yet at the end he says that he's only ever been in it for the music. Mr H might have picked him up on that.

Still, when you've got a third (or however much it is that his confidentiality agreement won't allow him to disclose) of "Hotel California" - surely one of the top 5 most-played records of the last 35 years - rolling in steadily for the rest of your days then I suppose you can afford to make such noble claims.

Other than that, a Dead Proper listen, yes.

Old Don sure likes to talk! Would have made a great article in Word too. Anyway, will be buying the book - even though he's kind of admitted the juiciest bits have been knocked out.

Did he open up off mic ??????

Sorry but I found the interviewee rather soulless: it didn't sound as if Mr Hepworth would have had much chance to interrupt the flow of Felder. Having siad that I was in one of those "the book is better than the film" situations as I read the book a few months ago and thoroughly enjoyed it. But hearing him rucite as he did didn't turn me on. What I did like about Felder was an apparent lack of bitterness: he could have launched a diatribe bit it is to his credit that he was above that.

He was animated, articulate and engaging. Name-dropped like a champ too, but he's earned it. Good work all round.

Mrs. Skirky unsubscribed on the quiet. It's because she hates The Eagles. Were you reading that intro Heppers? Actually, having listened to it, is he reading the book out loud too? Still, had you considered the furore which could be unleashed by the revelation that an Eagles live album had (gasp!) *overdubs* on?

What's that radio 4 programme about people admitting to "amazing" gaps in their cultural experience.....I realised I not only don't have "Hotel California" - the album - but haven't heard it either. So I remedied this last night at Zavvi or whatever it's called. Not a bad album actually, but what is interesting is listening to the Felder guitar parts as opposed to Joe Walsh's contributions. Stylistically they are very different, and sans doubte DF wins by a mile in inventiveness and sheer musicality - the title track being an obvious case in point. It recently won "Best guitar solo of all time" in a guitar mag, though of course it isn't a solo, it's a duet. Brilliant nonetheless.

I felt Felder delivered the legal bit as if he was singing lyrics that he hated . The prevailing image I took from it was Joe Walsh filling in a time sheet , then Friday comes around for him to exclaim "oi Don there is only one Maserati in this pay packet" .

Fascinating listen Mr Hepworth, thanks. Lets have more backstage stuff.

There were a lot of references to "making music for the AM radio stations". For those of us not in the know - what was the radio landscape like then at the time? Were the AM stations the mainstream radio of the day or were they more cutting edge?

I guess it's a safe assumption that they weren't the gold/football/hindi stations that populate good old medium wave today.

it was an excellent podcast.

It was a shame that he could not shed any light on the outcome of the legal wranglings, but I guess the lack of bitterness could have been pointing towards a favourable outcome for him.

Not sure about his advice to young musicians though, especially after him admitting to deliberately writing a commercial album.
The majority of musicians probably do work in the medium to make money or at least support themselves and/or family - not all are gifted artists or have the opportunity (or luck)
to do it just for the music.

I think far better advice can be learned from the part about the songwriting credits - get that sorted from the start and you might just avoid your band becoming a company with shareholders and lawyers...