awbvious | One of These Nights

Go To Artist Page

Recommended if You Like
Bob Dylan The Eagles

More Artists From
United States - California - LA

Other Genres You Will Love
Rock: Classic Rock Rock: Acoustic Moods: Type: Lo-Fi
Sell your music everywhere
There are no items in your wishlist.

One of These Nights

by awbvious

Cover of The Eagles, all vocals and instrumentation by awbvious, a Californian who has had his spirit here since 1979.
Genre: Rock: Classic Rock
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
available for download only
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. One of These Nights
4:50 $0.99
Downloads are available as MP3-320 files.


Album Notes
“One of These Nights” is the 9th song I recorded from “The Very Best of The Eagles.” It is not the ninth song on that album, it’s actually the 14th.

I skipped “Doolin-Dalton,” “Ol’ 55,” “Midnight Flyer,” and “On the Border” because I only heard them for the first time because of this project. “James Dean” I’ve heard a few times, but not enough to really want to cover it. “James Dean” kind of reminds me of “Old Days” by Chicago. Sentimental for a kind of reality I just can’t imagine even existing. But I don't know, it was before my time. I do remember driving up to see Brian Wilson in Paso Robles, close to the spot where James Dean died, and then finding out that Don Henley was going to be performing there later, and I imagined he’d probably do that song. However, Glenn Frey sang lead on that, so I’m not surprised to now read he hadn’t.

Anyway, the lyrics to “One of These Nights” isn’t as interesting to me as, say, “Lyin’ Eyes” but it does pretty clearly lay out a Madonna-whore complex, looking for a woman is both an “angel in white” and “daughter of the devil himself.” (Not that I buy into the mostly-discredited ideas of Sigmund Freud.)

According to Wikipedia, “according to Henley, the ‘four-on-the-floor’ bass-drum pattern is a nod to disco.” I definitely didn’t think of that recording it. I just played the original now, and yeah, I can hear it. I think it would probably be far more obvious to someone listening to it in 1975. I regret not putting more of that into my own version.

I first recorded a vocal-only take, per that first day of recording all (but one, “In the City,” which was an after-thought) of these songs as one vocal take. But I didn’t use it. Then I recorded it playing along with the chords.

But even without knowing the disco-influence, I could tell it needed more than chords. But looking up the tab, I realized I could never play it as one take. Partly because, yes, it uses multiple guitars. But mostly because I couldn’t switch between the strings fast enough even for the stuff on one guitar. And, I definitely would not be able to pull off that solo. So, I broke it up into smaller parts and did the most important ones. Like the vroom slide up the guitar, was obviously needed. As was the high dink sound. As was also that brum-da-ba-boom sound. The vroom (guitar 1: slide to 10th fret on the fifth string) was one guitar take, that I also did while recording backing vocals for the chorus/outro, alternating between the two. The high dink (guitar 2: a quick strum of the 12th fret on first, second, and third string) was another guitar take. And the brum-da-ba-boom (guitar 1: 8 to 10 to 12 to 10 on the sixth string), I had already did at the beginning of the vocal take.

Then I decided it needed some percussion. Instead of “four on the floor” though, I went with two. As in my feet. As in the percussion is me stomping. For bass, well, I just did that vocally, doing the brum-da-ba-broom from the intro again and then guessing what the rest of the bass was. Then I did the chords again; this time I tried hitting the strings with my palm, rather than strum, and added it on top. Then I put on the vocal take again but more towards center, this time muting the chorus and outro as I felt that was too loud from that take. Then I added another a new harmony outro. Then I added a single open 6th string every measure of the intro. Then I decided also to add that small guitar part used once in each of the verses (Guitar 3: x899xx x777xx x899xx x779xx x567xx x779xx). As for the solo, I did what I often did, I played it on harmonica because I am better on harmonica and it was so fast it have taken a very, very long time. (I thought that maybe I could pull off what George Martin did with “In My Life” and transpose it down an octave and then record it at half speed, then double the speed, but that just got too complicated.) I also tried one or two other things that didn’t make it into the final version, of course.

It was not an easy song. But I like the way I was able to layer stuff in parts that otherwise would have been too difficult to reproduce otherwise.



to write a review