What: Don Felder

When: 7:30 p.m. Tuesday

Where: Tower Theatre, 835 NW Wall St., Bend

Cost: $72, $87 or $97 plus theater preservation fee

Contact: towertheatre.org or 541-317-0700

In its hit-making heyday in the ’70s, the Eagles would often open up the songwriting and recording process to friends such as Jackson Browne, Bob Seger or Stephen Stills.

This was due, in no small part, to Criteria Studios, the Miami, Florida, studio where the Eagles recorded parts of its 1976 breakout album “Hotel California.” Former lead guitarist Don Felder recalled the musicians’ culture that pervaded the studio in a recent interview with GO! Magazine:

“There were five big studio rooms, but you had to walk down this hallway past all these rooms,” Felder said recently from New York City, where he was staying for a couple of days before heading home to California. “In one room, it’d be the Eagles. In another room, the Bee Gees would be recording; in another room would be (Eric) Clapton; in another room, Stills was there working on a solo; in another room, Chicago was there.”

With that many of rock’s major players under one roof, collaborations were common according to Felder.

“I remember Bernie (Leadon, Eagles guitarist and co-founder) and I were walking down the hallway to go get a coffee or something, and Stills comes out,” Felder said. “Now, I’ve known Stephen since we were 14. He says, ‘Felder, what are you doing here? Get in the studio!’ So me and Bernie go in this studio at about 9 o’clock at night and sit there with Stills until about 3 in the morning working on this track with him. Things just organically fall together like that when you get that many people and talent, and everybody loves to play. I just learned to take advantage of people when they’re available to play.”

Felder, who will perform at the Tower Theatre for the first time Tuesday (though he’s no stranger to Bend — his son lives here), looked to Criteria’s camaraderie for his first solo album in seven years. The upcoming “American Rock ’n’ Roll,” due out in April, features guest appearances by many of Felder’s friends, including Guns N’ Roses guitarist Slash, Mick Fleetwood, Joe Satriani, Red Hot Chili Peppers drummer Chad Smith, The Grateful Dead’s Bob Weir, Peter Frampton, former Rush guitarist Alex Lifeson, Sammy Hagar, Richie Sambora, former Alice Cooper guitarist Orianthi and more.

The album will follow 2012’s “Road to Forever,” which came after an even longer gap between albums (Felder’s debut solo album, “Airborne,” was released in 1983). “Road to Forever,” which was released following Felder’s 2008 tell-all memoir, “Heaven and Hell: My Life in The Eagles (1974–2001),” for the most part eschewed guest performances in favor of Felder’s guitar playing.

“A lot of things just fell into place that way on this record, and I really found it very refreshing and exciting,” he said. “Instead of me sitting there playing every part on every track, it’s so much more fun and so much more exciting and invigorating. It’s exciting to do that with these people.”

Felder was able to fine-tune parts for specific musicians. For example, the title track — a tribute to rock’s past and present that name-drops artists from Crosby, Stills, Nash and Young to Green Day — starts with Fleetwood’s nimble drum intro, then shifts to Smith’s muscular rhythms for the song’s back half.

Other guest spots, such as Satriani’s guitar and Weir’s vocals on upcoming single “Rock You,” came about in much the same way Felder described working with Leadon and Stills at Criteria. Felder recorded Hagar’s lead vocal on the song — “a big, stadium-anthem song,” according to Felder — at the latter’s studio in San Francisco.

“While we’re just getting ready to wrap up, Joe Satriani, who keeps his gear in the back of Sammy’s studio, comes walking in,” Felder said. “And I said, ‘Joe, Joe! Go get a guitar, come here; we’ve got some guitar work to do on this record.’ … Just as we’re getting ready to wrap that up, a guy named Bob Weir, he has a studio about two blocks from Sammy, and whenever he gets really bored or nothing’s going over there, he comes wandering into Sammy’s studio. And I went, ‘Bob! You’ve gotta sing on this chorus.’”

Fans can expect a few new songs at the Tower — the album’s title track, which also features Slash, dropped in January — alongside Felder’s solo material. And of course, there’s the Eagles hits that Felder played on or co-wrote, such as “Already Gone,” “One of These Nights” and most famously of all, “Hotel California.”

When the Eagles reunited in 1994 and released the appropriately titled live album “Hell Freezes Over,” Felder added an improvised, flamenco-inspired guitar part before the rendition of “Hotel California.” (Felder would leave again in 2001, while guitarist and co-founder Glenn Frey died in 2016; Henley leads the Eagles today.) Don’t expect too much deviation from the Eagles’ classic studio recordings, however.

“You can’t get to the end of ‘Hotel California’ and just jam. Everybody wants to hear that solo exactly the way they’ve learned it and heard it for 40-something years,” Felder said. “There are places in the show where we take casual liberties, but we stay pretty close to the script in honor the of the way those songs were written and recorded.”

As Felder has revealed in past interviews, the famous two-guitar solo that closes “Hotel California” was originally improvised in the song’s demo. Felder and guitarist Joe Walsh, who replaced Leadon in 1975, were working out their parts in the studio when drummer/co-founder/vocalist Don Henley stopped them and told them to play the solo exactly how it sounded on the demo.

“The funny part is that I spent about a year and a half here in New York City, where I am now, learning to play jazz, learning to improvise,” Felder said.

“… Henley knew that, and would throw things at me to do. When they needed a solo somewhere, (he would say), ‘Don, just make up something,’ so I’d plug in and make up something. Like the middle of ‘Sad Cafe.’ It’s a very acoustic, light, electric-piano-and-acoustic sounding track, and Don said, ‘You need to do something on acoustic guitar here.’ So I went out and built a really intricate harmony — I think there was six acoustic guitars playing an acoustic harmony part together on that solo there, something that I’d never done, never heard of.”

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