About The Song
“King of Hollywood” is a rock song by American band the Eagles, written by Don Henley and Glenn Frey. It appears as track 5 on side two of their sixth studio album, The Long Run, released on September 24, 1979, by Asylum Records. The album marked the Eagles’ final studio release before their initial breakup in 1980 and was the first to feature bassist Timothy B. Schmit, who replaced Randy Meisner.
The Long Run was produced by Bill Szymczyk, with the Eagles listed as co-producers. Recording sessions took place over an extended period, spanning more than a year, as the band initially planned a double album but scaled it back. “King of Hollywood” has a runtime of 6 minutes and 27 seconds, featuring shared lead vocals by Glenn Frey and Don Henley, with guitar solos contributed by Joe Walsh, Don Felder, and Glenn Frey.
The track was not released as a single, consistent with several deeper cuts on the album. The Long Run itself achieved massive commercial success, topping the Billboard 200 chart and earning 7× Platinum certification from the RIAA for over seven million copies shipped in the United States. It produced three hit singles: “Heartache Tonight” (number 1), “The Long Run” (number 8), and “I Can’t Tell You Why” (number 8) on the Billboard Hot 100.
Critically, The Long Run received mixed reviews upon release. Some reviewers, like William Ruhlmann of AllMusic, described tracks including “King of Hollywood” as second-tier efforts that felt rushed despite the prolonged production time. Rolling Stone noted the album’s cynical tone, with “King of Hollywood” highlighted for its shadowy, pulsating arrangement that subtly nodded to disco beats while delivering one of the band’s most mordant moments.
The song portrays the exploitative power dynamics in Hollywood, focusing on a predatory producer figure who uses his influence over aspiring actresses. Sources indicate the lyrics draw from observations of the industry’s dark side, with speculation that it may reference real figures like producer Robert Evans, linked through Henley’s then-relationship with actress Lois Chiles. Other interpretations have suggested broader critiques of Hollywood casting practices.
Expert commentary from Songfacts and other analyses emphasizes the track’s depiction of manipulation and the casting couch phenomenon, with the protagonist’s “little black telephone book” symbolizing control over careers. Uncut magazine described it as a scabrous portrait of a sexually predatory producer, possibly reflecting Henley’s frustrations with unfulfilled film projects tied to Eagles concepts like Desperado and Hotel California.
Despite not being a single or standout hit, “King of Hollywood” has been praised by fans and commentators as an underrated deep cut, noted for its atmospheric build, extended guitar interplay, and biting lyrics. It fits within the Eagles’ recurring themes of fame’s underbelly, echoing elements from Hotel California, and remains a notable album track in their discography from the late 1970s era.
Video
Lyric
[Verse 1]
Well, he sits up there on his leatherette
Looks through pictures of the ones that he hasn’t had yet
When he thinks he wants a closer look
He gets out his little black telephone book
(He’s calling, calling, calling
He’s calling, calling, calling
He’s calling, calling, calling
He’s calling)[Verse 2]
“Come sit down here beside me, honey
Let’s have a little heart to heart
Now look at me and tell me, darlin’
How badly do you want this part?
Are you willing to sacrifice?
And are you willing to be real nice?
All your talent and my good taste
I’d hate to see it go to waste”[Verse 3]
“We gon’ get hi-hi-hi-hi-hi-hi-igh, high, high
Hi-hi-hi-hi-hi-hi-igh, high, high
Hi-hi-hi-hi-hi-hi-igh, high, high”[Verse 4]
He says, “Now look around, this is my town, baby
These are all my friends
We get hi-hi-hi-hi-hi-hi-igh, high, high
Hi-hi-hi-hi-hi-hi-igh, high, high
Hi-hi-hi-hi-hi-hi-igh, high, high”[Verse 5]
Well, she says, “I always thought you were a friend of mine”
And he says, “Ah, but you were always in my mind”
She says, “Well, I gotta go, I got a cab to catch”
He says, “Come on, baby, just one more little scratch”[Verse 6]
He says, “I know a little place where we can go
Nobody has to know
We gon’ get hi-hi-hi-hi-hi-hi-igh, high, high
Hi-hi-hi-hi-hi-hi-igh, high, high
Hi-hi-hi-hi-hi-hi-igh, high, high”[Outro]
Well, the next thing she knows, she’s in his Jacuzzi
Says, “This sure beats the hell out of sushi”
He’s saying, “Baby, let me light your fire”
But in the morning she’s out the door and he’s tired
He says, “Oh, well, there’s plenty more where you came from”
And he calls up another number on his telephone
Says, “Come sit down here beside me, honey
Let’s have a little heart to heart”
Well, she’s thinking to herself
“Oh no, not this again”
But then he says, “Don’t worry, baby
It’s just pretend”
And then he says
“Oh, by the way, have