1.5 cannons - , venerableseed, polchic, and eurowags
1.0 cannon - lenbarker and the angryyoungman
11/15 @ 1:00 p.m. - Eurowags captures the general malaise all but one of us have had regarding Tunnel of Love. We all really wanted to like it; we really did.
11/13 @ 8:00 a.m. - It seems there is someone else who is not enamored by Tunnel of Love; the album is too reminiscent of the Colonial Park Mall food court.
11/11 - A dissenting view from Len Barker. If he didn't like Tunnel of Love than what will he say about Don Henley's contribution. We shudder to think.
11/9 - Jahidi Hoya counters the doubts (but then adds to them in the comment section of post 1!). Oh, Julianne, poor Julianne.
11/9 - In our last poll, Bowie beat Bruce by a 2 to 1 count. Anglophiles all of you! We now have two retrospective poll on the albums listened to thus far. One question positive one negative. Just look to your right and vote.
11/8 - I'm up first, wondering about the veracity of Bruce's personal Tunnel of Love. (Note that in less than 14 hours! Springsteen's diligent cyber-sleuths found and removed the embedded Tunnel of Love music video from this site. If you wish to watch the video follow this link to youtube.)
the introduction (done with Don Henley's End of the Innocence):
It's 1985 and two 70's classic rock heroes had just found staggering success on the MTV and with a new generation of fans.
Bruce Springsteen's Born in the U.S.A. and its remarkable string of seven top 10 singles were ubiquitous on radio and television.
Don Henley's single, Boys of Summer, seemed to usher in an era of artistry to the fledgling video network. Its constant play and VMA Video of the Year only cemented this fact. So how did our heroes respond?
Both released albums adored by critics but met with modest comparative commercial success. Springsteen strayed from his usual themes of social and political despair and moved onto a personal vision of love while Henley moved away from love and towards a message of political and social despair. Neither recorded their next album with their familiar band; Bruce's minimalist tracks featured few E-Streeters and Don continued Eagle-less (but not Axl-less) for at least the time being.
But most importantly, on their album cover both artists beckon the listener longingly with steely glares, "I'm the more sensitive one." "No, I'M the more sensitive one!" Do we still like these albums? Or better yet, which one is the most sensitive.