November 19, 2007

The End of the Innocence

The End of the Innocence, Don Henley, Rolling Stone Magazine's #389

exile staff consensus: Why is this on the list?

the breakdown:
1.5 cannons - angryyoungman
1.0 cannon - polchic, lenbarker, venerableseed, and eurowags

the essays:
11/19 @ 9:00 a.m.
- Hold up. Wait a minute. Just when you thought it was over Len lends us another fitting tribute to the end of The End of the Innocence. Can he bring himself to listen to the album? Let's see.

11/17 @ 9:00 a.m. - A Don Henley supporter? Amazing! Even more amazing is that someone named the Angry Young Man is calling for an end to the hate.

11/14 @ 9:00 a.m. - Is this the end of The End of the Innocence? It's hard to believe how much discussion old Don has stirred up and at this point my post just feels like piling on.

11/13 @ 2:00 p.m. - The Ancient Scientist gives The End of the Innocence its just due.

11/12 @ 1:00 p.m. - Jahidi Hoya discusses his many memorable Don Henley concerts.

11/12 @ 8:00 a.m. - Newcomer JB is the first to capture the essence of the Walden Pond warrior's most acclaimed album.

the introduction (done with Bruce Springsteen's Tunnel of Love):
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.

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