Tunnel of Love

Tunnel of Love, Bruce Springsteen, Rolling Stone Magazine's #475

exile staff consensus: Top 1000 album

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

the essays:
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.

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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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read it all...

Dan Henley & Pat Nebatar

I can relate to JB’s post on Don Henley’s End of the Innocence and how his pop culture point of reference to Walden has shifted from that album to Eric Cartman and South Park. I have long been unable to think of Don Henley without recalling a Beavis and Butthead episode in which they watched one of his videos, referring to him as “Dan” Henley throughout and discussing his legal problems due to molestation charges* and how those troubles had led to the break up of his marriage to Pat “Nebatar”. And I don’t feel bad about that, because that’s about how much respect I have for Dan.

The first and only time that I have ever heard this album was at summer camp, somewhere between ’89 and ’92. Some of my fellow counselors introduced me to some great bands over the years, but other guys listened to some real crap in the shack where we used to hang out. As you may have guessed, I would place this album in that latter category. In fact, it may have been the single worst album that anybody dared to play on that shared jam box for all four of those summers. It somehow manages to stand out in my mind as being even worse than M.C. Hammer’s Please Hammer Don’t Hurt ‘Em or Aerosmith’s Pump, both of which were both played ad nauseam. I remember being astonished when my fellow counselor played End of the Innocence, because I was unable to find any redeeming qualities. It was simultaneously too stale to be exciting, too predictable and stupid to be intriguing, and too trite to be moving.

In the process of reviewing albums for this blog, I have tried to re-listen to all of them in order to refresh my memory and perspective, but I cannot bring myself to listen to this POS again. This fact, that I cannot summon the strength to listen to this thing again after not having heard it for between 15 and 18 years, has me hoping that this is the worst album on Rolling Stone’s list.

I’m rethinking that statement about how much respect I have for Dan, because it makes it sound like I consider him to be on the same level as Beavis and Butthead and South Park, when I actually hold those cartoons in substantially higher esteem than I do him.

* See jahidi hoya’s response to Ancient Scientist’s review for elaboration; I had never gotten the reference but found it funny anyway, so it was great to learn the story behind it. click here to
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The End of the Henley Hating (but not the Boss Hating)

It was sort of my idea to do Tunnel of Love and The End of the Innocence together. At least it was my suggestion that Bruce has a Don Henley/Bruce Hornsby sound going on on Tunnel that prompted Kid Seed to put them up together. When I listened to Tunnel for the first time in years in preparation for this blog, I realized it didn't sound as much like Innocence as I had remembered. Mostly it's just the title track and Brilliant Disguise that really have that sound. So why did I always associate them in my mind for years?

Aside from the superficial similarities Kid Seed point out in the intro, I think it's because they both have a tone that's at once despondent and defiant. Tunnel's despair is more personal, while Innocence's is more societal, but that brooding quality is apparent in both. And also they're both totally full of shit.

The kicker though, is that while Innocence is a tight, smooth, well-crafted rock/pop time capsule of 1989, Tunnel is just, well...I don't think Len Barker and I see eye to eye on much musically. I mean, we like a lot of the same shit, but being a musician, I think Len probably has a lot broader interests than I do. But we're muy simpatico on Tunnel of Love. It stinks. There's no getting around it. I can't conceive what was going on in the minds of the RS voters who put Tunnel in the top 500. You can't call it Bruce's worst album ever, because he did release Human Touch, after all, but come on.

I'm probably even prepared to give Tunnel a bit more credit than Len, because I do pay attention to rock lyrics (in fact I think they're the most important part of the best rock music since rock & roll is basically our poetry) and the lyrics of certain tracks have the making of something sort of kind of halfway decent. Maybe.

On the other hand, I'm going to defend Innocence against all the haters on this blog. I most love its cohesiveness. It sounds like it was thought out and put together as a real album, as opposed to just a bunch of songs. The tracks flow into and build upon each other in a way that makes the whole greater than the sum of its parts. And how can anyone bitch about Axl's vocals? There's no song that was ever made worse by adding Axl Rose vocals. Now if only he would finish Chinese Democracy. click here to
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The End of the End of the Innocence

Listening to The End of the Innocence is an exercise in patience. Songs struggle to begin (the ten songs have 36-second average intro, three clock in at 50 seconds plus!) and they never, never finish (average song length 5:45). Is "The End of" part of the album's title Don Henley's sick joke?

It's not as if Don was alone in his excess. His list of co-conspirators is just as endless. Imagine them as the three concentric circles of Henley's late-eighties self-indulgent personality: condescending Hollywood liberals, fusion jazz musicians, and a crystal-using non-traditional (but sort of rootsy) spirituality. Overlap may occur.

Here's a truncated list: Axl Rose, Take 6, Patty Smyth, Melissa Etheridge, members of Toto, Stanley Jordan, Sheryl Crow, Bruce Hornsby, hell, just go to the wikipedia list. But take note the Maxine Waters listed there is NOT the Honorable Senator from California, although oddly that would make perfect sense.

Each song features a different set of this ridiculous cast of characters thusly making the album (as well as the unending songs themselves) a disconcerting roller coaster ride of hilarity all held together by Henley's preening vocals and third grader-on-coke-level insights. I'll make it short and just look at song 3, "I Will Not Go Quietly" co-chorused by Axl Rose.

It opens with a Sportscenter-intro-lame 15 seconds of Led-Zeppelin-esque drums and guitar which segues into a jangly wah wah guitar solo which is then backed by a building synthesizer wall of sound. We're now at 59 seconds which is where Don first chimes in and is swiftly backed up by a reverbing monstrosity of a synthesizer bass. And at this point there's just too much happening in the background for me to continue. This is what 128-track studios were made for. There must be two-dozen people playing on this song!

At 1:35 the chorus comes in with Don and Axl singing "Gonna Tear It Up/Gonna Tear Sh!t Up". And really I have yet to get any further. I giggle I laugh and I turn my mp3 player off and think "once I finish this next sentence I can delete this album forever." click here to
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End of the Innocence...

Dad rock.

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