Dark At The End Of The Tunnel

May 26, 1998 | Format: MP3

$5.99
Also available in CD Format
Song Title
Time
Popularity  
30
1
4:11
30
2
4:41
30
3
4:10
30
4
5:02
30
5
4:37
30
6
4:18
30
7
4:19
30
8
4:37
30
9
3:26
30
10
3:57
30
11
4:31
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Product Details

  • Original Release Date: November 1, 1995
  • Release Date: May 26, 1998
  • Label: Geffen
  • Copyright: (C) 1990 MCA Records Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 47:49
  • Genres:
  • ASIN: B001O3YGA2
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (41 customer reviews)
  • Amazon Best Sellers Rank: #40,927 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

13 of 15 people found the following review helpful By Bug on September 9, 2004
Format: Audio CD
If you are a hard-core Oingo Boingo fan - you may very well hate this album. A friend of mine gave me my copy two weeks after it was released because he just couldn't stand it. As I later learned, before Dark at the End of the Tunnel ("Tunnel"), OB's work was often raw, energetic and not over-produced. Tunnel is a marked change.

I had never listened to OB before I purchased Tunnel. Consequently, I didn't have any preconceived notions. What I found was an extremely complex album that is as musically solid as any I had (or have) ever heard. It contains songs with "edge" as well as some of the best balads I have ever heard. Most of all, I love the layering. Many of the songs are filled with intricate back rythms and riffs which make the sound extremely "full." You can tell that this album was produced during the rein of the synthesizer (albeit at the end of that time period). But, Tunnel does a supurb job of utilizing the fullness that a synthesizer can provide without over-doing it.

Uncharacteristically, Tunnel really puts Danny Elfman's voice at the forefront. His vocals are a true highlight of the album.

Buy this album. Then, sit back and listen to it like it is a completely unknown band. I'm confident you will be very impressed!
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14 of 17 people found the following review helpful By Micah Newman on July 17, 1998
Format: Audio CD
One of the most underrated albums I know about; pretty close to flawless. "mellow" (as I heard one person describe it) compared to most other Boingo material, but that doesn't detract a bit from the strength of these fantastic songs. There's a charged, new depth here to their commentaries on American life and L.A. freeways, and it gives DATEOTT much of its richness, making it an eminently pleasurable, repeatable listen. On my list of perfect travelling music, as well as on my list of favorite albums ever.
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15 of 19 people found the following review helpful By M. Tefer on December 30, 2003
Format: Audio CD
By 1990, Oingo Boingo had made a gradual transition from the semi-humorous Boi-ngo in 1987, to the extremely dark and often uneasy mind of genius composer/lead vocal Danny Elfman. This culminated into "Dark at the End of the Tunnel". However, Elfman didn't know how to separate his musical worlds. And this was a very interesting thing.
"Dark at the End of the Tunnel" is a slow self-aware transitional album full of atmosphere and good lyrics. Oingo's lyrics are not as important now as they used to be. But "Dead Man's Party," alreaady covered that ground.
Here, we first will find a seemingly cold and angry album, yet with multiple listens, "Dark at the End of the Tunnel" could be considered a great album which contains a large handful of classic songs. That's not to say every song is perfect, but it doesn't really have to be.
A prime example is what one could consider one of the finest and most haunting songs ever written / composed is "Skin". It was a song originally meant for the "NIGHTBREED" soundtrack (1990) ((but appeared only in country version) which is no coincidence that Elfman composed all the music for). Skin is a song literally about undead demons ripping their faces off. Nightbreed was directed by Clive Barker (Hellraiser) who no doubtedly admired Elfman's work on Beetlejuice and Batman only a few years prior.
"Flesh N' Blood" sounds similar to "We Close Our Eyes" and was featured on the "Ghostbusters 2" soundtrack (1989). Even thought the second ghostbusters soundtrack didn't match the first film's soundtrack (or the first film, for that matter). Seems to have that reluctancy-based soul defiance to it.
Read more ›
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7 of 9 people found the following review helpful By A. F. Rigum on October 14, 2005
Format: Audio CD
This is one of my favorite Boingo albums - in fact, possibly my favorite. But it is not your father's Boingo. The 80s sound is gone, and Danny Elfman has come into a more pop-oriented idea. But the ideas are still the same.

Best of this album: Track 6 "Flesh and Blood." Somehow more familiar to me than the sound of the other songs on this album. If you like Elfman's affinity for lyrics about death and dead things, you'll love this one. Very thought-provoking.

Of note also are Track 5 "Long Breakdown," and Track 11 "Try to Believe," where Elfman finally goes Pop-Gospel. Uniquely honest and good-natured, "Try to Believe" is one of the all time favorites of yours truly. First listen may give you mixed feelings, I had them, but give it a chance.
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5 of 6 people found the following review helpful By A Customer on December 12, 1998
Format: Audio CD
In what is easily the best studio album that Oingo Boingo ever produced, Danny Elfman has shown a sophisticated side. Obviously, all of the movie soundtrack music has changed him, for the better. One, evidently, can only live on party music for so long. Dark at the End of the Tunnel is mature, brilliant masterpiece.
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4 of 5 people found the following review helpful By J. T. Nite on August 31, 2000
Format: Audio CD
Over all, this album finds Boingo in a mellower mood than previous outings, more inclined to beautiful sound texture than manic energy. Some view this as a detriment, I think it makes the album more listenable.
The highlights here are high indeed. There's the funny-spooky "When the lights go out," the moody, melodic "Skin," the powerful "Flesh and Blood," and the bounce-along "Try to Believe." These songs have an undeniable personality, each unique. They're chock full of great vocal lines with ample support from horns, guitars, and piano. The lyrics are highly quotable and lodge themselves in your head.
The only reason this album doesn't rate 5 stars is that the remaining 7 songs lack that individuality. I've listened to this CD hundreds of times, and I'd be hard-pressed to distinguish "Out of Control" from "Glory be" and "Is this." I can't summon up any of the tune or lyrics except their choruses. Although they're not horribly bad or even depressingly mediocre, they don't have the stand-out appeal of the four mentioned in the previous paragraph.
Still, it's worth picking up and keeping in your CD changer. The highs are stratospheric and the lows are merely better-than-average.
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