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Dark at the End of the Tunnel by Oingo Boingo (CD, Jun-1998, Universal Special Products) 
Dark at the End of the Tunnel by Oingo Boingo (CD, Jun-1998, Universal Special Products)

 
Dark at the End of the Tunnel by Oingo Boingo (CD, Jun-1998, Universal Special Products)

Artist: Oingo Boingo
Release Date: Jun 1998
Format: CD
Record Label: Universal Special Products
Genre: New Wave, Rock & Pop
UPC: 076732636527
Product ID: EPID3122285
Description: Oingo Boingo: Danny Elfman (vocals, guitar); Carl Graves (vocals, keyboards); John Avila (vocals, bass); Steve Bartek (guitar); Sam Phipps (soprano & tenor saxophones); Leon Schneiderman (baritone saxophone); Dale Turner (trumpet); Johnn...
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19 results|Group by condition
Track Listing
1. When the Lights Go Out
2. Skin
3. Out of Control
4. Glory Be
5. Long Breakdown
6. Flesh 'N Blood
7. Run Away (The Escape Song)
8. Dream Somehow
9. Is This
10. Right to Know - (bonus track)
11. Try to Believe

Details
Distributor:Universal Distribution
Recording Type:Studio
Recording Mode:Stereo
SPAR Code:AAD

Album Notes
Oingo Boingo: Danny Elfman (vocals, guitar); Carl Graves (vocals, keyboards); John Avila (vocals, bass); Steve Bartek (guitar); Sam Phipps (soprano & tenor saxophones); Leon Schneiderman (baritone saxophone); Dale Turner (trumpet); Johnny "Vatos" Hernandez (drums, percussion).
Additional personnel: Maxine Waters, Julia Waters (vocals); Bruce Fowler (trombone); Yvonne S. Moriarty (French horn); Ralph Grierson (piano); Kenny Kotwitz, Brian Mann (accordion).
Recorded at Sunset Sound, North Hollywood, California.
Oingo Boingo's final studio album, 1990's DARK AT THE END OF THE TUNNEL, was released after Danny Elfman's first flush of success as a film and television composer. As a result, it's a bit maturer and less determinedly wacky than its predecessors.
The addition of session singers Maxine and Julia Waters on several tracks, along with Zappa sideman Bruce Fowler, gives DARK AT THE END OF THE TUNNEL a more soulful vibe that's missing from the group's sometimes-clinical earlier efforts, and Elfman's lyrics are somewhat more normal than before. Which not to say this is a record ready for the Top 40: the concepts of songs like "Skin" and "Long Breakdown" aren't exactly chart fodder. It's a bit disappointing that the band stopped recording after this release; it would have been interesting to see how they progressed from this point.

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