I have a soft spot for "The Boys of Summer," and I don't know why. I don't particularly like Don Henley or the Eagles. I always thought it had a very wistful quality to it, like he was mourning not so much a particular woman but the idea of youth and innocence, the "boys of summer," as remembered by a sad older man.
I think The Boys Of Summer is a masterpiece of sorts. In the context of Hit Radio, Mike Campbell’s brilliant track stands alone. Henley’s condemnation, IMO, is a product less about the actual heart of the matter and more about his grim demeanor and that his great success should be punished, for some puritanical reason.
As for the Grammy, Lucinda Williams won one for Best Singer, so those awards continue their unbroken tradition of irrelevance.
I have a soft spot for "The Boys of Summer," and I don't know why. I don't particularly like Don Henley or the Eagles. I always thought it had a very wistful quality to it, like he was mourning not so much a particular woman but the idea of youth and innocence, the "boys of summer," as remembered by a sad older man.
I’m curious why you haven’t ever told me that White Palace story. I suspect it’s because you knew it would make me spitting mad and induce a rant.
That might be. That and the fact is kind of forgotten it for a long time. It wasn’t the first thing I thought of when I started thinking of writing
about Henley in
I think The Boys Of Summer is a masterpiece of sorts. In the context of Hit Radio, Mike Campbell’s brilliant track stands alone. Henley’s condemnation, IMO, is a product less about the actual heart of the matter and more about his grim demeanor and that his great success should be punished, for some puritanical reason.
As for the Grammy, Lucinda Williams won one for Best Singer, so those awards continue their unbroken tradition of irrelevance.