Concrete Blonde – Bloodletting

Bloodletting is the third studio album by American alternative rock band Concrete Blonde. Released on May 15, 1990, the album marks a shift for the band toward gothic rock. Though the sudden embrace of the trappings of Goth culture via Anne Rice was a bit odd, given Napolitano's long-standing fascination with both Catholic and Mexican imagery (and the elements of sex and death prevalent in both) it wasn't too strange. Her song writing and singing focus remains much more roots-oriented, as the opening strut/stroll of "Bloodletting (The Vampire Song)" makes clear. Not that she and the band can't kick out the jams as well -- immediately following that is "The Sky Is a Poisonous Garden," a punk-speed thrash with deliciously decadent imagery to boot. The most well-known song was "Joey," which actually got some top 40 airplay; while it has certain catchiness to it, ultimately it comes off as a less successful Heart song from the same era, which is saying something. Far more successful is nearly everything else on the album, from the dark chime of "Caroline," addressing a departed friend, to the soothing "Lullabye," which far from being a mere kiddie tune is a great love song with some fantastic guitar from Mankey. R.E.M.'s Peter Buck adds mandolin to "Darkening of the Light," which adds to the song's mysterious, haunting edge, while "I Don't Need a Hero" is barely there, the softest of music accompanying Napolitano's lyric. Her singing throughout Bloodletting is passionate and catchy, with a deep throaty ache on many cuts. Everything wraps up with a version of Andy Prieboy's "Tomorrow, Wendy." Having done a duet with him on his own recording of the song, she takes full lead here, delivering a bravura performance of the bitter, heart-breaking lyric.

Concrete Blonde - Concrete Blonde

Hands Up Who (wants to die) Has Heard Of Concrete Blonde?? This album was originally released back in 1986, and I'm afraid to admit that this American band totally passed me by at the time. What immediately stood out are the powerful and distinctive vocals of singer Johnette Napolitano. Concrete Blonde is a very strong debut album. It might not have the best production in their discography, but it is one of their best in terms of song writing. You can hear the beginning of their Goth sound, but also a lot of punk attitude while simultaneously showing that they are sophisticated in their approach, and can show a more tender side as well. Back In The Day ™ brothers Earle and Jim Mankey were, respectively, the original guitarist and bassist in Halfnelson/Sparks. When the band’s other pair of brothers left for England without them, Earle wasted no time in becoming a well-known record producer. It took Jim a lot longer to re-enter the spotlight and his collaboration with singer/bassist Johnette Napolitano began in Dream 6, whose six-song 12-inch EP (co-produced by Earle) is an intriguing, unassuming item (available here). Replacing drummer Micheal Murphy with Harry Rushakoff, Dream 6 signed to IRS and became Concrete Blonde (name provided by new label mate Michael Stipe). The music still sounds fresh and vibrant, and although there is definitely an overall eighties sound to the album, it holds up very well today. There is a punk edge to Napolitano’s vocal delivery, (she seems to have the attitude of one Chrisie Hynde) but this is tempered with a melodic feel to the guitar playing. Napolitano might be the greatest female singer/songwriter the world has produced, and the band has a heavily underrated unique sound you need to check out, if like me until recently, you haven't heard them. 

 

Dream 6

Dream 6 was the original name for the band led by Johnette Napolitano, who gradually evolved into Concrete Blonde. Comprised of future Blonde members Napolitano and James Mankey (Michael Murphy handles the drumming here) they released this pretty cool and dark six-song 12”EP three years before their self-titled debut. The songs are straight-ahead, punk-tinged rock, although on songs like "Daddy Lied" Napolitano displays the vocal power that would endear her to fans later. There is also a version of "Rain," which would be redone for Concrete Blonde's 1993 Mexican Moon. It's pretentious and takes itself too seriously, but it's an enjoyable curiosity for the more fervent fans of Concrete Blonde.