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Concrete Blonde |
| by:
Vinnie Apicella
The talented post-Punk
rockers rise up above the underground to do their first live album - in
Brazil (one of two guaranteed successes along with Japan) - and
featuring 2/3rd's of the band's originals, including Napolitano and
Mankey, bass, vox, and guitars. The addition of drummer Gabriel
Ramirez-Quezada adds a fighting element to the sound that's crisp,
clear, and rather meaty, which considering the circuit, comes away
impressive. The two-disc set captures CB in vintage form, some twenty
years after they began as the unlikely Dream 6, hitting the flourishing
Modern Rock stage at a time when names like Michelle Shocked, The
Plimsouls, and Throwing Muses were spreading their own wings before
later landing hard for lack of commercial viability. Concrete Blonde had
both visibility and credibility with underground audiences and thus
retained their element of cool even after entering the "major" leagues
and IRS-induced climb to the top rung during the late '80s. Gifted
vocalist Johnette Napolitano's never seemed to get the credit deserved
for her singing talents. She, charming and disarming at the drop of a
verse, stands out like few others regardless of gender, enticing the
splendid pale of a peak hour moon to illuminate a midnight sky or as
easily shatter the silence with a banshee's lustful wail. CB's songs are
equally captivating on an emotional, social, and sexually subliminal
level aided greatly by writhing plotlines, effectual resonant breaks,
and vampiric overtones that cast the long shadow from then to now
realizing true relevance in longevity over coming lately. And "Live In
Brazil" is a career spanner to support the returning band in all that
they've done and provide further evidence of plenty left. From the
opening intensity of "God Is A Bullet" from '89s "Free" album to the
soulful and sultry "Valentine," or the enticing "Everybody Knows."
Johnette adopts the role of cosmic crooner to chaotic diva at cliff's
edge for "Little Conversations" and is quickly followed by a muffled
version of the classic "Caroline," which comes away clever, still
powerful, but in no way does justice to the original uptempo rocker that
would have made a better follow up to the quieter "Conversations."
"Joey," the first hit from their "Bloodletting" 1990 breakthrough
follows up in fine fashion for Johnette's mood leaping, mind boggling
range, and a definite highlight among the mix. Disc Two features more
recent work spotlighted by the bass beaten "Days and Days," seeing JN
finally finding her bass - referring to an earlier reference somewhere
between the "Conversations" and "Caroline" introduction of players -
this anthemic piece goes full effect on the guitar work and features a
mid song bug out before going big on closing choruses. "Violent" goes
out to George Bush who had he even known the band was kind enough to
donate a song in his honor, would surely arrange for their appearance at
the next RPC, which might've gotten a bigger rouse than the apparently
still-floored Brazilians saw fit to muster. But, frankly, it's not one
of their stronger pieces yet should've been a bigger hit than maybe it
was. For two discs and eighteen songs there's little to complain of
catalog-wise, but I'll have my say and go on record to criticize for not
including two all time classics criminally excluded from the set -
"Jenny I Read" and "Heal It Up," from the incredible "Mexican Moon"
release in '93. Hard to imagine not having it all with such a massive
collection, and yet explains much in the storied and sometimes scattered
career of Concrete Blonde, a true Rock n' Roll original that's seen 'em
come and go. And continuous givers they are, they had a mind to include
even their brief trip itinerary as well as the newcomer's guide to
Brazil in the gatefold, a simple three page structure emblazoned in
blood red and eye popping tribal art. "Live's" an essential collection
for any Concrete fan or first timer searching for an answer in this grim
world of godlessness and sadistic glamour.
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