Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

Reader's Picks

Top Recommendations

A short list of Phoenix's most popular hot spots.
user content provided by: LikeMe.net & Phoenix New Times

National Features >

  • Village Voice

    The Great Walls of Chinatown

    With the exception of the electric rice cookers, this Bowery tenement could have come straight from the Nineteenth Century.

    By Elizabeth Dwoskin

  • Houston Press

    Getting Off

    DUI attorney Tyler Flood wins 80 percent of his trials--even if his clients were 100 percent drunk.

    By Mike Giglio

  • Miami New Times

    Park or Die Tryin'

    From the homeless parking mafia to the meter fairy, finding a spot in Miami has taken a turn toward the surreal.

    By Gus Garcia-Roberts

  • City Pages

    The Baddest Men on the Planet

    Straight from the Sam's Club tire shop, Brett Rogers prepares to meet Fedor Emelianenko in mortal combat.

    By Bradley Campbell

Johnette Napolitano

Scarred
(Hybrid Recordings)

Share

  • rss

By Niki D'Andrea

Published on June 27, 2007 at 1:34pm

Most people know Johnette Napolitano as the singer and bassist of Concrete Blonde, but throughout her career, she's had a hand in several side projects, including The Heads (with Talking Head Tina Weymouth), a duo called Vowel Movement, and the bands Pretty & Twisted and Catfish Scar. Amazingly, she's been in the music biz more than 25 years, but Scarredis only her third solo album, and it's arguably the best work of her career. From the sharp snare beats and half-spoken delivery of the opening track, "Amazing," to a somber cover of Lou Reed's "All Tomorrow's Parties" near the end of the album, this record sounds like an artist finally freeing herself from expectations and just doing what she feels, which is sharing stories and setting introspective poetics against sharp, haunting soundscapes. Napolitano will be 50 this fall, but her voice hasn't lost a bit of its smoky, soulful edge, and there's a sincerity to the songs that can only come from reeling in the years. When she wails, "I am so scarred" on the title track, it has an effect of empathy and commiseration that's just not there when emo teens wail about their woes.