L.A.'s Concrete Blonde formed in 1987 and enjoyed an early '90s chart run that culminated in the Top 20 hit "Joey," a heart-stopping pop gem similar in tone to the Police's "Every Breath You Take" and whose memorable story line (about a romance shattered by alcoholism) gained considerable visual momentum when the video hit rotation pay dirt on MTV. The band was kaput by '94, however. So confronted with a Concrete Blonde reunion album and tour, consumers might warily ponder the above scenarios.
Check "None of the Above," or perhaps "Don't Know," for the band. Because the members themselves -- vocalist/bassist Johnette Napolitano, guitarist Jim Mankey, drummer Harry Rushakoff -- aren't quite sure why they drifted back together in the middle of last year.
"Well . . ." Mankey draws the word out slowly, as if he's about to drop a bombshell, then with a chuckle, doesn't. "We had done a few things in the meantime, so it wasn't that nothing had been happening. (Since '94 Mankey and Napolitano, in addition to their own projects, continued to touch base and worked together on other artists' albums.) Johnette just called, and then we just had fun jamming, really. That's something we never really did before, jamming.
"Our chops were a little rusty because it had been awhile since we'd played the old songs, so the first hour and a half was kind of odd. But it didn't take long for us to feel like we'd been playing together for awhile -- it was kind of shocking, really! We realized we just want to try to keep creating and remain relevant to ourselves."
So why the initial breakup? Any Behind the Music-worthy scenarios?
"To be honest, we'd done it for a while and I guess we were just getting on each other's nerves, is what [the breakup] came down to. Johnette wanted to do her solo thing, which she did. Plus, we were all just goddamned tired! None of that Fleetwood Mac stuff! But you know, VH1 did approach us. I just do not want to get behind that thing. Harry is the only one here that has the proper stories to tell, tales of debauchery and excess. I lead a very boring life, not much there to interest the demographic target of VH1, I'm afraid."
Mankey and Napolitano hooked up at the tail end of the '70s while both were working at Leon Russell's Paradise Studios in North Hollywood; Mankey, a former member of the comedic rock band Sparks, was an engineer, while Napolitano was the receptionist. Forming the band Dream 6 around 1982, they became fixtures on the L.A. postpunk scene that included Dream Syndicate and Wall of Voodoo. Later, at the suggestion of a friend (Michael Stipe) and with drummer Rushakoff coming into the fold, they rechristened themselves Concrete Blonde and signed with I.R.S., releasing their debut album Concrete Blonde in '87. The trio's first taste of commercial success followed two years later with "God Is a Bullet," from sophomore effort Free; "Joey" and its parent album, Bloodletting, arrived in 1990. (Around this time Roxy Music drummer Paul Thompson replaced Rushakoff for a period. Per Mankey's comment above, Rushakoff has weathered recurring chemical problems over the years; prior to the recent reunion he completed an extensive rehab program.)
Recalls Mankey, "I remember the first time when we were rolling down the road and some radio station was playing us. We all got excited, of course. But then you say to yourself, 'Well, it's working. Let's keep doing what we're doing' and take more of an overview. But I will say, my most exciting time was when we were in Australia standing on a street corner about to cross the street, and a car drove by and I heard 'Joey' blasting. Now that excited me! [laughing] Halfway around the world, in a passing car: That's when you know you've made it.
"We'd be onstage playing ['Joey'] and you could definitely feel the audience, the difference, when that song started happening, a different energy in the audience. It quit being the intense, dark club denizens and turned into something quite frighteningly 'regular people on beer.' Nothing against that, but it was just a shock because it brought in a whole different crowd we weren't used to seeing. Just this swirling thing would start coming up from the crowd. Really strange."
For 1992's Walking in London and 1993's Mexican Moon, Concrete Blonde moved to Capitol, and while neither yielded hits on the order of "Joey," they both maintained a consistently high degree of musicality. The band continued to tour heavily up until the breakup -- Rushakoff rejoined the lineup as well -- and its international fan base also continued to grow.