"Joey" by Concrete Blonde

Thanks for dropping by, Dialophiles! 

Today, the Dial serves up an early 90s one-hit wonder and signature song from a trio composed of Johnette Napolitano on bass and lead vocals, James Mankey on guitars, and Paul Thompson on drums. Better known as Concrete Blonde, we present “Joey”.

“Joey… baby… don’t get crazy. Detours… fences… I get defensive.”

A beautiful and mature alt-rock ballad about being in love with an alcoholic, Johnette has confirmed that “Joey” (the person) is actually Marc Moreland, guitarist of Los Angeles’ Wall of Voodoo, best known for their MTV classic “Mexican Radio”. Johnette struggled with Moreland’s alcoholism during their relationship, and wrote the song as a catharsis for the emotional roller-coaster she was dealing with.

“Joey” (the song) was the lead single from Concrete Blonde's 1990 LP Bloodletting, and it would prove to be their only top 40 hit, when it peaked at US #19. It fared much better on the US Modern Rock chart, where it held the top position for an impressive four weeks.

Though they are a “one hit wonder” by the definition of the Top 40 charts, Johnette and the guys charted an additional seven tunes on the US Modern Rock chart including “God Is A Bullet”, “Ghost of a Texas Ladies Man”, and their cover of Leonard Cohen’s “Everybody Knows”, a #20 hit on that same chart.

“I know you’ve heard it all before… So I don’t say it anymore… I just stand by and let you fight your secret war…”

Johnette’s vocals are at once soothing (the verses are sung softly much like a lullaby), yet the chorus possesses a subdued anger which is clearly bubbling right below the surface. A wide range of emotions are touched upon either through the lyrics directly or by the tone in which they are sung, ranging from frustration, helplessness, sympathy, and the resignation that “Joey” will never conquer his demons, even with Johnette's true love by his side. Given that the song deals with an alcoholic lover... this is perfectly understandable. Understandable, tragic, and beautiful.

“Oh, Joey, if you’re hurting, so am I...”

By the time the 90's began, I was quickly losing interest in a majority of the songs being played at Top 40 radio. I was burned out on pop rappers Vanilla Ice and MC Hammer, the New Kids on the Block were also getting wayyy overplayed, and a lot of the hard rock (“hair metal”) was quite derivative and rather “yeah me too” sounding as well. During pretty much all of the '80s, I could honestly say that I enjoyed 95% of the songs being played on top 40, regardless of genre. However, once the new decade arrived, that number had dropped to around 50% for me, and would continue to drop as the '90s progressed.

“Joey” was one of that 50% that I really appreciated... it's elegant and emotional story was unlike anything else on radio at the time, and it still sounds fresh to my ears today, 25 years after it's release. Give a listen, and see if you agree.

“And if you’re somewhere drunk and passed out on the floor… Oh Joey, I’m not angry anymore.”