One bonehead review of Break Up The Concrete called it Chrissie’s country album; rockabilly and yes, alt-country is more like it. It’s not trendy or clichéd, wouldn’t be mistaken for anything at the CMAs, and nowhere near as dire a departure as Loose Screw was. The overall sound is live and fresh, almost like first takes or even demos. Several even include count-ins and instructions, as if they’re learning the tunes while the tapes roll.
The rockabilly numbers speed past, with little chance to follow the lyrics, such as the title track, the equally frenetic “Don’t Cut Your Hair”, and particularly the religious references in “Boots Of Chinese Plastic”. The slower songs are rather diverse, like the tender portrait of “The Nothing Maker” followed by the R&B hybrid in “Don’t Lose Faith In Me”. “Love’s A Mystery” and “You Didn’t Have To” will appeal to fans of “Sense Of Purpose”, though “The Last Ride” is a little tepid. But “One Thing Never Changed” is nice and torchy, and the sinewy “Almost Perfect” really stands out.
With zero ad power on a tiny label, Break Up The Concrete came and went without much notice, even to the point that some foreign markets packaged the album with a best-of CD. It’s still one of the more interesting albums of her career, and a good argument that she shouldn’t hang up her guitar anytime soon.
Pretenders Break Up The Concrete (2008)—3
A great little record, funded by Steve Bing (R.I.P.). I was rather partial to Last Ride, tbh, an understated A.A. ode. Hoping you can link us to the "bonehead" review.
ReplyDeleteA quick Google search brought up several. It wasn't the Rolling Stone one, amazingly. Wonder which one I meant.
DeleteWow, this is pretty much at the opposite extreme from “Loose Screw”. It’s the rawest album The Pretenders had yet cut. I don’t find James Walbourne to be quite as interesting a guitarist as Honeyman-Scott or Seymour, but he suits the songs well. The ever-versatile Keltner was also a good choice, but I do wonder why Chambers wasn’t suitable, since “Thumbelina”, for example, is a precedent. I like the rockers a lot. The opener, “Boots of Chinese Plastic” is great, although one wonders what Buddhism, Hinduism and Christianity have to do with the title phrase. (In an equally strange move, she would cover Dylan’s “Property of Jesus” live). I also love the title track and “Rosalee”, which is the funkiest track on the album. (Chrissie’s brother was in The Numbers Band with Kidney). I don’t find the ballads quite as striking this time around, except for “The Nothing Maker”, a very unusual take on unconditional love. Chrissie’s sarcastic side is not present, even though the style could have suited such lyrics. Despite this, the album is never boring. It just breezes by and doesn’t get bogged down. For those who like the fun side of The Pretenders, this album is a winner.
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