Concrete Blonde y Los Illegals | ||||
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Studio album by | ||||
Released | May 5, 1997 | |||
Genre | Alternative rock | |||
Label | ARK 21 | |||
Concrete Blonde chronology | ||||
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Concrete Blonde y Los Illegals is a 1996 collaborative album by American musicians Johnette Napolitano and James Mankey of Concrete Blonde, who joined forces with Los Illegals. The album contains a blend of the gothic-influenced alternative rock of Concrete Blonde and the Chicano punk of Los Illegals. The lyrics are mostly in Spanish. [1]
Los Angeles Times reviewer Enrique Lopetegui rated the album 2-½ out of 4 stars, opining that "there are plenty of good moments here" but "very few strong songs"; he singled out the "Chicano rap" record "Ode to Rosa Lopez", about a witness in the O. J. Simpson murder case, for praise as the "riskiest" track on the album. [2] Jae-Ha Kim of the Chicago Sun-Times rated it 1-½ out of 4 stars, finding a lack of cohesion and a failure to showcase Napolitano's distinctive voice. [3] Thom Owens of AllMusic's rating was 2-½ out of 5 stars, finding the project to be "a stylistic departure that reads better than it plays" due to weak songwriting. [4]
Concrete Blonde y Los Illegals | ||||
---|---|---|---|---|
Studio album by | ||||
Released | May 5, 1997 | |||
Genre | Alternative rock | |||
Label | ARK 21 | |||
Concrete Blonde chronology | ||||
|
Concrete Blonde y Los Illegals is a 1996 collaborative album by American musicians Johnette Napolitano and James Mankey of Concrete Blonde, who joined forces with Los Illegals. The album contains a blend of the gothic-influenced alternative rock of Concrete Blonde and the Chicano punk of Los Illegals. The lyrics are mostly in Spanish. [1]
Los Angeles Times reviewer Enrique Lopetegui rated the album 2-½ out of 4 stars, opining that "there are plenty of good moments here" but "very few strong songs"; he singled out the "Chicano rap" record "Ode to Rosa Lopez", about a witness in the O. J. Simpson murder case, for praise as the "riskiest" track on the album. [2] Jae-Ha Kim of the Chicago Sun-Times rated it 1-½ out of 4 stars, finding a lack of cohesion and a failure to showcase Napolitano's distinctive voice. [3] Thom Owens of AllMusic's rating was 2-½ out of 5 stars, finding the project to be "a stylistic departure that reads better than it plays" due to weak songwriting. [4]