I had heard of the band but was still a virgin in terms of their tunes when they first released this, their third CD, in 1990. It was a dark (and stormy night --- nah but only if it were so) and moody summer day with a sky that was slowly piling a rich tapestry of dark blue, purple and charcoal clouds on top of each other. It was pre-storm and you could feel the moisture just starting to accumulate in the clouds with the odd drop getting pushed out of its home only to plunge earth-bound.

I was finishing a move to my current home and was alone in a borrowed van bringing the last load of belongings. I was in an odd mood that day, happy to be starting over in a new place but missing our old house and just plain out of sorts from the typical kinds of things that happen during a move. With no CD player in the van, I was relegated to formulaic FM purgatory. In desperation I switched the radio to a local college station and they were just playing the new Luxuria CD which was (as usual) oddly engaging.

Following that was a hypnotizing track which seemed to be just handpicked for that moment. It was like the song sucked in the entire ambience that enveloped me and spewed back a sort of emotional medicine that was custom made. It was a dreamy-type song with an atmospheric guitar snaking along behind a simple but elegant verse/chorus that just has moody stamped all over it. A simple mandolin part (which I found out later was contributed by Peter Buck from REM) was the icing on the cake. The song was unsettling due to its tranquil pace but you got the feeling that there was danger a-foot.

Then there's that voice. The first time I heard Johnette Napolitano was a pretty special moment. Husky and full-bodied, this is a voice with few peers. You don't idly sing-along with Johnette. This voice commands you listen to her --- and boy, did I listen.

So the song ends and I have to wait for another five songs before I found out who it was. The song was "Darkening of the Light" and the band, Concrete Blonde --- and with that, my cherry was popped .Armed with the information of a brand spanking new album, I made my way to the nearest record store the very next morning. I plunked down my bucks and headed for the nearest CD player. But before I could slide the disc into the slot, I was taken with the record cover. Against a black backdrop are some red roses along with a single white one --- covered in blood. OK, now I'm really intrigued.

Ripping open the package I settled into a journey that would consume me for the next two years. Kicking off the set was the title track � subtitled "The Vampire Song". Cool by me. I'm down with vampires so this thing just gets meatier and meatier (this is like 15 years before Twilight, kiddies). Johnette's bass leads the way and this confident piece of business is just the perfect intro to the collections of songs of vampires, alcoholism, AIDS and an array of dark affairs.

This song projects images of a vampire swaggering through town gleefully drawing up a short-list of victims. Lots of possibilities and no hurry. Sonically speaking, all sorts of dark elements are summed up in Jim Mankey. Jim is CB's guitarist and is a cornerstone of the band's sound. He has a trebly quality that is instantly recognizable and it supports Johnette's voice perfectly without muddying up the tracks. There's a BOC-quality that permeates the sound but less sci-fi and more back-alley. Replacing original drummer Harry Rushakoff is Paul Thompson who was on loan from Roxy Music at the time.

Part of the thrill of Bloodletting was/is the variety of the material. Dexterity may be a better word than variety as the songs come packaged in an array of shapes and trimmings but they're not jarringly different. All the cool elements that make up one song all kind of hang along with the others even if they just subtly appear like pictures on a wall or images in a mirror. They're there whether you notice them at first or not.

Following the title cut is the punk-ish "The Sky is a Poisonous Garden". It was with this song that I really noticed Johnette's songwriting abilities which are truly rarified. Her songs really paint a vivid picture and you get little movies running through your mind for each song. Jim's solo gives this song a kick up the rear and Thompson drives the train with power.

Cool and detached, sort of like a supermodel vampire, "Caroline" was an early favorite of mine with Johnette's chugging bass-line leading the way. The singer rarely sounds better than she does on this song. The afore-mentioned "Darkening of the Light" is next before blending into "I Don't Need a Hero". My only complain about this record is that I would have put this song right at the end since it's a perfect wind-down tune --- something that you'd listen to while watching the embers die out on a camp-fire.

Lyrically, Johnette is always compelling. You're always thinking that you're just getting half the story about something and wonder what the details are. She states in "I Don't Need A Hero" "I don't need a hero. I don't need a soldier. Did when I was younger. But now that I am older. I don't need a father. I don't wanna be your mother." This is delivered in a voice that sounds more than weary --- more like chewed up and spit out by life.

The awesome bass line intro to "Days and Days" (reminding me of The Smithereens) heralds a truly great track with a memorable chorus. To this day, when I have to drive out the demons, one of the songs I always have to put on is the next cut "The Beast". Like a werewolf on the prowl, this song is sonically visceral. Mankey's guitar is a chainsaw just ripping and tearing through every note. And how can you go wrong with lyrics like "Love is the leech sucking you up. Love is a vampire, drunk on your blood. Love is the beast that will tear out your heart. Hungrily lick it and painfully pick it apart."

"Lullabye" (which actually sounds like the title) is kind of unexpected on a set like this but it works as a great transition piece --- not to say that it is a weak song in its own right.

The big single "Joey" follows and I think it's funny that I heard a lot of people singing this who were unaware that it's about an alcoholic friend. Another great vocal by Johnette.

One of the most powerful moments of the record is on the (original) closing track, "Tomorrow Wendy", which was written by Wall of Voodoo's Andy Prieboy who appears on the track. Slow and plodding, the emphasis is on the words and is a song about a friend who is dying of AIDS. Elegantly crafted, magnificently delivered, this song is a true jewel.

Part of the fun of a re-issue is the bonus tracks that are sometimes added. In this case there are six. The first one is a pleasant but not essential track called "I Want You" which was the b-side of "Joey. Four tracks, the cover of Hendrix's "Little Wing", as well as live versions of "Roses Grow", "Tomorrow Wendy" and "The Sky is a Poisonous Garden" , were available before on the "Caroline" maxi-single and all are solid tracks. One of the best treats is a French version of the "Bloodletting" track which has an interesting remix as well.

Some other un-released stuff would have been better but overall this is a great package. It's great to see such a stellar record get acknowledged on its 20th anniversary. This is not only a terrific effort; it's the one that put Concrete Blonde on the map in a big way. It's unfortunate that the fickle record-buying public didn't pick up on their other six studio records, all of which are equally brilliant.

Bloodletting slightly stands above them, however because of the cohesiveness of all the songs. Not just a moment in time, the record sounds fresh and exciting today. As always, the strength is in the songs --- and the delivery by one of rock's most under-rated units --- Concrete Blonde!