Sunday, July 08, 2007

Number 594 - Blondie


Number 594

Blondie

"Call Me"

(1980)
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Genre:New Wave
Blondie was the most commercially successful band to emerge from the much vaunted punk/new wave movement of the late '70s. The group was formed in New York City in August 1974 by singer Deborah Harry (b. July 1, 1945, Miami), formerly of Wind in the Willows, and guitarist Chris Stein (b. Jan. 5, 1950, Brooklyn) out of the remnants of Harry's previous group, the Stilettos. The lineup fluctuated over the next year. Drummer Clement Burke (b. Nov. 24, 1955, New York) joined in May 1975. Bassist Gary Valentine joined in August. In October, keyboard player James Destri (b. Apr. 13, 1954) joined, to complete the initial permanent lineup. They released their first album, Blondie, on Private Stock Records in December 1976. In July 1977, Valentine was replaced by Frank Infante.
In August, Chrysalis Records bought their contract from Private Stock and in October reissued Blondie and released the second album, Plastic Letters. Blondie expanded to a sextet in November with the addition of bassist Nigel Harrison (born Princes Risborough, Buckinghamshire, England), as Infante switched to guitar. Blondie broke commercially in the U.K. in March 1978, when their cover of Randy and the Rainbows' 1963 hit "Denise," renamed "Denis," became a Top Ten hit, as did Plastic Letters, followed by a second U.K. Top Ten, "(I'm Always Touched by Your) Presence, Dear." Blondie turned to U.K. producer/songwriter Mike Chapman for their third album, Parallel Lines, which was released in September 1978 and eventually broke them worldwide. "Picture This" became a U.K. Top 40 hit, and "Hanging on the Telephone" made the U.K. Top Ten, but it was the album's third single, the disco-influenced "Heart of Glass," that took Blondie to #1 in both the U.K. and the U.S. "Sunday Girl" hit #1 in the U.K. in May, and "One Way or Another" hit the U.S. Top 40 in August. Blondie followed with their fourth album, Eat to the Beat, in October. Its first single, "Dreaming," went Top Ten in the U.K., Top 40 in the U.S. The second U.K. single, "Union City Blue," went Top 40. In March 1980, the third U.K. single from Eat to the Beat, "Atomic," became the group's third British #1. (It later made the U.S. Top 40.)
Meanwhile, Harry was collaborating with German disco producer Giorgio Moroder on "Call Me," the theme from the movie American Gigolo. It became Blondie's second transatlantic chart topper. Blondie's fifth album, Autoamerican, was released in November 1980, and its first single was the reggaeish tune "The Tide Is High," which went to #1 in the U.S. and U.K. The second single was the rap-oriented "Rapture," which topped the U.S. pop charts and went Top Ten in the U.K. But the band's eclectic style reflected a diminished participation by its members - Infante sued, charging that he wasn't being used on the records, though he settled and stayed in the lineup. But in 1981, the members of Blondie worked on individual projects, notably Harry's gold-selling solo album, KooKoo. The Best of Blondie was released in the fall of the year. The Hunter, Blondie's sixth and last new album, was released in July 1982, preceded by the single "Island of Lost Souls," a Top 40 hit in the U.S. and U.K. "War Child" also became a Top 40 hit in the U.K., but The Hunter was a commercial disappointment. At the same time, Stein became seriously ill with the genetic disease pemphigus. As a result, Blondie broke up in October 1982, with Deborah Harry launching a part-time solo career while caring for Stein, who eventually recovered. In 1998, the original line-up of Harry, Stein, Destri and Burke reunited to tour Europe, their first series of dates in 16 years; a new LP, No Exit, followed early the next year. - William Ruhlmann
What does Rolling Stone think of Blondie?
Blondie is a quintet which juggles genres of fast rock, from a thick, Spector-ish vision of street crime called "X Offender" to a thick, Who-like vision of womanhood called "Rip Her to Shreds." Blondie is for the most part a playful exploration of Sixties pop interlarded with trendy nihilism. Everything is sung by Deborah Harry, possessor of a bombshell zombie's voice that can sound dreamily seductive and woodenly Mansonite within the same song. It's an interesting combination and forces all the songs on Blondie to work on at least two levels: as peppy but rough pop, and as distanced, artless avant-rock. The group's original material has no trouble yielding to this malleability of meaning since the songs are so broad in theme—the plots of "Kung Fu Girls," "Rip Her to Shreds" and "The Attack of the Giant Ants" are exactly what their titles suggest: the aural equivalents of tabloid newspapers. Absolutely anything, from joke to political manifesto to hoax, can be ascribed to them. Two things save Blondie's music from a lack of focus and sincerity. One is producer Richard Gottehrer's adroit echoing of decade-old pop songs, replete with hooks and innocent melodrama. The other is Deborah Harry's utter aplomb and involvement throughout: even when she's portraying a character consummately obnoxious and spaced-out, there is a wink of awareness that is comforting and amusing yet never condescending.(RS 236)
Rolling Stone Top 500 Songs ranked this song at Number 283 and the Album ranked at Number (Song is off a O.S.T)
This song has a crowbarred rating of 72.3 out of 108

Rangiora

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