20. The Tide Is Excessive (1980)
When it got here to selecting cowl variations, you couldn’t fault Chris Stein and Debbie Harry’s style, therefore this slickly interesting tackle the Paragons’ John Holt-penned 1967 single. Further factors for the video, which entails Darth Vader, a flooded condominium and a dancer unaccountably dressed as Pan – it makes completely no sense in any way.
19. Fragments (2017)
Since reforming in 1999, Blondie’s albums have been of decidedly blended high quality, however their most up-to-date, Pollinator, is well the perfect. Its episodic seven-minute nearer – a canopy of a track by a Canadian YouTube influencer, would you imagine – is stately, weary and indignant. It feels like nothing else Blondie have recorded.
18. Shayla (1979)
The exception that proves the rule in regards to the high quality of Eat to the Beat’s non-single tracks. The wistful, synth-heavy, slow-motion Shayla makes Blondie’s debt to 60s woman teams specific as soon as extra. It’s a track you may think about being swathed in reverb by Phil Spector circa 1965 and powered by Be My Child drums.
17. Rip Her to Shreds (1976)
Camp, nasty enjoyable that appears to talk of Blondie’s New York roots. The chugging guitar has an air of the Velvet Underground – whom Harry and Stein noticed stay – whereas the super-bitchy vocal captures the backbiting, vicious environment of Max’s Kansas Metropolis, the place Harry labored as a waitress.
16. Good Boys (2003)
The nice misplaced Blondie single, marooned on their unloved 2003 album, The Curse of Blondie. A killer refrain, and a lyrical steal from Queen’s We Will Rock You, over a distinctly Giorgio Moroder-ish synth bassline; if it had been launched in 1979, as an alternative of 24 years later, it could have been a success.
15. For Your Eyes Solely (1982)
The ultimate authentic Blondie album, The Hunter, is leaden, depressing listening, with shiny manufacturing that may’t conceal uninspired songs. However there’s one exception, a would-be Bond theme with a killer refrain. Bond’s producers rejected it in favour of a Sheena Easton ballad, which was just about the ultimate insult.
14. Within the Flesh (1976)
From the opening, Shangri Las-inspired monologue to the manufacturing credit score for Richard Gottehrer – author of the Angels’ My Boyfriend’s Again – Blondie’s eponymous debut album was 60s girl-group obsessed; Within the Flesh is an ideal replace of a lady group in dreamy doo-wop-influenced ballad mode.
13. Denis (1977)
The unique – Denise by one-hit-wonders Randy and the Rainbows – is a falsetto-voiced 1963 doo-wop single, totally of its period. Blondie’s model drags it into the late 70s by throwing the whole lot on the track – glam stomping, verses in French, synthesisers, frantic drum rolls – remodeling its environment. The UK charts had been powerless to withstand.
12. Fade Away and Radiate (1978)
Ballads aren’t actually what Blondie had been recognized for, however from its digital intro onwards, Parallel Strains’ Fade Away and Radiate – about watching late-night TV films in an altered state that shifts from blissful to paranoid – is eerily compelling. Harry sounds suitably zonked; Robert Fripp’s guitar solo is unimaginable.
11. Sunday Woman (1978)
“I wasn’t making a brand new wave album,” mentioned producer Mike Chapman, of Parallel Strains, “I used to be making a pop album.” Nowhere is that clearer than on the effortlessly business Sunday Woman: teen romance lyrics, the irresistible sweetness of its melody given a touch of toughness by Harry’s vocal.
10. One Means Or One other (1978)
A spotlight of Parallel Strains, the one Blondie album that’s nice from begin to end, One Means Or One other boasts a ferociously aggressive Harry vocal that appears to be made up totally of hooks. Perkily coated by One Course, who appeared to not discover that the lyrics are a deeply unsettling depiction of a stalker.
9. Image This (1978)
If you happen to purchase Chapman’s view of Blondie throughout the making of Parallel Strains – completely stoned, perpetually at one another’s throats, musically inept – the sheer high quality of the fabric appears unimaginable. Image That is only a very good piece of songwriting through which the whole lot clicks precisely, as its tone switches from sultry to raucous.
8. Union Metropolis Blue (1979)
A easy however efficient drawing of a girl gazing wistfully out on the Manhattan skyline from the vantage level of working-class New Jersey, Union Metropolis Blue is an ideal instance of Debbie Harry’s underrated ability as a lyricist: the music completely matches the lyric’s sense of craving and melancholy.
7. Rapture (1980)
The experiments on 1980’s Autoamerican – together with string-laden instrumentals, spoken phrase and present tunes – might need labored higher if Blondie themselves had appeared like they had been having fun with them. However one experiment labored. Quibble in regards to the high quality of Harry’s rapping if you would like, however the disco groove beneath the entire thing is magnificent.
6. (I’m All the time Touched By Your) Presence, Pricey (1978)
The primary signal that Blondie had been greater than trendy, 60s-obsessed CBGBs curios. The tune is magnificent, and the lyrics are alternately humorous and horny, Harry inhabiting them fully. However its genius is the subtlety with which it progressively builds from a jangly folk-rock intro to its thunderous climax, pushed by Clem Burke’s superlative drumming.
5. Hanging on the Phone (1978)
Typically, a track takes some time to search out its supreme singer. The unique of Hanging on the Phone, a 1976 single by LA powerpop band the Nerves, is fairly good, however Harry’s commanding efficiency owns the track, whereas Blondie’s association is louder, brasher, tighter and harder: the stuff of which classics are made.
4. Name Me (1980)
It’s an irony that one of many best Blondie singles isn’t by Blondie in any respect – Harry sings on and co-wrote Name Me, however the music is all of the work of Giorgio Moroder and his common session musicians. You’d by no means know: the electronics, distorted guitars and glam-ish beat appear effortlessly Blondie-esque.
3. Dreaming (1979)
In contrast to its all-killer-no-filler predecessor, 1979’s Eat to the Beat hinges on its singles. However what unimaginable singles they’re, as exemplified by Dreaming: an ideal pop track, thrillingly underpinned by Burke taking part in as if below the impression the entire monitor was speculated to be a three-minute drum solo.
2. Atomic (1979)
A piece of alchemy, Atomic is mainly a collection of musical fragments held collectively by a guitar riff. It’s additionally an totally wonderful track. Within the album model, there’s no verse/refrain construction, only one incredible melody and key-change after one other. The hovering “oh your hair is gorgeous” part is essentially the most superb second in Blondie’s catalogue.
1. Coronary heart of Glass (1978)
Blondie sat on Coronary heart of Glass for years – they recorded As soon as I Had a Love (AKA The Disco Tune) in 1975. You may see why they waited: a flick by means of Legs McNeil and Gillian McCain’s oral historical past Please Kill Me reveals the NY punk scene’s profound loathing of disco. Even in 1978 it was a daring transfer, though the greatness of Coronary heart of Glass is that it’s disco totally on Blondie’s phrases, somewhat than vice versa, a gleaming pop track with garage-rock organ taking part in a lurching riff and a lyric that encapsulated Harry’s insouciant screw-you cool: “As soon as I had a love and it was a gasoline / Quickly turned out to be a ache within the ass”.
The reissue of Yuletide Throwdown is out digitally and will probably be launched on restricted version vinyl on 6 November by UMe-Capitol/Numero Group