Blondie's Welcome Return

by Bob Powers

G21 Music Writer

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Bob Powers

Asked to select 10 favorite bands of the rock era, most people would not automatically include Blondie. But after listening to a half-dozen newly remastered CDs from this talented group, I suspect many listeners would consider putting this always entertaining band into the mix of the best of the '80s, if not of all time.

In listening into Blondie's entire six albums for Capitol Records in chronological order, listeners can hear the band advance with each release, willing to take chances and not just content to keep the singles coming. Deborah Harry, certainly one of the most enticing blondes ever to stand in front of a band, comes off as a woman with a damned good voice and a sly attitude toward the sexual attraction that she quickly became.

The group's debut disc, "Parallel Lines," made quite a splash upon its release in 1979. The band emerged from the busy club scene in New York's East Village. The band had gone through many changes during its existence prior to recording success. But with the initial album, things had settled down. As Capitol publicists pointed out, music fans were attracted by the band's look (on the first album, the cover showed the five male musicians in black suits, while Harry stood defiantly with hands on hips, wearing a stark white dress.)

"Parallel Lines" includes the original's dozen songs, plus four additions including "Bang A Gong (Get It On)." The band's popular single, "Heart of Glass," helped establish the band and assured anticipation for a second album.

The second release, "AutoAmerican," showed a definite climb in the band's ambitions. It demonstrates that Blondie intended to be more than a popular band in a dance club, although they didn't shy away from trying to attract the dance crowd. "AutoAmerican" contains the reggae-influenced "The Tide Is High," which sounds just as good today as it did in 1980. Added to the CD for this release is the original 18-minute version of "Call Me" from the Richard Gere movie, "American Gigolo."

Each of the six albums contains notes from the producer, Richard Gottehrer on "Blondie" and "Plastic Letters" and Mike Chapman for "Parallel Lines," Eat to the Beat," "AutoAmerican" and "The Hunter." Their comments enrich each album and help to place the discs in their proper place of rock's long and fascinating history.

The next release, "Eat to the Beat," features two single hits, "Dreaming" and "Atomic." The four bonus tracks include a cover of the Four Tops' "Seven Rooms of Gloom" and the band's composition, "Die Young Stay Pretty." Both came from tapes recorded at a New Year's Eve '79 concert in Glasgow, Scotland.

The remaining albums are packed with bonus tracks. "Blondie" includes "Out in the Streets," "The Thin Line," "Platinum Blonde," "X Offender" and "In the Sun."

Hearing these oldies in succession made me realize that Blondie was much more than a pop band. For one thing, Harry shows chops that I didn't remember her having. She was much more than a sex symbol, although she undoubtedly looked wonderful on album covers.

Stan Getz Goodies

If you're into bargains and like the work of the late Stan Getz, you will seek out "My Old Flame" from Concord Records. The two-for-one album includes the two releases from 1981, "The Dolphin" and "Spring Is Here." Both were recorded at the old palace of jazz in San Francisco, the Keystone Korner.

Stan Getz possessed talent that placed him in the list of the best tenor players of his time. When these sessions occurred, he seemed close to the epitome of his career.

Back in the Saddle Again

You may have noticed that I've been missing from these pages for awhile. Sorry about that. I know that I missed you, and hope that you missed me, too. Onward we go.

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