Basically, "Blondie's Greatest Hits and lots of mediocre fillers"
Sorry, but that is a fact. I have liked Blondie for almost thirty years now, and I think they are as ace as when I first encountered them in Junior 3. Amusingly, I put this CD on 'Random' and the first track that came on was Denis, which I think was the first song of theirs that I was aware of.
Thirty years on, their sound is as fresh as it was then. We won't see their likes again. Although, checking their site, Blondie and Deborah Harry are still touring. I really ought to catch them sometime. She was no spring chicken when they burst on the UK pop scene way back when, and I think she is still as cool now as she was then. I suspect that as a pre-teen I had a bit of a girlie-crush on her. I remember when she appeared on programmes such as Swap Shop she came over as pleasant and down-to-earth, a great contrast with the 'attitude' in the songs. Such a shame, then, that the hagiography in the CD liner notes is so full of pretentious tosh.
In my view, Debbie Harry is a cultural icon, beyond famous. And yet, I wouldn't recognise her if I saw her in the street. I firmly believe that I am far from alone in this. I suppose it is a symptom of my boredom at the media-driven cult of celebrity. I would far rather read about Debbie than many of the so-called, plastic, transitory so-called 'celebrities' (most of whom won't endure 30 years - or longer, if you include the pre-commercial success era) that dominate the mass media. although, on the other hand, I wouldn't want to think that I was invading the privacy of someone who has always seemed to handle the fame well
If the truth be told, I think a double CD of 47 tracks is overkill. Inevitably, some of the songs are better than others, and, on the whole, the 'singles' are better than the non-singles. That having been said, I could have sat down and ranked my preferences for Blondie singles on the basis of how much I liked them when they were charting, but that would not necessarily accord with my current views. For example, I wasn't that keen on Dreaming back then, but listening to it today, I am struck by the subtle complexities of the harmonies.
I have never really accepted the label of 'Punk' as applied to Blondie. For example, Sunday Girl is fundamentally poppy. But not banal pop. Pop with a hard edge to the music, and even though the melody, lyrics and, at times, her voice, are really quite girly, at other times it is as hard as steel. By chance, and unconnected to me alphabetically playing my CD collection, this song came on my mp3 player and suddenly I was bopping merrily down Millbank and Horseferry Road, a big smile on my face.
Heart of Glass is obviously a classic pop song. As soon as it begins I want to get on the dance floor. This is the sort of incessant dance beat I like, created by humans and in sympathy with human heartbeat and aspiration. And a nice tune. I also expect that the words are good, too. Although I have to admit I do play 'misheard lyrics' a lot with Blondie. My early exposure to them was over Medium Wave radio - a small batter operated transistor - which does not aid clarity - and even though I am playing a CD on a reasonably good hi-fi set up, and the internet gives me access to the real lyrics, I want to carry on mishearing 'you're teeth are in the desert'.
If my feelings about Debbie had been anything stronger than 'Girlie Crush', I think In the Flesh would have got me going. It's slinky and sensual, tantalising close to steamy and sexual.
Picture This is wonderful! The rapidly descending scales on the guitar, the raucous middle-section. The words are wonderful when sung by a woman - they'd be freaky if sung by a man. And there is something specific and indescribable in the overall tone which is immensely evocative to me of a very particular time and place. Hanging on the Telephone is wild and fun.
I think I appreciate Atomic much more than I did back then. It is really quite a sophisticated piece of music, notwithstanding the steady disco beat. So many different elements, such as the repeating almost strident guitar riff combined with a legato vocal line. As the song progresses it gets more intimate and sensual. I can imagine myself shimmering away on an empty dance floor in a crowded venue wrapped up in my own physicality oblivious to the strangers who may or may not be watching. Of course, in RL, I wouldn't. A change of key intensifies the progress to the almost-erotic. I wonder how it would sound without the passé disco beat.
I also find Call Me to be deeply sensual.
The Tide is High is truly lovely. There is something going on in it,something to do with the key, I think, which gives it an air of melancholy which provides a perfect ironic contrast with the optimistic but ultimately hopeless lyrics.
If i was a total music anorak, I suspect what I ought to do is compile my own 'highlights' version of this album, culling about half the content, the fillers, and I would then have a supremely excellent album of timeless songs. But I am not a music anorak. And, if necessary, I have a fast forward button
