20. The tide is high (1980)
When it came to choosing the cover version, you couldn’t make a mistake Chris Stein Debbie Harry’s taste, and therefore this cleverly fascinating take, is a 1967 single written by John Holt of The Paragons. An additional point in the video involving Darth Vader, a flooded apartment, and a dancer dressed as bread – it doesn’t make any sense.
19. Fragment (2017)
Since the 1999 reforms, Blondie’s albums have clearly been of mixed quality, Their latest pollinator, Easy and best. Its episodic 7-minute approach, a cover of a song by a Canadian YouTube influencer, is imposing, tired, and angry. There seems to be no other recording by Blondie.
18. Sheila (1979)
An exception that proves the rules regarding the quality of non-single tracks in Eat to the Beat. Greedy, heavy synthesizer, and slow-motion Shayla once again clarifies Blondie’s debt to girl groups in the 1960s. This is a song that you can imagine being wrapped in reverb by Phil Spector around 1965 and equipped with Be My Baby drums.
17. Tear her into pieces (1976)
A nasty fun that seems to tell the roots of Camp, Blondie’s New York. The chugging guitar has the Velvet Underground air that Harry and Stein saw live. On the other hand, the super-bitch vocals capture the swearing and vicious atmosphere of Max’s Kansas City, where Harry worked as a waitress.
16. Good Boys (2003)
The lost great Blondie single appeared on their unloved 2003 album “The Curse of Blondie”. The lyrical theft from the killer chorus, and Queen We Will Rock You, is clearly on the Giorgio Moroder-inspired synth bassline. Had it been released in 1979 instead of 24 years later, it would have been a hit.
15. For your eyes only (1982)
Blondie’s last original album, The Hunter, is a lustrous piece that can’t hide a non-stimulating song, leading a miserable listening. However, there is one exception. It’s about becoming a bond theme with a killer chorus. Bond’s producer rejected it in favor of Sheena Easton’s ballad. This was almost the last insult.
14. Physically (1976)
From the beginning, from the Shangri-Las-inspired monologue to Richard Gotteller’s production credits. My boyfriend’s back – Blondie’s debut album was crazy about girl groups in the 1960s. In the Flesh is the perfect update for a ballad mode girl group inspired by the dreamy doo-wop.
13. Dennis (1977)
Original-Dennis One-hit wonder Randy & The Rainbows – Is a 1963 doo-wop single of Falsetto’s voice, entirely of that era. Blondie’s version drags in the late ’70s and changes the mood by throwing everything from Gram’s trampling, French poetry, synthesizers, desperate drum rolls into the song. The British charts were unwilling to resist.
12. Fade Away And Radiate (1978)
Ballads aren’t really known to Blondie, but since their electronic intro, Parallel Lines’ Fade Away and Radiate have eerily persuaded them to watch a late-night television movie in a transformed state that turns from bliss to delusion. There is power. Harry sounds like a zombie properly. Robert Fripp’s guitar solo is great.
11. Sunday Girl (1978)
“I wasn’t making a new wave album, I was making a pop album,” said Mike Chapman, producer of Parallel Lines. Effortlessly Commercialized Sunday Girl: Nothing is as clear as the fascinating sweetness of its melody, inspired by the lyrics of teen romance and the toughness of Harry’s vocals.
10. Either method (1978)
The highlight of Parallel Lines, a great Blondie album from start to finish, One Way Or Another boasts a fiercely aggressive Harry vocal that appears to be entirely made up of hooks. It was well covered by One Direction, which seemed unaware that the lyrics were a very disturbing portrayal of the stalker.
9. Picture This (1978)
Purchasing Chapman’s Blondie perspective while creating parallel lines makes them permanently stone, permanently incompetent in each other’s throats, and musically incompetent, but the pure quality of the material is incredible. Picture This is a great songwriting that everything clicks exactly when the tone switches from sultry to noisy.
8. Union City Blue (1979)
Union City Blue is a simple and effective picture of a woman staring at the Manhattan skyline from a vantage point in a working class in New Jersey. A perfect example of Debbie Harry’s underrated skills as a lyricist. The music is in perfect agreement with the feeling of the lyrics. Longing and melancholy.
7. Rapture (1980)
Experiments at Auto-American in the 1980s (stringed instruments, spoken words, show tunes, etc.) may have worked well if Blondie himself seemed to enjoy himself. But one experiment worked. We argue about the quality of Harry’s wrap if needed, but the disco groove underneath the whole is great.
6. (I’m always impressed with you) Presence, dear (1978)
The first sign that Blondie was more than a stylish and crazy CBGB antique in the 1960s. The songs are great, the lyrics are funny and sexy, and Harry lives with them entirely. But that genius is the delicacy that gradually builds from the jerky folk-rock intro to the thundering climax, driven by Clem Burke’s finest drums.
5. Hanging on the Telephone (1978)
Sometimes a song takes time to find its ideal singer. The original of the 1976 single Hanging on the Telephone by LA power pop band The Nerves is pretty good, but Harry’s conducting performance owns the song, and Blondie’s arrangements are bigger, stronger, tighter and tougher.
4. Call Me (1980)
It’s ironic that one of Blondie’s best singles isn’t by Blondie. Harry sang and co-authored Call Me, but all the music is the work of Giorgio Moroder and his regular session musicians. You never know: electronics, distorted guitars and fascinating beats look effortlessly Blondie.
3. Dream (1979)
Unlike its predecessor, All Killer No Filler, the 1979 Eat to the Beat depends on a single. But Dreaming: What a great single they are, as illustrated in the perfect pop song, is thrilled by Burke playing under the impression that the entire track is a three-minute drum solo. It is supported by a perfect score.
2. Atomic (1979)
Atomic, an alchemical work, is basically a series of musical fragments organized by guitar riffs. It’s also a very nice song. In the album version, there is no verse / chorus structure, and great melodies and key changes occur one after another. The soaring “Your Hair is Beautiful” section is the most illustrious moment in Blondie’s catalog.
1. Heart of Glass (1978)
Blondie has been sitting at the Heart of Glass for years – recording Once I Had a Love (AKA The Disco Song) in 1975. You can see why they waited. Flick the oral history of Legs McNeil and Gillian McCain. Deep aversion to discos in the New York punk scene.. Even in 1978, it was a bold move, but the beauty of the Heart of Glass is that it’s not the other way around, it’s completely disco in Blondie’s words. Screw-You’re cool: “If I had love and it was gas / soon it turned out to be a pain in the ass.”
Uretide slowdown reissue It will be released digitally on November 6th on a limited edition record from the UMe-Capitol / Numero Group.
Blondie’s 20 Best Songs – Ranking! | Blondie
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