This is practically a Greatest Hits album, such is the extent of tracks on here that are among Blondie’s most enduring singles – Hanging On The Telephone, One Way Or Another, Picture This, Sunday Girl, and Heart Of Glass. Other Blondie albums have a solid wodge of singles too, notably 1980s Eat To The Beat (which may or may not be on Dimery’s radar, I’m not sure), but none as many as this.
This was produced by Mike Chapman, of Chinnichap fame, and perhaps the absence of Nicky Chinn means it has more subtlety than the stomp-rock glam that the pair did with Mud, The Sweet, Suzi Q etc., but what was interesting was how much of a pain he found the band to work with. Chris Stein (guitars, lion’s share of the songwriting) was stoned most of the time, Debbie Harry was temperamental and emotional, Clem Burke according to Chapman was a poor drummer, which surprises me given the complexity of beats he sometimes puts out. Maybe a lot of the work was post-production from Chapman. Maybe Chapman was the problem.
The album transforms them from the CBGB new-wave types to something a bit poppier, with some great catches to the songs. Harry’s vocals (and look) are arguably a major part of the band, and some of the non-single tracks showcase the depth of her voice – Fade Away And Radiate is just gorgeous and soaring. Pretty Baby has her multitracking her own backing vocals on a do-wop based track, which takes off into Frankie Valli heights.
Some of the CBGB style still hangs on to the album – I Know, But I Don’t Know is a very post-punk, almost Lou Reed, rocker of a track with some great thrashy guitar from Franke Infante (who shares vocals with Harry and wrote the track). Will Anything Happen is also more of a post-punk track, but Blondie show that they’re not above using other musical genres such as the funky disco-tinged Heart Of Glass (with some great fills from Burke which again makes me wonder where the truth lies with Chapman’s words). I’m Gonna Love You Too goes to the rockabilly well, but actually made me think more of Kirsty MacColl than Buddy Holly.
I find these albums that are such a rich source for an artist's enduring singles feel a little less essential. It's usually only half an album that "you must hear before you die" since chances are you've heard the rest. Quite often, though, the album tracks are worth it. With this one I'd say, yeah, somewhat.
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