Blondie's third album was the one that would catapult them to stardom, hitting number one in the UK, and number six in the US. Six singles were released from the album, and . Mike Chapman was recruited to produce the album, and he spent a significant amount of time at the early sessions improving the underlying musicality of the band. He raised concerns over the keyboard player and drummer, and it was only the lead guitarist Frank Infante and Debbie Harry who left him remotely impressed. Clearly he saw enough raw potential to spend his time with the group, and the eventual output is testament to his vision, as much as anyone else's.
Hanging on the Telephone would go straight on my Top 5 track one side ones. I can't quite put my finger on why I love it so much - it could be the ridiculous pace, Debbie Harry's awesome double-tracked vocals on the chorus, or the obscene guitar licks throughout. To follow this up with One Way or Another indicates the strength of this album. The darkness of the lyrics is something I'd previously overlooked, and adds a real edge to what is otherwise a fairly classic slice of pop music, albeit with a hefty slice of distortion on the guitar. Picture This is a great song I'd never come across before, which plays out a compelling narrative of obsessive young infatuation. Fade Away and Radiate is a very different song, which sounds edgy to modern ears - it could be straight off a new Roisin Murphy album. Written by the guitarist Chris Stein, it washes over the listener with some very intriguing tones. Whilst not the best song on the album, I applaud the band for doing something different that doesn't actually sound shit. Pretty Baby reverts to the band's pop-punk, New-wave default, with Harry's voice front and centre, and is very enjoyable whilst not hitting the depths of other songs. I Know but I don't Know has a cracking riff, but possibly overplays this a touch. 11:59 is another great song, with the rhythm section really shining on the intro. Will Anything Happen takes a belting guitar line and just builds and builds on it. The vocals are on point, the drumming is insistent, and there are some lovely lead guitar moments too. This was the best song on the album that I hadn't heard before, and it could easily take the top spot such is its quality. Sunday Girl is a bit too lightweight for the most part, but does at least end with a slight edge, and it's a decent take on teenage feelings of being constrained by parents. Heart of Glass on the album we had was the disco version, which is still pretty darn good, with the spacey effects and rolling bassline carrying proceedings along well, with some great observational lyrics the cherry on top. I'm Gonna Love You Too is a simplistic explosion of a song that brings a fleeting smile to your face, before being forgotten against its exalted companions, and Just Go Away blasts into life, but can't quite maintain its energy levels.
Make no mistake, this is a jaw-droppingly good album. It sounds like a greatest hits collection, with hit after hit, and some hidden gems thrown in for good measure. It was even better than my high expectations, and I developed an appreciation for the band as a whole, rather than just the force of nature that is Debbie Harry. This is an album that will get a many, many repeated listens over the forthcoming summer, of that I am sure.
Chloe's album rating: 8
Chloe's favourite track: 10. Heart of Glass
Olly's album rating: 9
Olly's favourite track: 1. Hanging on the Telephone
Next week we have 267. The Nitty Gritty Dirt Band with Will the Circle be Unbroken.
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