Blondie emerged as a New Wave powerhouse when they debuted in 1976 with a self-titled album. But it soon became apparent that this band was far too ambitious to be contained in one musical category.<\/p>\n
The band churned out four chart-topping singles in America over a short stretch between 1979 and 1981. These songs display just how varied their approach could be without losing the essence of what made them so special as a group.<\/p>\n
\u201cHeart Of Glass\u201d<\/p>\n
Blondie\u2019s first two albums wowed critics but did little on pop radio, at least not in America. (The UK was ahead of the game in realizing the band\u2019s excellence.) \u201cHeart Of Glass\u201d was a song that they had lying around for a few years before they recorded it. When they played it for producer Mike Chapman, he quickly heard a potential hit. That didn\u2019t happen until the band sprinkled a glossy coating of disco dust all over the proceedings. Debbie Harry\u2019s performance managed to be cool but not unfeeling. Her character shrugs her shoulders at the loss of her lover as a survival mechanism. From her vulnerable falsetto to her insinuating lower register, she doesn\u2019t miss an emotive beat.<\/p>\n
\u201cCall Me\u201d<\/p>\n
One wonders what might have happened had Giorgio Moroder, who composed the music for \u201cCall Me\u201d, received a yes from Stevie Nicks, his first choice to sing the song. Contractual restrictions prevented Nicks from taking part. Considering her subtler writing style, it\u2019s hard to imagine she would have delivered something as bold and brassy as what Harry delivered. The other members of Blondie tried to record their parts to the track Moroder lent them, but he decided against using them. Instead, he turned to Harold Faltermeyer to provide a swirling synth solo that defined the music. Meanwhile, Harry belts out the lyrics with a defiance that suggests that she\u2019ll be fine whether anybody calls or not.<\/p>\n
\u201cThe Tide Is High\u201d<\/p>\n