Blondie: The Curse Of Blondie
Reviewed By Liberation Iannillo
In this modern
pre-packaged “who’s hot next season” pop
culture, the formation of Blondie couldn’t
happen now. A middle-aged woman fronting a middle-aged
band, on paper, doesn’t sell. Instead of
focusing on the music, it seems that bands today
are too busy perfecting their dirty Williamsburg
look, knowing they can simply rehash the past
for a new, younger generation.
What is usually
forgotten in this routine is that these bands couldn’t
exist to rehash if it wasn’t for bands like
The Cars, The Ramones, The Pretenders, Iggy Pop,
and of course, Blondie. They all did it all first.
That’s not to say that Blondie didn’t
borrow amply from the girl groups of the 50’s.
After all they did cover The Shangri Las “Out
In The Streets”, twice. There is a difference
though in being influenced by a band and outright
“The Curse of Blondie” is
Blondie’s eighth studio album and their last
since their return in 1998 with “No Exit”.
The album starts off with “Shakedown”,
probably the weakest song out of the 14 new songs.
Debby’s rapping in “Rapture” was
fine for a few lines but it can’t and shouldn’t
carry a whole song as attempted in ‘Shakedown’.
It gets on your nerves the same way Madonna did
when she rapped about her soy lattes in her synth-bomb “American
Life”. It’s made up for with “Good
Boys” which could have very easily have been
plucked from “Parallel Lines”. Nearing
60, Harry’s voice still has that sexy, come-hither
whisper to it that makes you need to listen to
this song repeatedly.
It’s hard not compare the
new material with the older Blondie classics. Their
sound now is just as strong as it was then. And
thankfully they didn’t turn down the middle-aged-jazz-road
as others have done. Blondie is best at pop and
they know it. “The Curse of Blondie” is
the perfect example of why Blondie should continue
to make music and we are grateful they still do.
Liberation's Debby Harry
By Tattoo Artist Mulysa Mayhem
dodges Courtney's mic stand