The first Blondie record is possibly also the best Blondie record. Nowhere else do you see the girl-group meets CBGB's sound so perfectly captured. And the closing "Giant Ants" is a classic track. But the real reason to write home about this CD is the bonus tracks. "Out in the Streets" is easily one of Blondie's best recordings, and the rest of the extras are nearly as great. My one complaint is the omission of the pre-"Heart of Glass" recording, "Once I Had a Love," which, chronologically speaking, belonged on this CD (all of the other 1975 demos are here). Instead it was added onto the deluxe edition of "Parallel Lines," which makes some sense I guess. This problem knocks a five star album down to four, because every time I listen to this it bugs me.

crisp, fresh and rockin even 25 years later. most interesting lyrics of any of the early blondie (and who really cares about post-parallel lines blondie?). great guitar and organ. underrated drumming on the solos and breaks. lesbian underthemes (seen later in sunday girl and pretty baby). and that voice, all sex.

debbie harry was a huge pioneer.

Wow, an 80's album in the middle of the 70's? Strange but true. Deborah Harry was the architypal 80's vocalist, infusing Blondie's songs with a pop sensibility that was missing from her punk pals Patti Smith and Chrissie Hynde. It's not difficult to imagine Cyndi Lauper, Belinda Carlisle or even the early Madonna singing these tunes. In that sense Deborah Harry was without doubt the most influential American female vocalist of the late 70's/early 80's.

On their first album Blondie perfectly mix 60's bubblegum pop with garage rock and it's the keyboard that makes all the difference (another one of their innovations that would become standard in the 80's). If Blondie can be described as punk it was their humour and irreverence that made them so, subverting classic pop styles with black and ironic humour e.g. 'Rip Her To Shreds' and 'Attack Of The Giant Ants'. It's also interesting to hear the reggae influence of the time on a track like 'Man Overboard'. 'Heart Of Glass' was also originally written as a reggae tune, but by the time Blondie was gaining some success, the producers took it and turned it into a disco hit, the reason being apparently that "Americans don't buy reggae". Other notable tracks reflecting their time include 'Kung Fu Girl' (Bruce Lee movies being huge in the 70's).

Respect must also be given to Chris Stein for his foresight and musical knowledge in knowing what would instantly appeal to an audience overdosed on rock pretentiousness.

Blissful!

Oh, this record is absolutely marvellous! Yes, even better than "Parallel Lines" - their usually most celebrated album. Nonetheless, I like "Blondie" better, because the songs aren't as over-familiar as those on "P.L.".

The only beef I have with this reissue is the inclusion of below par extra tracks a la "Platinum Blonde" and "The Thin Line" --- not prima Blondie material that. The cover of the Shangri-Las "Out in the Street" is OK, although they bettered that one on "No Exit".

From the original album I only ever disliked the very silly closing "The Attack of the Giant Ants". The almost-equally-stupidly-titled yet finger-snapping "A Shark in Jets Clothing" is one of the best cuts here/there, though, and deserves a belated and celebrated recognition (retro movie music supervisors out there take note!)

"X Offender", "In the Flesh", "Kung Fu Girls", "In the Sun", "Rifle Range", and ALL the (at least) first 10 songs on this CD are amongst some of the (still) freshest and best pure pop music recorded (as Homer Simpson would say) during those turbulent times that were the 1970's.

Stay in the sun and don't fall overboard --- buy this CD today!

This album sounds like 1966--that blissful year in which so many eclectic sounds, from Motown to Go-Go Beat and British Invasion, to early Mod and pre Psychadelic, co-existed on the airwaves. "X Offender", "Little Girl Lies" and "in The Flesh", which open the album, all sound like Phil Spectorish girl-group recordings, albeit with spicier lyrics. On "Look Good In Blue" the band has the good humor to perform a rock song with a tango beat in dead earnest, as well as the memorable line "I could give you some head....and shoulders to lie on". "In The Sun" in my opinion is the most exhilerating Blondie song ever; the simple melodic hook is breathtakingly catchy, and the instrument playing the main riff sounds like something between a foghorn and a vacuum cleaner! (It is probably a synthesizer). Whatever it is, it is emblematic of the inspired innovation apparent throughout this album. "A Shark In Jets Clothing" is Blondie's homage to "West Side Story", and that closes Side 1 (or it did in the days of vinyl anyway).

Side 2 begins with the Latin-flavored "Man Overboard" which again revisits the girl group sound, and boasts background vocals by legendary 60's songstress Ellie Greenwhich herself. Beautiful keyboard solo by Jimmy Destri has a Doors-y feel. Then, "Rip Her To Shreds" reminds the listener that the Blondie of this album was initially a "punk" band from the CBGBs circuit. But unlike most punk rock, the song's aggressiveness is mostly satire--a comic book treatment of viciousness and female backbiting. Debbie is at her vampy best in the spoken parts "Hey! Pss Pss! Here she comes now!....Bye Bye Sugar! And not a minute too soon!" And the arrangement is perfect. "Rifle Range" follows, again with a slightly Doors-y feel. The lyrics are very out-there, in a similar way as Van Dyke Parks/Brian Wilson collaborations. Hauntingly beautiful lead guitar lines highlight this strange and compelling track. "Kung Gu Girls" which follows, is another in the "Rip Her To Shreds" aggressive vein. Again, we are in a comic book, with Debbie hollering "Kung Fu Cindy Sue, Oh I wanna get close to you, you're my Kung Fu Girl!..." Hysterical.

Closing the collection is the conga-line looniness of "Attack of the Giant Ants' complete with a mid-song ant-attack with screams and police sirens! When the song ends suddenly, the fade out features lounge music on a piano and the sound of people talking at a party--very Beatles circa White Album! I really miss the Blondie featured here, they didn't survive this incarnation, and by the time of "Plastic Letters" of the following year, a lof the fun was already gone, dissapating progressively with each album that followed. I would say it died after "Eat to the Beat". But listening to "Blondie" always purifies my world, cleaning it up and making it all seem fun again. And "In the Sun" is a musical anti-depressant garaunteed to lift you up. You've never heard Blondie like this before. CD extras include the 1975 demos--a trifle lackluster but a must for fans, along with the original 7" versions of "X Offender" and "In The Sun" with alternate vocals---inferior to the album mixes but interesting anyway. They show how much Debbie perfected her studio technique in the few short months between the recording of the debut single and the album.