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30 Aug 2001 | Format: MP3

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Product details

  • Original Release Date: 30 Aug 2001
  • Release Date: 30 Aug 2001
  • Label: Chrysalis Inc
  • Copyright: (C) 2001 Capitol Records, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:09:05
  • Genres:
  • ASIN: B001I1DBMO
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Bestsellers Rank: 28,085 in MP3 Albums (See Top 100 in MP3 Albums)

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16 of 16 people found the following review helpful By A Customer on 26 April 2002
Format: Audio CD
Since it's release this album has recieved a mixed reaction
and continues to divide fan opinion. Blondie however, have
never been content to merely be pop-punk hitmakers and
nothing else ("Attack Of The Giant Ants", "Victor" or "Cautious
Lip" anyone?).
Until 1999's "No Exit", "Autoamerican" was Blondie's most
diverse album. Right away the album takes a different
direction with Chris Stein's moody futuristic classical piece
"Europa". The rest of the album takes in show tunes ("Here's
Looking At You"), reggae ("The Tide Is High" originally by The
Paragons), jazz (Debbie's composition "Faces") and ends
with "Follow Me" from the musical "Camelot".
Deborah Harry and Chris Stein's "Rapture" was a pioneering
rap hit. Debbie's rapping is flawless, her harmonising verses
are seductive and the song ends with the coolest guitar
solo ever. Nigel Harrison's co-penned "T-Birds" is breezy and
Debbie gives an alternate take on history. I love guest
Wa Wa Watson's wah wah guitar on the soaring "Live It Up"
(which comes out even more in the extended disco mix, sadly
not included in this reissue).
Jimmy Destri scores as always with album tracks. "Angels On
The Balcony" is one of Blondie's finest album tracks, has a
great guitar solo in the middle and should have been a single.
"Walk Like Me" is a punky garage number about anti-conformity
and has a great marching bassline, twangy guitar and growly
vocals in that way that only Debbie can do properly.
It may not have the instant appeal of the first four albums
but after a few listens it can prove a rewarding experience
and really grow on you. Blondie managed to experiment
artistically and deliver some hit songs at the same time.
Long term fans of course will have spotted the lyrical link
between "Walk Like Me" and the 1999 hit single "Maria" (also
by Destri).
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25 of 28 people found the following review helpful By Autodidact on 26 May 2004
Format: Audio CD
If PARALLEL LINES is Blondie's greatest collection of songs - snappy, clever and direct, in ideal compliance with their standing as the perfect pop group - their 1980 AUTOAMERICAN is their greatest album, one that is dignified and complete, perfect in its total unity and harmony. Ironically it is at a time when Blondie were most alienated as a group that they sound most like a band, a contradiction evoked in the record's beautiful cover art.
On AUTOAMERICAN Blondie, in spirit at least, step outside New York and breathe in the vast scope and beauty of America. The record's opening sequence "Europa", a somewhat intellectual concept of the automobile voiced robotically by Harry, is the statement of intent, giving way to the perfect disco bass of "Live it Up", containing one of Blondie's great lines: "you know its so passé/to sleep without you every day". "Go Through It" cruises along an open highway with tender love and gutsy charm. "Do the Dark", tinged with North African allusion, is a shadowy and mysterious invitation to "do the Sidewalk Shuffle/do the Invisible Dance" and is one of Blondie's most intoxicating songs.
Admittedly "The Tide is High" becomes increasingly easy to skip over as the album's finest moments become even more alluring; The old time dance-hall number "Here's Looking at You" - lazy, smoky and poignant, voiced through a glass of bourbon while pining for Monroe; The immortal "Rapture", cooler now than it ever was, and a significant piece of pop culture in itself, pin-pointing the exact moment when the New York elite chose hip-hop over power pop. Evoking Basquait and Warhol as effortlessly as it does huge yellow taxi cabs and brownstone buildings; space mutants and b-movies; Coca Cola and Studio 54.
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2 of 2 people found the following review helpful By B. S. Marlay on 20 July 2011
Format: Audio CD
Little Blondie had recorded on their first four albums could have prepared anyone for the experimental approach of 1980's `AutoAmerican'. Again working with Australian production maestro, Mike Chapman (Suzi Quatro, The Knack, `Parallel Lines', `Eat to the Beat'), the band went in directions that were extremely unusual for that era.

There are echoes of their past on this record in its dabbles in disco rhythms, reggae and very occasional rock. But as a whole, it abandons Blondie's earlier 60s mod girl group new wave affectations. `AutoAmerican' feels incredibly complex, concept-like, literate and ever so slightly pretentious - even though, when you break it down into individual songs, it actually isn't.

Science-fiction and symphonic film scores are behind guitarist Chris Stein's opening `Europa', which ends with a spoken verse from Deborah Harry about man's over-dependence on cars, which has led to their abandonment. The car motif is then very loosely picked up in lyrics on a few occasions throughout the album. Combined with the title and cover design credits, it is just enough to make it feel substantial. `Europa' is an arresting beginning.
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