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Track Listings
| 1. X Offender |
| 2. Rifle Range |
| 3. Look Good In Blue |
| 4. In The Sun |
| 5. Shark In Jet's Clothing |
| 6. Man Overboard |
| 7. Rip Her To Shreds |
| 8. Little Girl Lies |
| 9. In The Flesh |
| 10. Kung Fu Girls |
| 11. Attack Of The Giant Ants |
| 12. Out In The Streets |
| 13. Thin Line |
| 14. Platinum Blonde |
| 15. X Offender |
| 16. In The Sun (2) |
Product Description
Description
Recorded in 1976, Blondie's self-titled debut was part of the New York City/CBGB's crowd's initial salvo of punk/new wave, radically different from anything in the American mainstream at the time. While other CBGB scenemakers strove for either artiness (Television) or primitivism (Ramones), Blondiewas always about pure pop, served with a healthy dose of irony. Its early-'60s rock & roll/girl-group roots were never so apparent as on this album--"In the Sun" sounds like a classic slice of sunny '60s West Coast pop, while "In the Flesh" reaches even further back for a '50s ballad feel.
The sly lyrics, Debbie Harry's knowing delivery, and especially Jimmy Destri's gloriously cheesy organ riffs make it apparentthat revivalism was never Blondie's intention; the band simply used the past to hijack the punk present and lay claim to a new wave future. Over the next few years, countless groups would adopt the template laid down on the first couple ofBlondie albums, with varying degrees of success, but, as this recording makes plain, Blondie did it first and best.
Recorded in 1976, Blondie's self-titled debut was part of the New York City/CBGB's crowd's initial salvo of punk/new wave, radically different from anything in the American mainstream at the time. While other CBGB scenemakers strove for either artiness (Television) or primitivism (Ramones), Blondiewas always about pure pop, served with a healthy dose of irony. Its early-'60s rock & roll/girl-group roots were never so apparent as on this album--"In the Sun" sounds like a classic slice of sunny '60s West Coast pop, while "In the Flesh" reaches even further back for a '50s ballad feel.
The sly lyrics, Debbie Harry's knowing delivery, and especially Jimmy Destri's gloriously cheesy organ riffs make it apparentthat revivalism was never Blondie's intention; the band simply used the past to hijack the punk present and lay claim to a new wave future. Over the next few years, countless groups would adopt the template laid down on the first couple ofBlondie albums, with varying degrees of success, but, as this recording makes plain, Blondie did it first and best.