01. Dreaming (Debbie Harry, Chris Stein) – 3:04			play
02. The Hardest Part (Harry, Stein) – 3:38
03. Union City Blue (Harry, Nigel Harrison) – 3:19		play
04. Shayla (Stein) – 3:55
05. Eat To The Beat (Harry, Harrison) – 2:38
06. Accidents Never Happen (Jimmy Destri) – 4:12
07. Die Young Stay Pretty (Harry, Stein) – 3:32
08. Slow Motion (Laura Davis, Destri) – 3:26
09. Atomic (Harry, Destri) – 4:37
10. Sound-A-Sleep (Harry, Stein) – 4:15
11. Victor (Harry, Frank Infante) – 3:17
12. Living In The Real World (Destri) – 2:42

Personnel:
- Deborah Harry - lead vocals
- Chris Stein - guitar
- Frank Infante - guitar, backing vocals
- Jimmy Destri - keyboards, backing vocals
- Nigel Harrison - bass
- Clem Burke - drums
+
- Ellie Greenwich - backing vocals (01,09)
- Lorna Luft - backing vocals (06,08)
- Donna Destri - backing vocals (12)
- Randy Hennes - harmonica (05)
- Mike Chapman - backing vocals, producer

By 1979 Debbie Harry, Chris Stein and co. had realised their true potential. Forsaking pure rock for more diverse palette, Blondie's plan of attack now involved willfully grabbing at any passing style (as long as it could be termed 'pop') and making it their own. In this Eat To The Beat emulated and expanded on the platinum-selling Parallel Lines' formula.

Behind all this was, again, the genius (and superhuman levels of attention to detail, spending hours listening to playbacks at eardrum bursting volume) of bubblegum producer, Mike Chapman. He may have recognised in Blondie the ability to be moulded like the Sweet, Mud and all his other RAK creations at the beginning of the 70s, yet the band was equally responsible for this chart assault - writing the material that fitted Chapman's vision. One look at the credits shows exactly how democratic a place Blondie was to be as a band member. Everyone gets a mention at some point.

Maybe this accounts for the stylistic ragbag that emerges. Eat To The Beat still bears the traces of the art punk roots that had given birth to them back in their CBGB's days in New York (on the title track, the manic Accidents Never Happen and Living In The Real World); but at times the album reads like a veritable history of chart styles: Here was their first proper foray into reggae with Die Young Stay Pretty, the Duane Eddy-at-the-disco grandeur of Atomic, the skittering, Spectorish pure pop of Dreaming and Union City Blue and the Motown stomp of Slow Motion. Sound-A-Sleep goes even further back into the kind of 50s dream pop that might feature in a David Lynch film.

Americans, still hamstrung by the double-edged values of the late 60s, were always suspicious that a band first marketed as 'new wave' could be so mercenary and saw it as ersatz 'selling out', giving the album a lukewarm reception. Meanwhile in Europe their ability to soundtrack every great disco, wedding and barmitzvah was rightly valued. In the end, pop is pop and Blondie, at this point, were making the timeless variety that still sounds box fresh today. ---Chris Jones, bbc.co.uk

Eat to the Beat – czwarta płyta długogrająca grupy Blondie wydana w 1979 roku. Zawiera dość odważne połączenie takich stylów, jak punk, rock, reggae i funk. Jest pierwszym albumem na świecie, w którym każdy utwór posiada swój własny teledysk. W roku 2001 płyta została poddana komputerowej poprawie jakości dźwięku i wydana w formacie CD.

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01. X Offender (Deborah Harry, Gary Valentine) – 3:11
02. Little Girl Lies (Harry) – 2:05
03. In The Flesh (Harry, Chris Stein) – 2:30
04. Look Good In Blue (Jimmy Destri) – 2:52
05. In The Sun (Stein) – 2:38				play
06. A Shark In Jets Clothing (Destri) – 3:37
07. Man Overboard (Harry) – 3:19
08. Rip Her To Shreds (Harry, Stein) – 3:21
09. Rifle Range (Stein, Ronnie Toast) – 3:39
10. Kung Fu Girls (Destri, Harry, Valentine) – 2:30
11. The Attack Of The Giant Ants (Stein) – 3:23
Bonuses:
12. Out In The Streets (original Instant Records demo, 1975) (Jeff Barry, Ellie Greenwich) – 2:19
13. The Thin Line (original Instant Records demo, 1975) (Harry, Stein) – 2:14
14. Platinum Blonde (original Instant Records demo, 1975) (Harry) – 2:09  	play
15. X Offender (original Private Stock single version) (Harry, Valentine) – 3:11
16. In The Sun (original Private Stock single version) (Stein) – 2:37

Personnel:
- Debbie (Deborah Ann) Harry - lead female vocals
- Cristopher (Chris) Stein - guitar, bass
- Gary Valentine (Gary Lachman) - guitar, bass
- Jimmy (James) Destri - piano, Farfisa organ, Roland synthesizer
- Clem Burke (Clement Anthony Bozewski) - drums
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- Ellie Greenwich, Micki Harris, Hilda Harris - backing vocals (03,07)

Blondie is the eponymous debut album by American New Wave band Blondie, released in 1976 on Private Stock Records. The first single "X Offender" was originally entitled "Sex Offender" but since radio stations would not play a song with such a controversial title, the band renamed the song. After disappointing sales and poor publicity, Blondie bought back its contract with Private Stock. Chrysalis Records then signed the band 1977 and re-released the album, along with the new second album Plastic Letters. It reached #14 in Australia, where the band had already had a hit with "In the Flesh".

The album was first digitally remastered by Chrysalis Records UK in 1994. In 2001, the album was again remastered and reissued, this time along with five bonus tracks. "Out in the Streets," "The Thin Line" and "Platinum Blonde" are three of five tracks from a 1975 demo recorded by Alan Betrock; all five were first issued on the 1994 compilation The Platinum Collection. "X-Offender" (Single Version) and "In the Sun" (Single Version) are the A- and B-sides from Blondie's first single, issued on Private Stock, and are different mixes from the album versions. The two Private Stock versions are both remastered from vinyl.

The 2001 reissue bonus track "Platinum Blonde" was the first song that Debbie Harry wrote.

If new wave was about reconfiguring and recontextualizing simple pop/rock forms of the '50s and '60s in new, ironic, and aggressive ways, then Blondie, which took the girl group style of the early and mid-'60s and added a '70s archness, fit right in. True punksters may have deplored the group early on (they never had the hip cachet of Talking Heads or even the Ramones), but Blondie's secret weapon, which was deployed increasingly over their career, was a canny pop straddle -- they sent the music up and celebrated it at the same time. So, for instance, songs like "X Offender" (their first single) and "In the Flesh" (their first hit, in Australia) had the tough-girl-with-a-tender-heart tone of the Shangri-Las (the disc was produced by Richard Gottehrer, who had handled the Angels ["My Boyfriend's Back"] among others, and Brill Building songwriter Ellie Greenwich even sang backup on "In the Flesh"), while going one step too far into hard-edged decadence -- that is, if you chose to see that. (The tag line of "Look Good in Blue," for example, went, "I could give you some head and shoulders to lie on.") The whole point was that you could take Blondie either way, and lead singer Deborah Harry's vocals, which combined rock fervor with a kiss-off quality, reinforced that, as did the band's energetic, trashy sound. This album, released on independent label Private Sound, was not a major hit, but it provided a template for the future. --- William Ruhlmann, allmusic.com

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01 – D-Day
02 – What I Heard		play
03 – Mother
04 – The End The End
05 – Girlie Girlie
06 – Love Doesn’t Frighten Me
07 – Words In My Mouth
08 – Sunday Smile
09 – Wipe Off My Sweat
10 – Le Bleu
11 – China Shoes
12 – Horizontal Twist
13 – Mirame			play

Personnel
    Debbie Harry - lead vocals
    Chris Stein - guitar
    Clem Burke - drums, percussion, backing vocals
    Paul Carbonara - guitar
    Leigh Foxx - bass
    Matt Katz-Bohen - keyboards, piano, organ
    Elliot Easton - guitar
    Zach Condon - trumpet
    Tommy Kessler - guitar

Blondie have already survived one lengthy hiatus, emerging not only with their legacy intact but with their zeitgeist restored. Seventeen years after dwindling fan interest and a potentially fatal skin disease for guitarist Chris Stein made it seem likely that 1982’s The Hunter would be their swansong, their comeback single Maria gave them their first UK number one in nearly two decades. But after another extended period of non-activity – this time, an eight-year gap since 2003’s The Curse of Blondie – bottling lightning once again would seem a miracle too far.

Yet the most striking aspect of Panic of Girls – or, at least, its opening smattering of songs – is how thoroughly modern it sounds: those taut, tight guitar lines are still present, but now come coated with a futuristic sheen. Opening track D-Day kicks in with pounding drums and splintered electronics, with Debbie Harry’s layered vocal lending a cyber-punk feel – and despite Harry’s weary insistence on What I Heard that "It’s a total bore / I heard it all before", its fizzing score belies a different tale.

Sadly, maintaining such stamina over the whole record proves too much of a herculean task. Blondie have long had had a knack for cherry picking from other genres – see their ska version of The Tide Is High, or the hip hop elements they incorporated into Rapture – but on Panic of Girls, such appropriation is both commonplace and ill-conceived.

Girlie Girlie is the worst offender, a dreary reggae pastiche complete with unconvincing Jamaican patois from Harry, but it’s far from an isolated example. Wipe Off My Sweat lacks the requisite sexy swagger to nail the slinky Latina vibe it tries to ape, while it’s only Harry’s brilliantly daft chorus of "Je suis un animal" that stops Le Bleu and its hackneyed French accordion from veering into total parody. That Panic of Girls gives way from innovation to imitation is regrettable – but in an era in which bands are content to simply wheel out their back catalogue in return for a fat pay check, it’s admirable that Blondie are still here and still looking forward, even if only fleetingly. ---Ben Hewitt, BBC Review

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