Blondie’s last number 1 before their 1999 reformation was The Tide Is High, a cover of the 1967 rocksteady tune by Jamaican ska group The Paragons.
Before
The original was written by John Holt, tenor singer in The Paragons, who were a vocal trio from Kingston, Jamaica. Instrumental backing came from Tommy McCook and the Supersonic Band, with production by Duke Reid. This amiable slice of gentle ska was originally tucked away as a B-side, then released as a dub version with vocal from U-Roy in the UK in 1971.
One of the reasons Blondie were so cool was their willingness to dabble in other genres. Heart of Glass, one of the best disco and rock tracks of 1979, had been tried as a reggae song beforehand. It was singer Deborah Harry and guitarist Chris Stein’s idea to cover The Tide Is High, after they heard the original on a compilation tape they picked up in London.
Perhaps in an effort to dissolve rising tensions among the band, producer Mike Chapman insisted the band record their fifth album in Los Angeles. Autoamerican took Blondie’s eclecticism to whole new levels. There was Rapture, their attempt at rap, the orchestral and electronica of opening track Europa, and their stab at The Tide Is High. Rumour has it that Harry and Stein were such fans of The Specials, they asked the Coventry ska collective to be the backing group for this cover, but they declined. Considering how some of Blondie reacted to not featuring on Call Me, that might be just as well.
Review
The late 70s and early 80s saw Blondie amass quite the collection of chart-toppers. One of the best, in fact, particularly Heart of Glass and Call Me. Keeping up that standard would be a tall order for even the greatest bands. So it is perhaps inevitable – especially as they approached the twilight of their original run – that Blondie eventually came up short.
It’s not that The Tide Is High is bad – it most certainly is not. It’s just, OK. Fair play to the band for taking a different tack, dropping down a gear or two and covering a bright and breezy forgotten ska tune, and incorporating horns and strings into their arsenal. But the song wasn’t a classic to begin with, and there’s little that Blondie and Chapman can add to it to make it any better. They change the sex around in the lyrics, casting Harry in an unlikely role – the girl who’s struggling to get the man she wants. Other than that, it’s pretty much, well, a nice enough track, I guess. Harry’s voice suits it well, as she manages to sing sweetly without putting in much effort. Nonetheless, it’s the weakest their number 1s.
The most interesting element of The Tide Is High is the frankly bizarre video. The male members of the band are stood on a sidewalk watching Harry from below. Suddenly the outside of the building is supposed to look like it’s underwater. And Darth Vader seems to be watching on too? There’s also footage of a rocket about to be launched. As the song ends, Blondie and a load of revellers meet up with Vader, but when Vader turns around, his face mask resembles a duck… the fact that Harry still looks cool and sexy while singing to Duck Vader as the video ends shows what an amazing woman she is.
After
The Tide Is High was the first single from Autoamerican, but just as it was looking like every single they released would be a number 1, their fortunes changed. Even the follow-up, and one of their most famous tunes, Rapture, stalled at five on these shores. Only one more album, The Hunter in 1982, was released before the band split for 17 years.
The Outro
Electronic duo Coldcut remixed The Tide Is High for the 1988 compilation Once More into the Bleach. Seven years later it was remixed by Pete Arden and Vinny Vero for Beautiful: The Remix Album. In 2014 Blondie re-recorded the track needlessly for Blondie 4(0) Ever.
The Tide Is High (Get the Feeling), a remake with a new bridge, became girl group Atomic Kitten’s second number 1 in 2002. Again, serviceable enough, but less so than Blondie’s version.
The Info
Written by
John Holt
Producer
Mike Chapman
Weeks at number 1
2 (15-28 November)
Trivia
Births
18 November: Actor Mathew Baynton 19 November: Businessman Andrew Copson/Actress Adele Silva
Deaths
15 November: Novelist Joan Fleming/Conservative MP Richard Law, 1st Baron Coleraine/Scottish painter Agnes Miller Parker 16 November: Actress Imogen Hassall 17 November: Neuroscientist David Marr 18 November: Artist Richard Carline 19 November: Chemist EJ Bowen/Northern Irish footballer Laurie Cumming 22 November: Painter Norah McGuinness 25 November: Trade unionist Dorothy Elliott/Crystallographer Mary Winearls Porter 26 November: Actress Rachel Roberts/Actor Hector Ross 27 November: Physicist John Hubbard 28 November: Peer Antony Lyttelton, 2nd Viscount Chandos/Filmmaker Tom Stobart
Meanwhile…
17 November: 20-year-old university student Jacqueline Hill is murdered in Headingley, Leeds. She is the final known victim of The Yorkshire Ripper.
23 November: With the UK in recession, the government announces further public spending cuts and taxation rises.
Irish singer Johnny Logan became the first Eurovision Song Contest winner to also reach number 1 with their song since Brotherhood of Man in 1976 with Save Your Kisses for Me. He also went on to be the first act to win Eurovision twice – hence the nickname ‘Mr Eurovision’.
Before
Logan was born Seán Patrick Michael Sherrard on 13 May 1954 in the Australian suburb of Frankston, Victoria, as his father, the Irish tenor known as Patrick O’Hagan, was touring the country at the time. The Sherrards returned to Ireland when he was three, and by the age of 13 he had taken to composing his own songs. When he left school he became an apprentice electrician but was able to indulge his first love by performing music in pubs.
Sherrard starred in the title role of rock musical Adam & Eve in 1976, and a year later he was the lead in Joseph and the Amazing Technicolour Dreamcoat. In 1978 he took the name Johnny Logan from the main character in 1954 Western Johnny Guitar. His debut single was No, I Don’t Want to Fall in Love, which failed to chart. The following year he made his first attempt to appear at Eurovision, but finished third in the Irish National Final.
In 1980 Logan tried again. This time he entered the Irish National with a song by broadcaster Shay Healy, who had previously written for Billy Connolly, among others. What’s Another Year had been written with Glen Curtin in mind originally, but reworked by co-producer Bill Whelan to suit Logan better. 14 years later, Whelan was asked to compose some incidental music for that year’s Dublin-based Eurovision. He came up with Riverdance, and you know how well that went down.
Logan won the Irish National final in Dublin on 9 March, and so headed to the Eurovision final in the Netherlands on 19 April. Giving a very doe-eyed, woe-is-me performance in a white suit, he won over the judges and became the first Irish winner of the contest since Dana with the execrable All Kinds of Everything.
Review
What’s Another Year isn’t much more pleasing to the ears than Dana’s song, sadly. The saxophone at the start is probably the highlight, because it brings to mind Gerry Rafferty’s Baker Street. It’s downhill from there. This is bog-standard MOR dross, in which a lovelorn Logan moans about yet another anniversary of being alone. He sings it well enough, and makes things slightly more interesting when he trills the song’s title at times. But you ultimately want to give him a shake and tell him that’s more than enough wallowing. He’s good-looking, only bloody 26, and looks a lot younger. Get on Bumble, lad! There’s very little else to add other than this was clearly a victory for the older generation, hitting back after the exciting new sounds of Blondie and Dexys Midnight Runners. Oh, and the video to What’s Another Year is classic 80s soft-focus close-up tediousness.
After
What’s Another Year became number 1 across Europe. Hoping to capitalise on his Eurovision success, In London (which was the B-side of his debut) was released in June as the follow-up, and Save Me not long after that. Neither charted. As we’ve learned, with a few exceptions, Eurovision winners can quickly get forgotten about. In a blatant attempt to win over the grandparents once more, Logan recorded a recent Cliff Richard track, but Give a Little Bit More also flopped.
Logan attempted a comeback in 1983, but his new look and single Becoming Electric were a turn-off. However, in 1985 he was involved with another number 1 single. He was among The Crowd, the supergroup that recorded a cover of You’ll Never Walk Alone in aid of the Bradford City Disaster Fund, launched in the aftermath of the terrible fire that killed 56 spectators. He followed this up by becoming simply ‘Logan’, but Stab in the Back didn’t chart.
In 1984 Logan had written Ireland’s Eurovision entry, Terminal 3, for Linda Martin. And it very nearly won, coming second to Sweden’s amazingly titled Diggi-Loo Diggi-Ley by Herreys. In 1987 he won the contest in Belgium with his self-penned saccharine power ballad Hold Me Now, which reached two in the UK. He also released a cover of 10cc’s 1975 chart-topper I’m Not in Love, which was produced by fellow chart-topper Paul Hardcastle.
Logan continued to release material, but it failed to dent the UK charts. But he still faired OK in Ireland and elsewhere in Europe. He even recorded a cover of Richard’s song Miss You Nights with Elvis Presley’s backing band, the Jordannaires in 1990.
Then in 1992, Mr Eurovision struck a third time. He was the man behind Martin’s Irish entry, Why Me, which won the contest in Sweden. He became one of the select few to have written two winning Eurovision entries.
Logan has continued to release material, but has mostly stuck to Europe, particularly Germany. His stature as Mr Eurovision has ensured he’s remembered by fans of the competition. In 2005 at the 50th anniversary concert in Copenhagen, Hold Me Now was voted third most popular Eurovision entry. A new version peaked at nine in Denmark four years previous. In 2007 the double A-side Don’t Cry/I Love to Party (with Kaye Styles) climbed to seven in Belgium. The last chart success he’s had to date was Pray, a number three hit in his home country in 2013.
The Outro
When the 2020 Eurovision was cancelled due to COVID-19, the Netherlands instead hosted the programme Eurovision: Europe Shine a Light. The show featured previous participants, so of course Mr Eurovision was there, performing the suddenly relevant and even poignant What’s Another Year.
The Info
Written by
Shay Healy
Producers
Bill Whelan & Dave Pennefather
Weeks at number 1
2 (17-30 May)
Trivia
Births
22 May: Actress Lucy Gordon 30 May: Footballer Steven Gerrard
Deaths
17 May: Entrepeneur CC Roberts 18 May: Joy Division singer Ian Curtis (see ‘Meanwhile…‘/Trade unionist Bert Papworth 19 May: Janet Hitchman/Conservative MP Sir Christopher Peto, 3rd Baronet 20 May: Diplomat Sir Oscar Morland 24 May: Diplomat Ronald Burroughs 25 May: Gardener Alan Chadwick 28 May: Rugby league player Albert Brough/Trade union leader Jack Greenhalgh
Meanwhile…
18 May: In the early hours of the morning, Ian Curtis, lead singer of Joy Division, died by suicide, aged only 23 years old, after writing a note to his wife, Deborah. The couple were soon to be divorced. Deborah discovered her husband’s body on the eve of the band’s tour of North America.
27 May: The inquest into the death of New Zealand-born teacher Blair Peach, killed during a demonstration against the National Front in 1979, returns a verdict of misadventure.
28 May: Nottingham Forest retained the European Cup by defeating West German league champions Hamburger SV 1-0 in Madrid. This was the fourth year in a row that an English club had won the trophy.
In what must surely be one of the shortest durations between chart-toppers for one act, Blondie only had a month inbetween Atomic and Call Me – two of the best number 1s that year. This collaboration with Italian genius producer Giorgio Moroder (the man behind I Feel Love) was the theme song to Paul Schrader’s American Gigolo. The film starred a little-known actor called Richard Gere as a high-end male escort and it made him a star.
Before
Call Me began as a Moroder instrumental known as Man Machine. Not the tune by Kraftwerk, but similar in the sense it combined electronic music with pop. He originally had his eye on Stevie Nicks of Fleetwood Mac to add lyrics and perform songs for American Gigolo, but she couldn’t for contractual reasons. Luckily for Moroder, Blondie were one of the hottest bands on the planet, and singer Debbie Harry was up for it. She watched the film and had the opening scene – driving on the Californian coast – in mind as she set to work writing the words, which only took a few hours.
Blondie went into the studio in New York with Moroder in August 1979 to record Call Me – just one month after finishing up their fourth LP Eat to the Beat. The pressure of following up the massive album Parallel Lines, and Harry’s perceived increasing dominance of the group, was causing tension. The recording of Call Me didn’t help. The first session, in LA, had seen Moroder and his crew, including keyboardist Harold Faltermeyer and Keith Forsey (drummer on I Feel Love), record an instrumental version to a timecode so it would synchronise with American Gigolo.
It’s unknown whether Moroder was only expecting Harry, but Faltermeyer later claimed the producer was surprised the rest of the band were insisting on adding their own instrumentation. Guitarist Chris Stein’s equipment was buzzing and annoying the perfectionist Moroder, who, after realising the musicians were struggling to play in time and fighting among themselves, aborted the sessions. The backing tape was completed by Moroder and co, including the keyboard solo by Faltermeyer. This riled an already paranoid Blondie (minus Harry of course), but when Call Me shot to number 1 in the US before Atomic did, and then after Atomic in the UK, they changed their tune. Who is it on backing vocals, is it drummer Clem Burke, keyboardist Jimmy Destri, bassist Frank Infante, all three, or Moroder’s boys? I don’t know.
Review
Moroder and Blondie are two of the greatest names in disco, so it’s a given that any collaboration between the two would be great. Call Me and Atomic are like sisters, both showing Blondie at the top of their game, melding disco, pop and rock in a totally natural way. And although only Harry is on the recording, you’d never know upon listening, which shows how effectively Moroder had also become in combining different genres. Moroder was intending to produce Blondie’s next LP, but the infighting caused him to change his mind. It’s fascinating to imagine how good that could have been.
The rest of the band’s jealousy towards their singer is only natural, but she is also at the peak of her powers as a songwriter. Where Atomic featured improvised lines that captured the feel of the band’s blistering performance, Call Me shows Harry studying her source material and coming up with a song that is perfect as a film soundtrack. She succinctly communicates that Gere’s character is available whenever you need him, referencing the classic Martini ad tagline ‘Anytime, anyplace, anywhere’. He’s clearly used to a higher class of clientele (‘Roll me in designer sheets’) and ‘speaks the languages of love’, with a smattering of Italian and French thrown in for good measure. But the best lines are Harry’s frustration at feelings ruining what are meant to be a purely business arrangement: ‘Emotions come I don’t know why/Cover up love’s alibi’. As with I Feel Love, this Moroder classic is best heard in full via the 8:05 album version. The video edit is way too short at only 2:15
Further proof that Harry now pretty much was Blondie in the public eye is apparent in the record sleeve above and the video to Call Me, in which the striking singer is filmed in the city, on the beach and on stage. The rest of her band are nowhere to be seen.
After
Call Me was released in the US first in January 1980 and surprisingly was only their second number 1. It became their biggest-selling single and was also number 1 on Billboard‘s end-of-year chart that December. In addition to the soundtrack version, video edit and radio edit, there was a Spanish-language 12″. A Ben Liebrand mix missed out on top 40 action in 1988. Oh, and an abbreviated version was sung by Harry on The Muppet Show in 1981.
The Outro
Of course, the problem with being at the peak of your powers is that the only way is down. There was only one more Blondie 80s number 1, and it was a cover that didn’t hit the heights of Call Me. The band re-recorded Call Me in 2014, and to be fair, this probably felt more needed than their other 2014 covers, as it meant Blondie were actually on the recording. However, it’s probably not a huge surprise to find out it doesn’t match the original.
The Info
Written by
Giorgio Moroder & Debbie Harry
Producer
Giorgio Moroder
Weeks at number 1
1 (26 April-2 May)
Trivia
Births
28 April: Cyclist Bradley Wiggins 2 May: Footballer Zat Knight
Deaths
26 April: Actress Cicely Courtneidge/Conservative MP Irene Ward, Baroness Ward of North Tyneside 27 April: Theatre director E Martin Browne/Producer John Culshaw 29 April: Film director Sir Alfred Hitchcock (see ‘Meanwhile…’) 30 April: Scottish Labour MP Thomas McMillan 2 May: Conservative MP Sir Jocelyn Lucas, 4th Baronet/Army captain Herbert Westmacott
Meanwhile…
29 April: Legendary filmmaker Sir Alfred Hitchcock died at home in Los Angeles, aged 80.
30 April: A six-man team of terrorists from the Democratic Revolutionary Front for the Liberation of Arabistan began the Iranian Embassy Siege, taking 26 hostages at the Embassy of Iran in Knightsbridge.
Blondie were one of the best bands around in the late-70s and rightfully continued to storm the charts in the early 80s. Their last number 1, Sunday Girl, was a nice tune, but they were at their best when they combined disco and rock. Atomic does this extremely well.
Before
Blondie’s third album, Parallel Lines had been a huge success, despite some critics referring to them as sell-outs for supposedly jumping on the disco bandwagon with Heart of Glass. Which is nonsense, as the band had dabbled in disco from its early days.
However, tensions were high. Drug use was increasing among the six-piece, and there was understandable jealousy over the fact Blondie were fast becoming known as ‘Debbie Harry and some men’. There was no wonder of course – Harry was the singer, and an incredibly cool and beautiful one at that, so the spotlight was always on her. And Harry used this momentum to increasingly decide on future material, which coincided with the making of their fourth album, Eat to the Beat. Their new wave stylings were on the way out in favour of a more pop-oriented approach.
The first fruits of Eat to the Beat to be released – opening track Dreaming – peaked at two. When the follow-up, Union City Blue, stalled at 13, Blondie must have been worried their fortunes were waning. Fortunately they had Atomic up their sleeves, which after two singles of plaintive melancholy, was a return to a more fiery sound.
Atomic came from Harry and keyboardist Jimmy Destri, who was trying to find a sound akin to Heart of Glass. From there the track was transformed by the twangy guitar sound, which simultaneously gave the tune a Spaghetti Western and surf sound. Harry has described that her songwriting approach with Blondie would often involve working out the lyrics while the rest of the band were rehearsing. She would scat ideas, often as placeholders. She came up with ‘Ooooh, your hair is beautiful’ first. The song transformed into an erotically charged pop-rock anthem. The song title most likely came from Harry trying to find a word that matched the guitar hook. It was perfect. Although some think the title has no fixed meaning, to me, it’s describing the potentially explosive level of attraction she’s feeling for the person she’s singing about.
Review
Coward of the Countyspoiled a very impressive run of number 1 singles but Atomic puts us firmly back on track. What a single. It doesn’t matter that the lyrics are somewhat basic because they fit the mood and get the message across perfectly. It’s a night out, and a girl wants a man to ‘make it magnificent’. The tense, edgy sound here is a million miles away from the sedate bounce of Rogers’ song. It’s Blondie at their best, and is expertly produced by Mike Chapman, as you’d expect from such a prolific pop and rock hitmaker. For me, although Heart of Glass edges it as their best chart-topper, Atomic does a better job of combining disco, rock and pop naturally. However, the album mix, with its intro based on Three Blind Mice, features a bass guitar solo, which makes the disco element more obvious. This is the essential version and is nearly a minute longer than the single edit.
It’s worth nothing that singing backing vocals is Ellie Greenwich. The singer, songwriter and producer wrote or co-wrote some of the most famous pop music of the 60s, including Da Doo Ron Ron, River Deep – Mountain High and Do Wah Diddy Diddy, number 1 for Manfred Mann in 1968.
Eat to the Beat was the first full LP to have a video made for every song, by director David Mallet. The video for Atomic has a very literal premise but is a charming product of its time. The band are seen performing in a post-apocalyptic nightclub as the crowd do some freaky dancing. Harry is one of the only people in the world who could manage to look cool while dancing badly in a binbag. The video also features Gia Carangi – considered the world’s first supermodel. You can see similarities in Mallet’s video for Ashes to Ashes later in the year, as both feature solarising effects. Strangely, the version of the song in the full video is the album version, minus the intro.
After
Released in February, Atomic quickly rocketed up the charts to number 1 on 1 March. It was followed only two months later by Call Me, which had already been a US chart-topper and soon repeated the feat here.
The Outro
Atomic is a song that stands outside of time, sounding as hip now as it did 43 years ago. Attempts to update it only end up sounding more dated. In 1994 the ‘Diddy’s Edit’ (not P Diddy) gave the song a backing ideal for clubbing in the 90s, but it’s not aged well. It performed respectably though, reaching 19. To mark the 40th anniversary of Blondie, the band re-recorded Atomic for Greatest Hits Deluxe Redux. It’s better than the 1994 remix but only because it’s so similar to the original – the only real difference is the understandably inferior new vocal performance from Harry.
The Info
Written by
Debbie Harry & Jimmy Destri
Producer
Mike Chapman
Number of weeks
2 (1-14 March)
Trivia
Births
2 March: Footballer Chris Barker 13 March: Scottish field hockey player Linda Clement
Deaths
1 March: Footballer Dixie Dean/Motorcycle racer Eric Oliver 3 March: Socialite Sir Michael Duff, 3rd Baronet 4 March: Football manager Alan Hardaker 5 March: Historian Jack Gallagher/John Raven/John Skeaping 6 March: Conservative MP Harry Becker/Philanthropist Noel Croucher/Cricket journalist Norman Preston/Physician EA Underwood 7 March: Yacht designer John Illingworth 14 March: Chemical engineer Dudley Maurice Newitt/Artist Vere Temple
Meanwhile…
10 March: An opinion poll in the Evening Standard suggests six out of 10 Britons are unhappy with the Conservative government, who are trailing Labour in the opinion polls.
Blondie’s third album Parallel Lines is understandably regarded as their best. It’s certainly the most successful, selling more than 20 million and containing some of their best-known songs, including first number 1 Heart of Glass and their next chart-topper, Sunday Girl.
Before
It didn’t get off to the best of starts in June 1978. Producer Mike Chapman, one of the songwriters and producers of some of the biggest glam rock hits of the decade, found them difficult to work with. He had high praise for guitarist Frank Infante and keyboardist Jimmy Destri, but in general found them lazy and juvenile. Guitarist Chris Stein was often stoned and unable to play well, so was advised to concentrate on songwriting rather than playing.
Singer Debbie Harry was a particular problem. Chapman quickly took note of her moodiness but could see she was a great, unique talent. Patience was a virtue, and despite some stormy moments, he was able to work on her vocal phrasing and general attitude.
Despite these issues, Parallel Lines was completed in six weeks – after being given six months. This is even more remarkable when you consider many of the songs were unfinished when recording started. On several occasions, instrumental tracks were laid down and Chapman would ask Harry to step into the recording booth, only to find her still penning lyrics.
Chrysalis Records were also sceptical and asked Blondie to go back and start again, but Chapman assured them the singles would prove popular. He was right. Picture This reached 12 and Hanging on the Telephone soared to five in 1978. Then Heart of Glass, one of the finest new wave number 1s, cemented their status as mainstream stars.
Sunday Girl was the eagerly awaited follow-up and the final single from the LP. Written by Stein, it was inspired by Harry’s cat, Sunday Man, who had recently ran away, which accounts for its plaintive, melancholy nature. Stein was nervous to be writing alone, and asked Harry if she’d be credited too, but in the end the idea was dropped. The original demo featured a Latin-influenced arrangement that impressed Chapman.
Review
As we know, this was transformed into effortlessly bright and breezy pop akin to the girl groups of the 50s – a regression back to the style of song Blondie made over their first two LPs. And like many Blondie songs, the upbeat tune masks downbeat lyrics. I’m not sure entirely, but I think it’s from the perspective of a woman remembering her lovelorn youth – she is the Sunday Girl of the title. She’s recalling her man running off with another woman:
‘Hey, I saw your guy with a different girl, Looks like he’s in another world, Run and hide, Sunday Girl’.
The archetypal bored teenager waiting for the weekend, Harry also sings:
‘She can’t catch up with the working crowd, The weekend mood and she’s feeling proud, Live in dreams Sunday girl’.
It’s a slight single, and I find it one of their weakest number 1s. But that’s when compared to classics like Heart of Glass or Atomic. It’ll stick in your head, and the chorus when Harry pleads for her love/ex-love to ‘Hurry up’ adds a welcome shot of speed to proceedings. However, in a year of classic chart-toppers, Sunday Girl is lost among the crowd.
After
Sunday Girl also reached number 1 elsewhere in Europe, but didn’t get a release in their home country. The US had One Way or Another instead, which is superior. But while the band enjoyed their second UK number 1, they were already working on the fourth Blondie album, Eat to the Beat.
The Info
Written by
Chris Stein
Producer
Mike Chapman
Weeks at number 1
3 (26 May-15 June)
Trivia
Births
12 June: Lawn bowler Ellen Falkner/Actor Jamie Harding
Deaths
8 June: Fashion designer Norman Hartnell
Meanwhile…
30 May: Nottingham Forest defeated Swedish football league champions Malmö FF 1-0 in the European Cup final at Olympiastadion, Munich.
7 June: The first direct election to the European Parliament results in a low turnout in Britain – only 32%. The Conservatives, riding high from Margaret Thatcher’s General Election victory, won 60 seats, while James Callaghan’s Labour only managed 17.
12 June: The new Tory government’s first budget saw chancellor Geoffrey Howe cut the standard tax rate by 3p and slash the top rate from 83% to 60%.
Simultaneously one of the hottest and coolest new wave bands, US six-piece Blondie were also one of the most successful, notching up five UK number 1s in under two years (and another in 1999). Heart of Glass melded new wave, rock, disco and pop with a slither of punk attitude, and it’s their best single.
Before
Blondie’s beginnings start back in New York in 1973. Guitarist Chris Stein joined rock band the Stilettoes. He began a romantic relationship with one of their vocalists – Debbie Harry. She had been a waitress, a Playboy Bunny and a member of folk-rock group the Wind in the Willows in the late-60s. Harry and Stein decided to leave the Stilettoes and start a new band in 1974. Together with former bandmates Billy O’Connor on drums and Fred Smith on bass, they became Angel and the Snake that August.
Two months later and with only two gigs under their belts, they changed their name to Blondie. As the whole world knows, Harry was one of the most beautiful women in the world, and would turn heads wherever she went. Among no doubt filthier shouts, lorry drivers would bark ‘Hey, blondie!’ at her as they drove by her walking down the street.
Fast forward to spring 1975 and Blondie’s line-up had changed several times – including experimenting with female backing singers. Drummer Clem Burke then joined them, along with Gary Valentine on bass. They became regular performers at hip joints CBGB and Max’s Kansas City, wowing crowds with power-pop and Harry’s stage presence. A few months later they recruited keyboardist Jimmy Destri to fill out their sound.
Signing with Private Stock Records, their eponymous debut LP was released in December 1976. It made little of an impression, and first single X Offender sank without trace, despite them supporting Iggy Pop on tour. However, the follow-up In the Flesh became a number two hit in Australia after being played by accident on TV (they were supposed to be showing X Offender).
Blondie decided to buy back their contract and switched to the British label Chrysalis Records. Blondie was re-released on Chrysalis in October 1977 and the critics began to take note. Nevertheless Valentine left the group and they recorded second album Plastic Letters as a four-piece, released in 1978.
The first single from the album Denis (a cover of a 1963 song by Randy and the Rainbows) finally saw their commercial stock rise – all the way to number two in the UK, where the music papers made a story out of Harry battling it out for the top spot with another strong female pop star, namely Kate Bush, who won out with WutheringHeights. Denis did reach the top spot in the Netherlands and Belgium though, and when the next 7-inch, (I’m AlwaysTouched by Your)Presence, Dear peaked at 10 in the UK, it seemed Blondie were here to stay. They were.
Hiring Frank Infante on guitar and British bassist Nigel Harrison, the six-strong Blondie toured the UK and became one of the first new wave acts to hit the mainstream. Here at last was a rock group in which the men stayed out of the spotlight. It shone fully on Harry, who had star power like few others at the time.
In a clear attempt to really leave their mark on the pop scene, Blondie worked with a big-name producer. Australian Mike Chapman had been half of ‘Chinnichap’ with Nicky Chinn. Together they wrote and produced glam rock number 1 classics by The Sweet, Mud and Suzi Quatro. The latter proved particularly appropriate, as Chapman had experience in helping female rock stars climb the charts with catchy commercial pop songs.
Blondie’s Chapman-produced third album Parallel Lines was released in September 1978. first single Picture This climbed to 12 and Hanging on the Telephone peaked at five. Their first number 1 was next.
Heart of Glass was one of Blondie’s earliest tracks. Originally known as Once I Had a Love, it was written by Harry and Stein and 1974 and demoed a year later. Although slower and funkier than the released version, It had a disco influence right from the start, having been influenced by one of the genre’s earliest hits – The Hues Corporation’s Rock the Boat (1974). Harry later recounted that the lyrics to Heart of Glass weren’t directed personally to a former love of hers, it was written as a ‘plaintive moan about lost love’. They tried it as a ballad and even reggae over the years, but it never quite worked.
Blondie remained in thrall to disco, to the consternation of some rock die-hards, over the years, occasionally adding dance floor hits to their setlists. Harry expressed her love of the work of producer Giorgio Moroder in the NME early in 1978, and the band surprised a CBGB crowd with a cover of Donna Summer’s I Feel Love later that year.
When it came to meeting Chapman to start work on Parallel Lines, the producer asked Blondie to show him what they could record. At the end he asked if there was anything else, and the band sheepishly decided to perform Heart of Glass. Despite their reticence, Chapman loved it and saw a potential hit. Blondie began to agree, but having also become fans of Kraftwerk, wanted to recreate the futuristic sounds of the German innovators as well as Moroder’s hits.
The six-piece assembled at the Record Plant in New York in June 1978 to record Heart of Glass. Unusually at the time, a rock band chose to build the song around a drum machine. The Roland CR-78 had only been released earlier that year, and it was Stein and Destri who introduced it to the studio, having bought one from a store in Manhattan. Destri in particular had a lot to do with the sound of Heart of Glass and brought in some synthesisers. Other technology used in the production included the Roland SH-5 and Minimoog.
Review
Heart of Glass is one of my favourite number 1s of the 70s and one I’ll never tire of. It never dates either. You could argue the 80s began right here and it certainly had an influence on music over the next few years. It’s icy, cool as fuck and one of the greatest disco tracks of all time – despite not actually being that easy to dance to. I love the lyrics, which suit Harry’s ‘not arsed mate’ attitude. Yes, she was once in love. She’s not any more, and you only have to listen to the first few lines to know she’s totally over it.
The lyrics to Heart of Glass are fascinating. What actually is a heart of glass? Does she have a heart of glass or does he? If it’s him, does she mean she’s cut herself because of him? Or does she mean she’s discovered her heart is fragile and he broke it into pieces? Hard to tell, because although she’s given the impression she’s moved on, the choruses suggest otherwise. In the second one Harry suggests he’s cheated on her, and she sings ‘I’m the one you’re using, please don’t push me aside’. ‘Mucho mistrust’ also suggests infidelity.
It’s worth noting that, as far as I can tell, Heart of Glass is the first chart-topper to contain a swear word of sorts. Blondie decided to try and get away with one instance of ‘Soon turned out, it was a pain in the ass’ in both the single and album mixes. It soon got replaced on the radio with another ‘heart of glass’, but good on them for trying! The song then ends on that catchy-as-hell, resigned ‘Ooh ooh ooh, ah-ah’, which comes across as another ‘ah, fuck it’.
With Heart of Glass, Blondie and Chapman really melded those influences of Moroder and Kraftwerk together to create something unique. Like I Feel Love, it feels like it could go on forever and that wouldn’t be a bad thing. I listened to 45 minutes of different versions of this in one go and I only began to tire towards the end. And like Kraftwerk, its machine-like, but scratch the surface and there’s human emotions underneath.
For the single, Chapman beefed up the sound and accentuated the double-tracked bass drum. For me, the best version is the 5:50 ‘Disco Version’ released as a 12-inch. Unlike a lot of 12-inch mixes of the time, it doesn’t sound like bits have been unnecessarily tacked on. It sounds like the natural version, just for letting the rhythm stretch out that bit longer.
The promo video to Heart of Glass was directed by Stanley Dorfman, a British director who did just that on the very first edition of Top of the Pops. The film begins with aerial shots of New York, slowly revolving like a mirrorball, before showing the streets of the city and landmarks including the Ed Sullivan Theatre and Studio 54. Although we’re meant to get the suggestion the latter is where this is filmed, it was actually made in a long-forgotten, short-lived club.
The rest of the video alternates between close-ups of Harry miming and mid-distance shots of the rest of the band ‘performing’. Harry looks particularly drop-dead gorgeous here, her hair slightly dishevelled, in a silver dress with one shoulder strap. Her bored, slightly pissed-off performance really suits the song and apparently came about through a genuine sulk. Harry wanted to dance but she was told to stay still. She wasn’t keen on Dorfman after that and didn’t appreciate all the close-ups. Nonetheless, it’s an iconic performance.
After
Heart of Glass was a deserved global smash and number 1 in most countries, including the US. Harry became a pin-up and hero to millions of teens and were a breath of fresh air. With this song toppling Hit Me with Your Rhythm Stick, 1979 was shaping up to be a hell of a year for pop.
The Info
Written by
Debbie Harry & Chris Stein
Producer
Mike Chapman
Weeks at number 1
4 (3 February-2 March)
Trivia
Births
13 February:Labour MP Rachel Reeves
2 March:ComedianJocelyn Jee Esien
Deaths
14 February:Conservative MP Reginald Maudling– 14 February
19 February:Comedian Wee Georgie Wood
Meanwhile…
9 February: Trevor Francis signed for Nottingham Forest. He was the first player to sign a deal worth £1 million.
12 February: The Winter of Discontent continued, with more than 1,000 schools closed due to the heating oil shortage caused by the lorry drivers’ strike.
14 February: Talks between unions and the government, known as the ‘Saint Valentine’s Day Concordat’ marked the end to the Winter of Discontent.
15 February: However, the damage was done. Opinion polls showed the Tories up to 20 points ahead of Labour.
22 February: Saint Lucia became independent of the UK.
1 March: Scotland voted for a Scottish Assembly in the devolution referendum. However this was less than 40% of the electorate, which meant it wasn’t followed through. Also on this day, Wales voted against devolution.
