Call Me

469. Blondie – The Tide Is High (1980)

/ robbarker1979

The Intro

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.

456. Blondie – Call Me (1980)

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The Intro

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.

1 May: British Aerospace was privatised.

452. Blondie – Atomic (1980)

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The Intro

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 County spoiled 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.