Send "Blondie " Ringtones to your Cell 
| Popmatters |
 Blondie has never been predictable. Even during periods of their greatest commercial success in the late ‘70s and early ‘80s, the group took risks. When their music did reflect prevailing pop trends, it was on their own terms. For all its mirror ball ambience, “Heart Of Glass” was an affectionate homage to the conventions of disco rather than a career-saving contrivance. Instead of replicating a proven formula, like re-teaming with Giorgio Moroder after “Call Me” topped the charts for six weeks, Blondie further explored their musical wanderlust. Incorporating jazz, Broadway, country, reggae, and rap on 1980’s Autoamerican, the group was rewarded with their highest-charting pop album. Chrysalis didn’t hear any hits and yet the album spawned two number one singles with “Rapture” and “The Tide Is High”.Amidst all of their experimentation with other musical forms, Blondie has also never abandoned their pop orientation. Songs like “X Offender” and “Sunday Girl” remain blissful pop excursions and “Maria”, the number one U.K. hit that inaugurated Blondie’s reunion in 1999, is among the group’s best latter-day recordings. A dozen years since that reunion, they’ve now delivered “Mother”, a song that is every bit the equal of “Maria” insofar as soaring pop melodies are concerned. Characteristically, they’ve also retained their musical curiosity on Panic of Girls, a set that deploys the pop brilliance of “Mother” while serving up chanson, a Latin-infused club track, and covers of Brooklyn-based Beirut (“Sunday Smile”) and reggae artist Sophia George (“Girlie Girlie”). The total result? Panic of Girls is a reward for Blondie fans and (probably) an acquired taste for casual listeners. Panic of Girls doesn’t necessarily continue from where the group’s last album, The Curse of Blondie (2003), concluded. Instead, it reflects some of the changes the band has undergone within the past eight years. Original Blondie keyboardist Jimmy Destri departed the group shortly after The Curse of Blondie tour, his replacement Kevin Patrick left four years later, and longtime guitarist Paul Carbonara bowed out last year after more than a decade (though he’s apparently present on some of Panic)....full text |
| Nme |
| More showing their roots than going back to their roots, this is Blondie attempting a Killers-style anthemic electro-rock makeover but with only limited success. Lead-off single ‘Mother’, a recollection of Debbie Harry[/b]’s days on the New York nightclub scene, shows their genius for big radio choruses is still very much alive and kicking. Meanwhile, 'D-Day’ and ‘What I Heard’ are nicely adventurous cyber-punk, on which Debbie shows upstart [a]Lady Gaga a thing or two about Warholian pop sleaze. Christ, if only the other half of this album didn’t spiral off into wretched reggae stylings, this would be alright. Actually, forget that, this is fucking Blondie, we owe them, they can have a 6....full text |
| Hardcandymusic |
| Panic of Girls is Blondie‘s first studio album since 2003, marking the band’s long-awaited return. At the core of the legendary group are its three original members – singer Debbie Harry, guitarist Chris Stein and drummer Clem Burke. Rounding out the current lineup are bassist Leigh Foxx, keyboardist Matt Katz-Bohen and recent addition Tommy Kessler on guitar. In late 2009 the group recorded over thirty tracks in Woodstock, NY with producer Jeff Saltzman (The Killers, The Sounds and Fischerspooner); in Spring 2010 they added the finishing touches to the album with My Chemical Romance producer Kato Khandwala. Interestingly, Panic is only the second album in the band’s history to be recorded outside of its hometown of Manhattan (1980′s Autoamerican which spawned both Rapture and Tide is High was recorded in Los Angeles). Opening track D-Day begins with Burke‟s unmistakable drumbeat. There is no turning back as the listener is taken on a roller-coaster ride blending the band’s trademark new wave style with a barrage of 21st century electronic noises. The chaotic sound scape leads to an anthemic chorus with frontwoman Debbie Harry proclaiming ‘transfer your love to me!’ As if she had to ask twice. ...full text |
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