The Curse of Blondie

by

Blondie

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If there's a curse on reformed punk band Blondie, then their second reunion album sure doesn't suffer from it. "Curse of Blondie" manages the unique quality that most reunion albums lack: It makes us think of their older stuff, while still having fresh, new material.

"Curse" opens on a shaky note, with Harry attempting again to rap in the vaguely sexy "Shakedown." It's not bad, merely silly. Then Blondie gets its footing again with irresistable new wave dance rock (the cool, smooth "Good Boys," "Golden Rod"), a bit of jazzy pop (the sensual closers to the album, "Desire Brings Me Back" and "Songs of Love") and solid ballads ("Magic (Asadoya Yunta) "). A particular high point is "Hello Joe," an ode to Joey Ramone ("I know the sight and sound of you/won't be erased").

When older bands get back together, usually they just play their older songs, or new ones that nobody likes. Blondie kicks that tradition on its head. This collection of songs has that old New York spirit of the 70s. It has the right amount of color and cool, while also being more cohesive than the first comeback album, "No Exit."

Rough basslines, strong guitar and quirky lyrics are what really rule this album. "Curse of Blondie" is blessed with unique lyrics like "We lit up fireflies/we kissed on New Year's Night/We changed the century," and a bunch of stuff like magnetic seas, sparks, insane gods and "I feel your pull like the moon." Time hasn't really changed Harry's voice -- still throaty, still flexible. But now her voice has a new maturity and assurance, tinged with humor.

It has the spirit of older Blondie material, and the polish of a veteran band who still has what counts. Whatever the "Curse of Blondie" is, it doesn't appear to have hit the second comeback album. Vivid, sharp and very together.

The Curse of Blondie is the damnedest record. The material is solid (especially compared to pre-comeback Blondie bummers like The Hunter). "Shakedown", a nasty Jersey rap, sets the tone. The first single, "Good Boys", is a light piece of Eurofluff. There are a few effective rockers, "Undone", "Golden Rod", "End to End". The most exotic track (and my favorite) is the Japanese-flavored "Magic (Asadoya Yunta)". There are good bits throughout. Yet The Curse of Blondie suffers from the Autoamerican-syndrome - too many styles jammed together without a cohesive flow. And there's little band tension or excitement in the music (it's professionally smooth). What motivates the CD is Deborah Harry's continuing growth as a vocalist. Has anyone in pop music history continued to develop their instrument into their 50's and on? (Aretha doesn't count - she had it from the get go.) Harry is better now than during her commercial heyday. And to prove her dominion, she goes out on two stylistically divergent tracks: a freaky Jazz Passengers-like recitation, "Desire Brings Me Back", and the elegant adult-contemporary ballad "Songs of Love".