Live

Performer: Blondie
Engineer: James Birtwhistle; Jonathan Leong; Mark Hutchins; Timothy Powell; Biff Dawes
Producer: Randy Nicklaus; Blondie
Distributor: RED Distribution

Notes: Blondie Live contains live songs performed at various venues between 1998 & 1999. Blondie: Leigh Foxx (bass instrument); Chris Stein, Clem Burke, Debbie Harry, Jimmy Destri, Paul Carbonara. Personnel: Debbie Harry (vocals); Chris Stein, Paul Carbonara (guitar); Jimmy Destri (keyboards); Clem Burke (drums); Matt O'Connor (percussion). Audio Mixers: Marc DeSisto; Randy Nicklaus. Recording information: Glastonbury Festival (11/22/1998-08/14/1999); House Of Blues, Las Vegas, NV (11/22/1998-08/14/1999); Lyceum, London, England (11/22/1998-08/14/1999); Riviera Theater, Chicago, IL (11/22/1998-08/14/1999); Town Hall, New York, NY (11/22/1998-08/14/1999). Photographer: Robert Roth. Considering what a turkey 1999's No Exit was, a live LP from its tour is a bright idea. Why not re-establish that Blondie was once an awfully good group: a 1977 new wave/power pop delight that evolved into one of the few AM Top 40 radio pleasures from 1979-1980, and a most entertaining stage band. Besides, they never released a live record. As it happens, Live surpasses all expectations. Culled from six big 1999 concerts, including the mammoth U.K. Glastonbury Festival, the sound is crisp and uncannily consistent, and the mix is spot-on, with Debbie Harry's still-bubbly smart crooning sitting perfectly on the throne of the band's supple, lively playing. Drummer Clem Burke remains the sneaky secret weapon/anchor, his drumming so forceful even the fluffiest tracks come alive with energy. Most of all, the band sounds completely refreshed despite missing two old members. This is sure far from the old band going through the motions and ready to quit, disappearing into a litany of lawsuits around 1982, and leaving behind the stale odor of The Hunter to further tarnish their declining memory. Instead, the desire is plain. Live starts like a house of fire, wowing with highly charged, ripping versions of "Dreaming" and their still-smashing cover of the Nerves' "Hanging on the Telephone." Thereafter Blondie refurbishes vintage material with gusto, both the hits and even better misses. The two inspired No Exit cuts, the classic-sounding "Maria" and the ska-fun "Screaming Skin," also fit marvelously. The only reason Live isn't a complete treat is that the band is duty-bound to trot out it's blockbuster, genre-hopping hits from their '80s platinum mass-stardom days when they lost their musical identity. ~ Jack Rabid The late '90s saw a multitude of reunions take place among rock favorites from the '70s, and one of the leading reunions from the original punk/new wave era was undoubtedly the return of Blondie. Touring in support of their first album in 17 years, 1999's No Exit, the group (which included four familiar faces from their original go-round: singer Debbie Harry, guitarist Chris Stein, keyboardist Jimmy Destri, and drummer Clem Burke) focused primarily on the classics, but also included a handful of then-current tunes. The same year, the group issued its first-ever official live release, Live in New York, which in 2004 was reissued on the Eagle label as Live. While it sounds in spots like the band is still working toward regaining the on-stage chemistry of yesteryear, Live is a fun memento overall, especially such party classics as "Heart of Glass," "Call Me," and "Atomic," as well as such wild cards as "Sunday Girl," "X Offender," and "Rip Her to Shreds." While you obviously won't be getting the youthful exuberance of a late-'70s/early-'80s live set here (for that, check out the Live: Philadelphia 1978/Dallas 1980 release), if you attended Blondie's reunion tour, Live will serve as a worthwhile souvenir. ~ Greg Prato

Although the press and public were initially focused on singer Debbie Harry's model-like good looks, Blondie was one of the first new wave bands of the 1970s to experiment with other musical styles. Beginning as part of the '70s CBGB scene in New York, the band experienced massive commercial success when they merged their '60s girl-group-influenced punky pop with disco, reggae, and rap. After the group disbanded in the early '80s, Harry went on to a solo career and acted in numerous films. Blondie had a successful reunion in the late '90s, touring and releasing an album of new material that showed they were far from done.

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