Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  Expert Witness
Books:
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Writings:
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Playboy
  Blender
  Rolling Stone
  Billboard
  Video Reviews
  Pazz & Jop
  Recyclables
  Newsprint
  Lists
  Miscellany
Bibliography
NPR
Web Site:
  Home
  Site Map
  What's New?
Carola Dibbell:
  Carola's Website
  Archive
Venues:
  Noisey
CG Search:
Google Search:
Twitter:
***

BLONDIE
The Curse of Blondie
Sanctuary

NYC New Wavers put an indelible formula through fresh changes

Few bands have performed the stardom/breakup/reunion hustle with more Úlan than Blondie. Singer-symbol Debbie Harry pursued the usual solo career with unusual avant-garde chutzpah; guitarist-Svengali Chris Stein hung on to his songwriting chops through life-threatening illness; and their 1999 comeback album, No Exit, ranked with the group's '70s classics. At a slightly diminished level, so does this well-worked follow-up. Dub, metal, Okinawan folk, hip-hop and various strains of out jazz all inflect Blondie's hooky popcraft, and they never pretend they're something they're not, such as young. Feisty, however, they remain: "White as a Tic-Tac/Why don't you take a dirt nap?" Harry raps to an inadequate male. To which he could reply: "You are too, and you're not ready."

Blender, Apr. 2004