Blondie
Autoamerican

THE REVIEW

"Autoamerican" is the most ambitious album by the New York band; it is indeed a work that lays its foundation on a very particular sound mix. There is no homogeneity between the tracks present; each song has precise characteristics, arrangements studied in detail, and above all, the whole is incredibly well-curated. In the end, the group succeeds in the feat of giving a completed sense to the somewhat disco and somewhat rock style that they had introduced with the previous "Eat To The Beat."

Many dismiss the second part of Blondie's career as a simple shift towards softer and more danceable tones. It cannot be denied that this happened, but it's the way in which many tracks are produced that astonishes the listener. The opening of "Autoamerican" is not entrusted to an easily catchy pop song, but to a decidedly interesting piece by Chris Stein. "Europa" is almost entirely instrumental, based on a score for strings and brass, the melody is delightful, and in the end, the group joins, and Harry recites the lyrics about the car’s role in modern civilization. "Europa" then merges into the opening notes of "Live It Up," again written by the guitarist and band leader. It is a very beautiful and successful dance track, where Destri’s synthesizers create special effects that perfectly seal the disco progression of the song. The third track, "Heres Looking At You," is instead a jazzy song made unforgettable by Deborah Harry's voice. The reggae of "The Tide Is High" is the first single released from the album, a cover of an old hit; Blondie make it their own, and it soon becomes one of their classics.

The B-side opens with a composition by Destri, "Do The Dark" is a very danceable track with a rhythm precisely dictated by Burke and Harrison. The keyboardist indulges with his synthesizers in some very beautiful solos with an Arabic sound; on a funky rhythm lies the masterpiece of the album. "Rapture" is a beautiful example of creativity, written by Stein and Harry. It is remembered for being the first example of white rap (which actually is present only in the latter part of the song). Noteworthy is the incredibly complex arrangement with hand-clapping, a theme for tubular bells, and the precious contribution of the brass, closing with a guitar solo by Chris Stein. "Faces" is once again a jazzy track written by Harry featuring a beautiful sax, "T-Birds" written by Harrison harks back to the group's first album, closing with two tracks in line with the rest.

"Autoamerican" is thus a decidedly fascinating album, full of interesting tracks that can satisfy many New-Wave enthusiasts; I highly recommend purchasing it along with the first one, as they represent the extremes of their musical adventure, which is worth getting to know.