Blondie - Autoamerican
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Free Music Notes for Autoamerican
Free Music Review: Autofantastic is what this is all about
Hit: 5 Stars
There is no other way to describe this album, it is just cool and delicious. Debbie's voice and song writing especially on Faces is truly awe-inspiring. Of Course the standards are here but Europa and Angels On The Balcony do warrant a second listen on this album. This album really did usher in the 1980's with a new style of sound and introduced everyone to Rapture. The bonus tracks included the Longest version ever of Call Me and the remixes of both Rapture and Live It Up are both alot of fun and worth listening to several timesFree Music Review: Top Notch
Hit: 5 Stars
There are no bad Blondie albums. There is no better Blondie album better than this. Everyone knows "The Tide is High" and "Rapture" (the first `rap' song to go to #1), but nothing else ever got radio airplay. There is not a bad song on the album.`Autoamerican' isn't like any other Blondie album, but really, no two Blondie albums are the same. Outstanding cuts: "Europa", "Go Through It", "Do the Dark" and "T-Birds". But as stated before - not a bad song on the disk.
Free Music Review: A Five Star Masterpiece!
Hit: 5 Stars
I never heard this album until after my first Blondie show this year. Where was I when this gem came out? How did I miss this? This is Blondie at an extremely creative peak - a true must have! The musical territory that this band encompasses on this album is astonishing. Blondie turns "The Tide is High" into a Blondie masterpiece - clearly outdoing the original - and making it their own.
Again, the extra tracks are brilliant!
Free Music Review: genius of Blondie!
Hit: 5 Stars
Here are my favorite tracks:1. Europa
2. Live It Up
5. Angels On The Balcony
7. Do The Dark
Give them a listen.
Thanks!
Free Music Review: Blondie's Most Varied Album
Hit: 4 Stars
When you first pop "AutoAmerican" into the CD player, you will probably question as to whether the wrong disc was accidentally slipped into a Blondie jewel case.
Gone is the hyperactive punk influence of their earlier work; this is the Blondie who were the darlings of Studio 54. Though this album is dismissed by many, one of it's virtues is the varied sound the band displays. They must be given credit for trying to expand their horizons. This album yielded two #1 singles, so it's ironic that while the band were at their most successful commercially, behind the scenes they were disintegrating.
The lush, string-laden instrumental "Europa" certainly does not sound like it was made by the same people who brought us "Eat to the Beat". Half-way in, Debbie speaks over space-age sounds introducing the album.
Things get going with "Live it Up", which surprisingly manages to out-disco both "Heart of Glass" and "Atomic". One of the best tracks, its influence can still be heard in the dance music of 2010. Jimmy Destri's keyboards really stand out on this one.
One of several '30s ballroom-style songs is "Here's Looking at You". While Blondie should be applauded for experimenting with new styles and directions, these numbers really drag the album down. Madonna did this sort of thing better in "Dick Tracy" because she infused the songs with a camp sensibility and her over-the-top Betty Boop delivery.
The reggae/calypso flavored "The Tide is High" was a #1 hit in 1981 and while it is probably my least favorite of all their hit singles (due to overplay on the Muzak-type station at work), it still plays well 30 years later and is a well-crafted pop song.
A bizarre, industrial-type intro brings us to "Angels on the Balcony". Debbie sounds very sedate, but the band sounds more like their old self on this one. It has a great guitar hook.
The band also stay true to their roots on "Go Through It", except for the horns, which give the track somewhat of a Mexican feel.
"Do the Dark" conjures up visions of snake charmers (listen and you'll see what I mean) and is the second disco-flavored track, though Deb's vocals are a little harsher on this one. It's one of the better offerings and the keyboards are excellent in this one.
The irressistable chimes and tap-dance clacking of "Rapture" are mesmerizing. This was one of the first rap records many North Americans had ever heard, and the novelty no doubt helped propel it to #1 on Billboard for 2 weeks in Spring 1981. Though the lyrics are nonsensical, Debbie's cool delivery sells the song effortlessly. The searing guitar solo at the climax will give you goosebumps.
"Faces" is another '30s-sounding song and perhaps the weakest link on "AutoAmerican". The song is dull, the melody isn't varied enough and its most interesting characteristic is that Debbie says the "BS" word. This one would have been better left off.
A huge '60s Wall-of-Sound production greatly benefits "T-Birds", which would have been right at home on Blondie's first album.
"Walk Like Me", like the first album's "In the Sun" is a good take on '60s surf-rock, with great guitar and keyboards.
"Follow Me" is a dreamy, strange little tune that could have been snooze-inducing like "Sound-a-Sleep" but for some reason, this one really works. It sounds like something Debbie recorded for a Disney soundtrack and you can imagine animated Blondie members frolicking in a field of clover. You really have to hear this one to comprehend.
There are various editions of "AutoAmerican" on CD, but there are only two bonus tracks you need bother with. "Suzy and Jeffrey" which was originally only available on the cassette and was the B-Side of "The Tide is High, is a '60s tragedy-type song about a doomed couple bound for the altar.
"Rapture Riders" is a terrific mash-up of "Rapture" and The Doors' "Riders on the Storm" and is more essential listening than the 12" version of "Rapture" which appears on certain re-issues.
"AutoAmerican" is by no means Blondie's best album, but is on par with "Eat to the Beat", though more varied.