The first single "X Offender" was originally titled "Sex Offender", but since radio stations would not play a song with such a provocative title, the band renamed the song. After disappointing sales and poor publicity, the band ended their contract with Private Stock and signed with Chrysalis Records in mid 1977. Chrysalis re-released the album in September 1977, when they issued Blondie's 2nd album "Plastic Letters", along with the single "In the Flesh". The album reached No. 14 in Australia,[1] where the band had already had a top-3 entry with "In the Flesh". The album also charted at No. 75 in the UK in early 1979, where the band had become immensely popular.
Through the production of Richard Gottehrer, who had worked with the Angels and other artists of the 1950s and 1960s, much of the music is suffused with the girl group sound of that era. Debbie Harry told an interviewer in 1978 that the band never intended to be retro and when some journalists described them that way, it was "quite a shock".[2] Likewise she rejected any attempt to brand the music as pop, insisting that Blondie played new wave music.[3]
The album was first digitally remastered by Chrysalis Records UK in 1994. In 2001, the album was again remastered and reissued, this time along with five bonus tracks. "Out in the Streets" (The Shangri-Lascover), "The Thin Line" and "Platinum Blonde" are three of five tracks from a 1975 demo recorded by Alan Betrock; all five were first issued on the 1994 compilation The Platinum Collection. Bonus track "Platinum Blonde" was the first song that Harry wrote.[4] Original single versions of "X Offender" and "In the Sun" are both sides of Blondie's first single, issued on Private Stock, and are different mixes from the album versions. The two Private Stock versions are both remastered from vinyl.
Reviewing Blondie in 1977 for Rolling Stone, Ken Tucker called the album "a playful exploration of Sixties pop interlarded with trendy nihilism" and found that all the songs "work on at least two levels: as peppy but rough pop, and as distanced, artless avant-rock". He noted that Harry performed with "utter aplomb and involvement throughout: even when she's portraying a character consummately obnoxious and spaced-out, there is a wink of awareness that is comforting and amusing yet never condescending." He also noted that Harry was the "possessor of a bombshell zombie's voice that can sound dreamily seductive and woodenly Mansonite within the same song".[14]
[15] Giovanni Dadomo of Sounds gave the album a two star rating, calling it a "pretty dumb affair" and that "nobody here seems to really be trying very hard.".[11] Dadomo went on to state the production had " an almost totally bland lack of depth and colour" finding the main highlight to be "there's plenty of Farfisa and sometimes Blondie sounds a little bit like Jim Morrison."[11]
^Weingarten, Marc (September 21, 2001). "Blondie: Blondie / Plastic Letters / Parallel Lines / Eat to the Beat / Autoamerican / The Hunter". Entertainment Weekly. New York. p. 85.
^"Blondie: Blondie". Q. No. 97. London. October 1994. p. 135.
