Entertainment Weekly (9/21/01, p.85) - "...The band's last creative gasp..." - Rating: B
Q (10/01, p.143) - 4 stars out of 5 - "...The last of the vintage Blondie albums....with an icy, almost Bowie-like aloofness...Harry sang excellently throughout..."
Uncut (p.90) - 5 stars out of 5 -- "[A] consistent thrill-ride of imaginative, hyperactive pop."
Blondie: Frank Infante (vocals, guitar); Jimmy Destri (vocals, keyboards); Deborah Harry (vocals); Chris Stein (guitar); Nigel Harrison (bass); Clem Burke (drums).
Additional personnel: Randy Hennes (harmonica); Elle Greenwich, Lorna Luft, Donna Destri, Mike Chapman (background vocals).
Producer: Mike Chapman.
Reissue producer: Kevin Flaherty.
Recorded at the Power Station, Electric Lady Studio and Media Sound, New York, New York in 1979. Originally released on Chrysalis (1225). Includes liner notes by Mike Chapman.
All tracks have been digitally remastered using 24-bit technology.
1979's EAT TO THE BEAT was Blondie's fourth album, and the first to follow the enormous commercial breakthrough of 1978's PARALLEL LINES. Though its singles, the brilliant "Dreaming" and the disco-influenced "Atomic," were lesser hits than PARALLEL LINES' "Heart of Glass" and "One Way or Another," EAT TO THE BEAT's success cemented Blondie's status as by far the most commercially viable of the first wave of New York punk bands.
By this time, the band's always-tenuous connection to punk was barely noticeable; the artsy "Victor," the Springsteen-ish "Union City Blue," written for the soundtrack of Debbie Harry's first film, Steeltown, and the reggae-tinged "Die Young Stay Pretty" are early evidence of the sort of casual genre-hopping which defined the band's next album, AUTOAMERICAN. The ripping title track, "Accidents Never Happen" and the dreamy "Living in the Real World," however, are more typical Blondie fare.