Blondie - Panic of Girls 2011

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Blondie is an American rock band, founded by singer Debbie Harry and guitarist Chris Stein. The band was a pioneer in the early American New Wave and punk scenes of the mid-1970s. Their first two albums contained strong elements of these genres, and although successful in the United Kingdom and Australia, Blondie was regarded as an underground band in the United States until the release of Parallel Lines in 1978. Over the next three years, the band achieved several hit singles and became noted for its eclectic mix of musical styles incorporating elements of disco, pop, rap, and reggae, while retaining a basic style as a New Wave band.
Blondie broke up after the release of their sixth studio album The Hunter in 1982. Debbie Harry continued to pursue a solo career with varied results after taking a few years off to care for partner Chris Stein, who was diagnosed with pemphigus, a rare autoimmune disease of the skin.
The band reformed in 1997, achieving renewed success and a number one single in the United Kingdom with Maria in 1999. The group toured and performed throughout the world during the following years, and was inducted into the Rock and Roll Hall of Fame in 2006. Blondie has sold 40 million records worldwide and is still active today, with a new album, Panic of Girls, released 30 May 2011 in the UK 
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Panic of Girls is Blondie's first album since 2003's The Curse of Blondie. The album was recorded between October-December 2009 in Woodstock, New York, and May 2010 in Hoboken, New Jersey, being the second album in the band's history to be recorded outside of Manhattan, after 1980s Autoamerican which was recorded in Los Angeles. The band's drummer, Clem Burke, also said that about 35 songs were recorded during the sessions for the album, with only 14 that are going to make the album. He has also said that all band members have contributed to the release, with vocalist Debbie Harry writing most of the lyrics. Original Blondie keyboardist Jimmy Destri planned to contribute to the writing and recording of this album, but was ultimately not a part of it. The album name came from the lyrics of a track recorded for the album: End of the World, which ultimately did not appear on its final track list. However, it has been included as a bonus track on the German deluxe edition. The former names of the album were: The album contains one song in French and two in Spanish.
Two tracks from the album, What I Heard and Girlie Girlie, were included on a special release of the band's 1978 album Parallel Lines that came free with the British newspaper The Mail on Sunday on December 5, 2010. Another song, Mother, was made available as a free download from the band's website. A second, final version of the song would later be announced as the lead single, available for purchase on May 23, 2011.
The album was originally due for release in 2010, but difficulties with record companies delayed the release. In an interview in the British Telegraph newspaper on March 24, 2011, Debbie Harry revealed that the band will be releasing the album themselves (i.e. without a record company) in the United Kingdom as part of a special Collector's Pack in conjunction with Future Publishing. The pack includes the album along with a special 132-page magazine charting the making of the album, the band's history and includes many archive photographs, four postcards, six badges and a poster. The Collector's Pack was made available in the UK from 1 June 2011 in over 3000 non-traditional music retail outlets including Tesco, Asda, Waitrose, WH Smith and Sainsburys. The album, by itself, was released on July 4, 2011 and is scheduled for release in the United States on September 13, 2011. (wikipedia)
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2011 album from the Pop/New Wave vets fronted by Debbie Harry. Debbie, Chris and Clem have once again united together to create the new album, produced by Jeff Saltzman (The Killers) and Kato Khandwala (My Chemical Romance, Papa Roach). The album encapsulates the true character and spirit of the sound of Blondie. It was written and recorded in a number of locations in the US, including New York, New Jersey and Los Angeles. (
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Blondie - Panic of girls 2011
(New York Five Seven Music)
 1. D-day
 2. What I heard
 3. Mother
 4. The end the end
 5. Girlie girlie
 6. Love doesn't frighten me
 7. Words in my mouth
 8. Sunday smile
 9. Wipe off my sweat
10. Le bleu
11. China shoes
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The cover of Blondies Panic Of Girls, the bands ninth studio album, features the surreal hand-painted imagery of Dutch cult artist Chris Berens, whom guitarist Chris Stein sought out and commissioned to create the work. Its depiction of a kind of warped wonderland metaphorically suits Blondie at this juncture in its remarkable, 37 year-old career. The New York City-based sextet indeed occupies a world all its own, beguiling and just a little twisted, and its sound is more recognizable than ever, burnished by the decades to achieve a timeless pop sheen. On Panic Of Girls, Blondie glances backward but resolutely moves forward, remaining keenly observant of street-level pop culture and continuing to find inspiration in the roiling musical melting pot of New York City. The core trio of vocalist Deborah Harry, guitarist Stein and drummer Clem Burke have embraced younger band-mates, collaborated with up-and-coming producers, and discovered new songwriting partners while never merely chasing trends.
Were part of the future as well as the past, declares Harry. Making new music is really, really important for me and for the rest of the band. When we first got back together in 1997, one of the stipulations I had was that it not be just a review of Blondies greatest hits. I really felt convinced of and dedicated to the idea that we had to move ahead and do new music. Im really happy that this CD is coming out and represents the Blondie tradition, yet it also has a statement that is part of today.
Panic Of Girls opens brashly with Burkes signature drum roll before the band launches into the breathlessly paced D-Day. The band maintains this high-energy approach, counterbalancing a break-up tale with bright power pop, on What I Heard, penned for the band by new keyboardist Matt Katz-Bohen and Laurel Katz-Bohen. Theres a darkness around the edges of some of the new songs, but their tone is just as often heartfelt and humorous - and even the toughest number provides plenty of sonic fun. With the anthemic electro-pop of Mother, Harry salutes the fabled West 14th Street nightclub of the same name that, in the late nineties, attracted the most outrageous downtown luminaries and self-made superstars to what was then an evocatively seedy strip of Manhattan.
Blondie has come a long way from CBGBΓΓé¼Γäós and the Bowery, having sold more than 40 million albums globally and repeatedly reaching the top of the charts over the course of four decades with such hits as One Way Or Another, Heart Of Glass, Rapture and Maria. In 2006, Blondie was inducted into the Rock and Roll Hall Of Fame; at the Cleveland museum, Burke notes, the bands plaque is situated right below the Beatles. Its been eight years since the bands last studio effort, The Curse Of Blondie. Since then, Blondie has continued to be a powerhouse live act, attracting audiences literally around the world, becoming the most successful band to reunite from the class of 77.
For a time, songwriting took a backseat to touring, with Stein devoting whatever moments he had off to raise a new family and Harry concentrating on solo work. But now, says Harry, Chris has gotten really prolific, he practically writes a song every day. Its kind of amazing. And Im really enjoying writing now more than ever. I think - I hope - Im getting better. Asserts Stein, Shes at the top of her game.
Along with co-writing much of Blondies catalog, Harry and Stein have been historically adept at spotting just the right songs to cover, and they have always offered the more industrious fan the chance to embark upon some crate-digging, musical detective work. Here they are especially inspired with their choices: a rendition of the playfully scolding 1985 U.K. reggae hit, Girlie Girlie, first popularized by Jamaican singer Sophia George, and a lilting, reggae-tempo reworking of Brooklyn-based septet Beiruts wistful Sunday Smile, which in its original form had an Eastern European feel. Wipe Off My Sweat, co-written with Cuban artist Paradise N. Efecto, mines a Latin groove - and features a guest turn on trumpet by Beirut bandleader Zach Condon - while Le Bleu, sung entirely in French, pays homage to Brel and Gainsbourg. Stein co-wrote it with his old friend, the French musician Gilles Roberilles, whose disco-inflected, late-seventies group, Casino Music, was produced by Stein for the now legendary Ze Records label.
Regarding the wide range of ideas and influences that distinguish Panic Of Girls - and, for that matter, all the work Blondie has produced since its inception in 1974 - Harry explains, Because Blondie has always been an urban band, weve always been surrounded with all these ethnicities and different kinds of music, so it all comes pretty naturally. I cant explain why Chris and I have always been really comfortable with that, but maybe its just a spirit of adventure. Thats one of the reasons Chris and I were originally drawn together.
Elaborates Stein, whos always had the most outre taste in the group (as evidenced by his choice of album cover artist), Weve always been keyed into what the other was thinking -maybe its some past life experience or something. Stuff goes between us that can very easily remain unsaid. We dont have to talk a lot, we know what the other is thinking, and thats always been going on.
As for Burke, who met Harry and Stein at CBGBs after theyd admired his shoes, Chris is really the guy who thinks outside the box in the context of Blondie. And, to his credit, thats how he came up with something like Rapture. Im a fan of rock and roll and thats never going to go away for me. Im the glue in the middle of Chris and Debbies aesthetic, where Im a bit more interested in rock and roll as a musical expression. We create a balance among the three of us and create the Blondie sound.
Panic of Girls was mostly recorded at a Woodstock, New York studio and produced by Jeff Saltzman, best known for his work with the Killers. They also tapped young KatoKhandwala, who co-wrote the propulsive Mother, to produce two tracks; he comes from a more hard-edged emo/metal background - having worked with such acts as Paramore, Breaking Benjamin and Papa Roach - but fit seamlessly into the Blondie mix. The production team of Super Buddha, the duo behind Harrys 2007s Necessary Evil, cut D-Day. Says Stein, Making a record is an interesting process. Its always a little different. Jeff was great. Hes totally crazy. And Kato was also a lot of fun. Jeff was a little looser to work with but I liked Katos precision.
Blondie plans to hit the road again in support of Panic of Girls, accompanied by bassist Leigh Fox, whose been with the group since it reunited in 97, new guitarist Tommy Kessler, and keyboardist Katz-Bohen, who joined in 08.
Looking back at the bands trajectory since Blondie reformed after a 15-year hiatus and released its chart-topping comeback CD No Exit, Burke concludes, No Exit, the title, was a play on words, besides being the name of a Sartre play. Its about the fact that Blondie never really went away, that it would always be a part of us. Were all really excited about the new record, the fact that weve created new music to continue the Blondie story.
Michael Hill
Blondie - Panic of Girls 2011/01 D-Day.flac 28.135 MB
Blondie - Panic of Girls 2011/02 What I Heard.flac 26.086 MB
Blondie - Panic of Girls 2011/03 Mother.flac 25.851 MB
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