Autoamerican
Autoamerican is the fifth studio album by the American rock band Blondie, released in November 1980 by Chrysalis Records.[1] Produced by Mike Chapman at United Western Studios in Los Angeles, the record marked a bold stylistic expansion for the group, incorporating elements of new wave, disco, reggae, calypso, and hip-hop alongside their punk influences.[2][3] The album debuted at number 20 on the US Billboard 200 chart in December 1980 and ultimately peaked at number seven, while reaching number three on the UK Albums Chart and spending 16 weeks there.[4][2] It features 12 tracks, including the orchestral opener "Europa (Earth's Cry Heaven's Smile)" and the experimental closer "Follow Me," with songwriting contributions from band members Deborah Harry, Chris Stein, and Jimmy Destri, as well as covers like the reggae adaptation of John Holt's "The Tide Is High."[1][5] Autoamerican produced two major singles: "The Tide Is High," which topped the UK Singles Chart in late 1980 and the Billboard Hot 100 in early 1981, and "Rapture," a genre-blending track that became the first rap song to reach number one on the Hot 100 in early 1981.[6][3] The album's eclectic approach drew mixed reviews upon release for its perceived lack of cohesion but has since been praised for its innovation and foresight in fusing rock with emerging urban styles, solidifying Blondie's status as one of the most versatile acts of the era.[3]Development
Background
Following the massive commercial breakthrough of their 1978 album Parallel Lines, which featured the global hit "Heart of Glass" and propelled Blondie from New York City's punk underground to international stardom, the band faced mounting pressures as they prepared their follow-up, Eat to the Beat, released in October 1979.[7] This next album continued their pop-infused new wave trajectory with singles like "Dreaming" and "Union City Blue," solidifying their mainstream appeal, but it also exacerbated internal tensions within the group. Band members grappled with discord over creative control and the spotlight increasingly centering on frontwoman Debbie Harry, whose charismatic persona and rising solo profile—fueled by her acting roles and fashion icon status—threatened to overshadow the collective identity, as evidenced by buttons distributed declaring "Blondie is a group" to counter perceptions of Harry dominance.[8][9] By early 1980, amid the need to evolve beyond their new wave roots to sustain momentum, Blondie began conceiving Autoamerican as a bold departure, drawing from Harry and guitarist Chris Stein's explorations of diverse sounds in New York and Los Angeles. Influenced by the city's vibrant scenes—NYC's emerging rap and punk undercurrents alongside LA's Latin rhythms and reggae vibes—the duo incorporated elements of reggae, rap, and American folk to push boundaries.[7][10] This experimentation was partly motivated by a desire to bridge racial and cultural divides in music, as Stein articulated in contemporary interviews: "I would like to see the record resolve racial tensions by bringing different audiences together."[7] Pre-production discussions took shape in the spring of 1980, with the band relocating from their New York base to the United Western Recording studio in Los Angeles later that year to capture these hybrid influences in a fresh environment.[2] This move marked a significant shift, allowing for extensive preparation under producer Mike Chapman, who emphasized the group's readiness to innovate while shielding their vision from label interference.[10]Recording
The recording sessions for Autoamerican took place in 1980 at United Western Studios in Los Angeles, marking the first time Blondie had ventured outside their native New York to produce an album. Produced by Mike Chapman, who had previously helmed the band's Parallel Lines (1978) and Eat to the Beat (1979), the sessions benefited from extensive pre-production work that allowed for a more structured and efficient process compared to earlier efforts. Chapman employed detailed charts outlining instrumentation—such as drums, bass, guitars, and keyboards—which were methodically checked off as each part was completed, enabling spontaneous creativity within a solid framework. Engineer Lenise Bent noted the smoothness of this approach, with basic tracks recorded dry using high-quality microphones like the Neumann U87 for vocals and AKG C-414s for guitars, followed by overdubs on the Harrison 4032 console.[11][2] Band dynamics during the sessions reflected a mix of adaptation and discomfort with the West Coast environment. Drummer Clem Burke appreciated the organized LA workflow, which contrasted with the more chaotic New York sessions of the past, while guitarist Chris Stein expressed feeling out of place in the "strange land" of California, likening the prolonged stay to a disorienting experience. Despite these interpersonal tensions, Chapman's oversight maintained focus, fostering collaboration among core members including vocalist Debbie Harry, Stein, Burke, keyboardist Jimmy Destri, and bassist Nigel Harrison. The production incorporated additional session musicians, such as a horn and string section for tracks like "The Tide Is High," enhancing the album's eclectic sound.[2][11] Technically, the sessions highlighted innovative elements tailored to the album's genre-blending ambitions. The opening track "Europa" featured a majestic score composed by Stein, performed by a 30-piece orchestra to create a dramatic instrumental overture evoking orchestral glamour. For "Rapture," the closing track, Harry delivered an extended rap section inspired by New York's emerging hip-hop scene, which she and Stein had encountered through performances hosted by graffiti artist and rapper Fab 5 Freddy—whose name is prominently referenced in the lyrics alongside Grandmaster Flash. Saxophonist Tom Scott contributed jazzy soprano saxophone grooves, blending disco, funk, and rap in a hypnotic hybrid that captured the band's experimental spirit. These choices exemplified Chapman's ability to integrate diverse influences while preserving the group's pop accessibility.[2][12][13]Music and Lyrics
Style and Innovation
Autoamerican marked a significant evolution in Blondie's sound, expanding beyond their punk and new wave foundations into an eclectic fusion of genres that included reggae in "The Tide Is High," rap in "Rapture," doo-wop in "T-Birds," folk in "Follow Me," and orchestral elements in the instrumental "Europa."[2] This diversity represented a deliberate departure from the band's earlier albums like Parallel Lines (1978) and Eat to the Beat (1979), which had refined their new wave style with disco influences, toward a more experimental art rock approach that incorporated broader musical palettes. The album's ambition was praised for its adventurous spirit and dynamic songwriting, though some critics noted its inconsistency as a result of the genre-hopping.[2] Central to these innovations were production techniques that blended acoustic instruments with synthesizers and electronic elements, as seen in tracks featuring live drums, funky bass lines, crisp guitars, handclaps, tubular bells, and horn arrangements by session musician Tom Scott.[14] Debbie Harry's delivery in the rap sections of "Rapture" introduced a spoken-word style described as "sleepy and absurdist deadpan," distinguishing it from contemporary Bronx rap influences while name-checking artists like Fab 5 Freddy and Grandmaster Flash.[14] "Rapture" achieved a historic milestone as the first song featuring a rap verse to reach number one on the Billboard Hot 100 on March 28, 1981, making rap viable for mainstream charts according to Harry herself.[15][16] Thematically, the album aimed to create cross-cultural hybrids as a means to "resolve racial tensions" through music, reflecting the band's desire to unite diverse audiences, as stated by guitarist Chris Stein: “I would like to see the record resolve racial tensions by bringing different audiences together.”[7] This intent aligned with the recording's location in Los Angeles, which exposed the band to multicultural influences absent from their New York punk origins, further emphasizing the shift toward boundary-pushing experimentation.[7]Track Listing
The original 1980 vinyl LP edition of Autoamerican, released by Chrysalis Records, contains 12 tracks across two sides, blending new wave, reggae, and experimental elements in its compositions. Songwriting credits are predominantly attributed to Debbie Harry and Chris Stein, with additional contributions from band members Jimmy Destri and Nigel Harrison, as well as covers of external works. Durations are approximate based on the standard pressing.[17]| Side | No. | Title | Writer(s) | Length | Compositional Notes |
|---|---|---|---|---|---|
| A | 1 | Europa | Chris Stein | 3:32 | Instrumental overture featuring orchestral strings and horns arranged by Jimmie Haskell, setting a cinematic tone for the album.[17] |
| A | 2 | Live It Up | Chris Stein | 4:10 | Upbeat rock track with prominent guitar riffs and backing vocals, emphasizing party-themed energy.[17] |
| A | 3 | Here's Looking at You | Debbie Harry, Chris Stein | 2:58 | Mid-tempo ballad with lounge influences, incorporating subtle reggae rhythms in the arrangement.[17] |
| A | 4 | The Tide Is High | John Holt | 4:40 | Reggae cover originally recorded by The Paragons in 1967, adapted with added horns and strings for a pop-reggae fusion.[17][18] |
| A | 5 | Angels on the Balcony | Jimmy Destri | 3:48 | Synth-driven new wave piece with layered keyboards and a narrative structure evoking urban observation.[17] |
| A | 6 | Go Through It | Debbie Harry, Chris Stein | 2:43 | Punchy, concise rocker with driving bass and direct, motivational lyrics in its core composition.[17] |
| B | 7 | Do the Dark | Jimmy Destri | 4:00 | Dance-oriented track with funky bass lines and call-and-response vocals, highlighting rhythmic interplay.[17] |
| B | 8 | Rapture | Debbie Harry, Chris Stein | 6:32 | Extended composition incorporating rap verses and interpolating the bassline from Chic's "Good Times," marking an early fusion of rock and hip-hop elements.[17][19] |
| B | 9 | Faces | Debbie Harry | 3:58 | Introspective new wave song built around acoustic guitar and atmospheric production, focusing on personal reflection.[17] |
| B | 10 | T-Birds | Debbie Harry, Nigel Harrison | 4:00 | Energetic homage to 1950s hot rod culture, featuring doo-wop harmonies and revving sound effects in its arrangement.[17] |
| B | 11 | Walk Like Me | Jimmy Destri | 3:48 | Funky, groove-based track with handclaps and synthesizer hooks, drawing on post-disco influences.[17] |
| B | 12 | Follow Me | Alan Jay Lerner, Frederick Loewe | 3:06 | Cover of the Broadway show tune from Camelot (1960), reinterpreted with electronic synths and a futuristic twist.[17] |
Release
Promotion
Autoamerican was released on November 26, 1980, by Chrysalis Records, marking the band's fifth studio album.[20] Promotional tactics encompassed high-profile television appearances, including the band's performance of "Rapture" on Saturday Night Live on February 14, 1981, hosted by Debbie Harry alongside bandmates Chris Stein and Clem Burke.[21] Additionally, posters designed by John Van Hamersveld with artwork by Martin Hoffman depicted the band in a retro-futuristic setting reminiscent of earlier provocative imagery, though presented in a more restrained style to align with the album's thematic diversity.[22] Chrysalis executives harbored skepticism over the album's departure from the band's established new wave sound into genres like reggae and hip-hop, despite the band's insistence on its innovative direction.[23] Band members countered this resistance through interviews, where they advocated for Autoamerican as a forward-thinking statement of modernity, ultimately securing its release.[23] The campaign integrated a limited promotional tour spanning late 1980 to early 1981, with select dates across Europe and North America to build momentum for the album.[24] [25]Singles
"The Tide Is High" served as the lead single from Autoamerican, released on October 31, 1980, by Chrysalis Records.[26] Produced by Mike Chapman at United Western Studios in Los Angeles, the track was a reggae-infused cover of the 1967 song originally recorded by The Paragons, featuring overdubbed horns arranged by Jimmy Haskell and strings for a polished pop-reggae sound.[11] The B-side, the non-album track "Suzy and Jeffrey," was written by band members Debbie Harry and Chris Stein.[27] The single topped the Billboard Hot 100 for one week in December 1980, marking Blondie's third U.S. number-one hit, and was certified gold by the RIAA for sales exceeding one million copies.[28] "Rapture," the album's second single, followed on January 12, 1981, also via Chrysalis Records.[29] Co-written by Harry and Stein, the song blended new wave with an extended rap section performed by Harry, becoming the first track containing rap vocals to reach number one on the Billboard Hot 100, where it held the top spot for two weeks in March 1981.[29] Its B-side was "Walk Like Me" by bandmate Jimmy Destri.[30] The accompanying music video, directed by Keef, featured New York graffiti artists including Jean-Michel Basquiat and Fab 5 Freddy, and aired as the first rap video on MTV when it premiered on January 31, 1981.[31] Like its predecessor, "Rapture" earned RIAA gold certification for over one million U.S. sales.[29] In the UK, "Rapture" was released in early 1981 and peaked at number five on the Official Singles Chart.[32] "Rapture" played a pivotal role in introducing rap elements to mainstream pop music, bridging punk, new wave, and hip-hop audiences and influencing the genre's crossover appeal.[29]Commercial Performance
Charts
Autoamerican achieved significant chart success internationally upon its release. In the United States, the album peaked at number 7 on the Billboard 200 chart, where it spent a total of 33 weeks.[33] It debuted at number 20 on December 13, 1980, and reached its peak position on February 21, 1981. In the United Kingdom, Autoamerican entered the Official Albums Chart at number 9 on November 29, 1980, climbing to a peak of number 3 the following week and remaining on the chart for 16 weeks.[4] The album also performed well in other markets, peaking at number 8 on the Australian Kent Music Report albums chart and number 10 on the Canadian RPM Top 100 Albums chart.[34] The album's lead single, "The Tide Is High," propelled its chart momentum with strong performances on both sides of the Atlantic. In the US, it debuted at number 81 on the Billboard Hot 100 on November 15, 1980, steadily climbing through the holiday season to reach number 1 on January 31, 1981, where it held the top spot for one week before descending, ultimately charting for 26 weeks. In the UK, "The Tide Is High" debuted at number 24 on November 8, 1980, rose to number 1 by November 15, and spent two weeks at the summit en route to 12 total weeks on the Official Singles Chart.[35] The follow-up single, "Rapture," continued the album's success in early 1981. It entered the Billboard Hot 100 at number 61 on February 7, 1981, surged to number 1 on March 28 after eight weeks, holding the position for two weeks and charting for 20 weeks overall.[36][37] In the UK, "Rapture" debuted at number 37 on January 24, 1981, peaked at number 5, and logged 8 weeks on the chart.[32] On year-end charts, Autoamerican ranked number 28 on the 1981 Billboard 200, reflecting its sustained popularity driven by the singles' airplay and sales.[38] "The Tide Is High" placed at number 18 on the 1981 Billboard Hot 100 year-end chart, while "Rapture" reached number 87, underscoring the tracks' contributions to the album's visibility amid a competitive year for pop and new wave releases.[39]| Chart | Album Peak (Weeks) | "The Tide Is High" Peak (Weeks) | "Rapture" Peak (Weeks) |
|---|---|---|---|
| US Billboard 200 / Hot 100 | #7 (33) | #1 (26) | #1 (20) |
| UK Official Albums / Singles | #3 (16) | #1 (12) | #5 (8) |
| Australian Albums | #8 | N/A | N/A |
| Canadian RPM Albums | #10 | N/A | N/A |
Sales and Certifications
Autoamerican was commercially successful upon release, earning platinum certifications in several key markets shortly after its November 1980 launch. In the United States, the Recording Industry Association of America (RIAA) certified the album platinum on January 26, 1981, for shipments of one million units.[34] In the United Kingdom, the British Phonographic Industry (BPI) awarded platinum status on December 2, 1980, recognizing sales of 300,000 copies.[40] Canada followed with a 3× platinum certification from Music Canada in 1981, equivalent to 300,000 units.[34] Additional certifications include gold in New Zealand for 7,500 sales.[34] The album's sales were particularly robust in the UK and Europe, driven by hit singles like "The Tide Is High" and "Rapture," which boosted its international appeal.[41] However, it underperformed in the US relative to Blondie's prior release Parallel Lines, which sold over 20 million copies worldwide.[42]| Country | Certification | Units Sold | Date |
|---|---|---|---|
| Canada | 3× Platinum | 300,000 | 1981 |
| United Kingdom | Platinum | 300,000 | December 2, 1980 |
| United States | Platinum | 1,000,000 | January 26, 1981 |
| New Zealand | Gold | 7,500 | N/A |