Blondie revels in the trashiest strains of Sixties pop, adding a dry Manhattan twist to "X Offender" and "Rip Her to Shreds."  

 Plastic Letters sounds rushed and hollow, though the catchy singles "Denis" and "(I'm Always Touched by Your) Presence, Dear" both tap into Harry's emotional reserves.  

 Parallel Lines, recorded with an expanded lineup, represents a huge leap in musicianship and overall conception from the dynamite rock & roll opener "Hanging on the Telephone" to the rock-disco cross-over "Heart of Glass." 

 Eat to the Beat strives for the same natural balance as Parallel Lines, and comes surprisingly close. 

 You have to admire Blondie's artistic gumption. But by the time of Autoamerican, the band's eclecticism begins to diffuse. "Rapture" and "The Tide Is High" were classic singles, but Blondie's grasp of hip-hop and reggae wasn't as strong. 

 Blondie's last tour and album (The Hunter) were distracted, painful affairs. 

 Although it was nice to have the band back for No Exit, the album is clearly the work of a group that has lost some muscle. Only "Maria" signals a return to the deep, dangerous pop well of Blondie's youth. 

 Greatest Hits is a fizzy delight–and a good place for the uninitiated to start.  

 The band's old eclecticism returns on The Curse of Blondie–there's a rap-rock attempt, as well as some jazz–mostly to ill effect.