But compared with some of the band's previous delights and the weakness of some songs, it doesn't merit the same kind of recommendation as the likes of _Parallel Lines_.

It's the most exotic and experimental of the original Blondie records, a theme extended to the rather tragic cover art, and at times sounds tighter than _Autoamerican_, which at times sounded as if it was about to be enveloped by its own schizophrenic diversity and experimentation. With Autoamerican and, now, The Hunter, Blondie has become more difficult to enjoy, even as the group has strained to become something you can “appreciate. The bizarre "Dragonfly," a six-minute sci-fi epic detailing a futuristic space craft race, is odd and uncompromising but surprisingly beguiling and memorable, with Harry reportedly making up the in-depth spoken technical jargon on the spot herself. Determined to end on a high at the same time as having the desire to pursue solo projects, particularly the band's lead singer and obvious focal point Debbie Harry (Deborah Harry), it seemed as if Blondie would take great memories of a string of hits with them as they went.

Island of Lost Souls” is the new LP’s “The Tide Is High,” complete with Ricky Ricardo horns, steel drums and jaunty ska beat. The Hunter is the sixth studio album by American rock band Blondie, released on May 24, 1982, by Chrysalis Records. Heart of Glass", and " Maria" as well as sales of over 40 million records worldwide, they were inducted into the Rock and Roll Hall of Fame in 2006. The Hunter would not be followed up until 17 years later when Blondie reformed and released their seventh studio album No Exit.

The Hunter Gets Captured…”, while anticipating Debbie Harry’s future work as a jazz singer, rounds off the record nicely, flashing a light on its undercurrent themes of life as adventure / race / bush warfare. A curiously poetic and mysterious lyric, delivered in a dreamier side to Harry's voice, glides over the pulsating tribal drums of Clem Burke. Appreciate for the potpourri of Third World rhythms, which are handled so well; for the diversity of the music, which runs the gamut from Grace Jones-style club funk to reggae and rap; and, finally, for the literariness of Debbie Harry’s lyrics, which sketch a desolate, despoiled modern world driven by primitive passions.Little Caesar" is a strange little ditty, but I really have a soft spot for it because it's so unique and quirky. The song opens with the sound of screaming monkeys, then the synth kicks in, and finally the killer drums. However, one imitation, the lead single "Island of Lost Souls" (an attempt to recreate the global chart-topper "The Tide is High") works surprisingly well and features a memorable melody and lyrics from Harry.

It's the most underappreciated of Blondie's works, and despite the fact that much of it was forced out it's nowhere near as bad as it's made out to be. Ignore The Album Cover, The Record Rocks Ignore the idiotic album cover of Deborah Harry looking like Lassie the Collie and rescue dog. I wouldn't say it's all bad, but there's some real duds to contend with, and a decent track like "War Child" could've benefited with a better with a tighter sound. The fun, new wave, late seventies party disco vibe of their earlier albums has given way to some sort of gloom which for the most part doesn't entertain as much as it could.The implication, I suppose, is that the pursuit of pleasure and excess finally overtakes the pursuer, and that you wind up lost on a spiral staircase of sensual diversion, left with only the diversion itself to contemplate.