The Hunter

Product Information

summoning the lush, exotic imagery of jungles and desert isles, with all of their virile, teeming abundance. Massively underrated album, with several tracks of sheer classic quality, accompanied by lesser ones that still have, without exception, something remarkable to offer. A curiously poetic and mysterious lyric, delivered in a dreamier side to Harry's voice, glides over the pulsating tribal drums of Clem Burke.

These remasters both included the 12'‘ extended version of War Child (incorrectly spelt “Warchild” on the 1994 release) as its only bonus track. In the liner notes to the 2001 reissue of The Hunter, producer Mike Chapman stated, "I knew that we were in a different and far less accessible artistic space. It's dark and menacing, but strangely beautiful and a glimpse into the little-known talents of bassist Nigel Harrison, who also co-wrote the similarly dark "War Child. War Child" is another highlight, (the music is stellar) and this album also contains an extended version of this song.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.

Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. For Your Eyes Only”: a cunning stylistic amalgam that could fit nicely among Parallel Lines’ reinventions of ’60s pop. Soon, you catch the tantalizing fragrance of sin and temptation: it’s there in the forbidden fruit found on “Island of Lost Souls” and “Orchid Club”; in the city hustler’s patois of “The Beast”; in the paranoid daydreams of violence that undergird “War Child”; and in the speed-freak sci-fi fantasy of “Dragonfly. Blondie were contractually bound to deliver another new studio album to Chrysalis, and no amount of legal wrangling or attempts to get out of it worked.

Producer Mike Chapman (please read the short essay written by him in the liner notes) knew this would be the last Blondie record he would ever produce. There are exceptions: Jimmy Destri’s “Danceway” is an organ-driven raver that rocks out to a rope-skipping beat, and Debbie Harry assays a sweetly backward-glancing vocal on “English Boys. This might explain the long 18-month gap between _Autoamerican_ and 1982's swansong _The Hunter_, the longest gap between any of the original six Blondie albums. Blondie implodes Blondie waited too long between Autoamerican and this album -- a year-and-a-half is several lifetimes in pop music -- and the world forgot about them. I guess part of the reason why some people think this is the worst Blondie album ever is because it's so damn serious.