I Want That Man - Wikipedia
About half an hour before I'm due to meet Debbie Harry, I discover that it's of Girls, the first single from which, Mother, has just been released. like this, more than a decade after the demise of their relationship, is perhaps unsurprising. All she needed was a big man's shirt and that steely, punk-y aura. Debbie Harry and Blondie on the cover of Rolling Stone. As Debbie warns in the band's new single: “One way or another, I'm gonna find ya/I'm gonna getcha, getcha, getcha, . Even those in their inner circle say they don't really understand the relationship. In person, she looks like none of them. "I Want That Man" is a song recorded by the American singer Deborah Harry. The song was released as the lead single from her third solo album, Def.
The band continued to tour on an almost-annual basis for the next several years and continued to record, releasing the albums The Curse of BlondiePanic of GirlsGhosts of Downloadand Pollinatorwhich debuted at 4 in the UK. Harry performing with Blondie in Harry also released her fifth solo album in During this time, she delineated the different personae Blondie the band, her role in the band, and Deborah Harry the singer to an interviewer who asked why she played only solo music on the True Colors Tour: I really want to make a clear definition between Debbie's solo projects and Blondie, and I hope that the audience can appreciate that and also appreciate this other material.
She began her solo career in with KooKoo. The album's cover art was controversial, and many stores refused to stock it.
Giger who also created the album's front cover featuring Harry's face with metal skewers through it.
After Blondie split up inHarry's solo output slowed down as she cared for ailing partner Chris Stein. She released the single "Rush Rush" in produced by Giorgio Moroder and taken from the film Scarfacebut it was commercially unsuccessful. A new single, "Feel The Spin" taken from the film Krush Groovewas released as a limited 12" single inbut it also was unsuccessful.
InHarry released her second solo album, called Rockbirdwhich peaked at 97 in the US, and 31 in the UK  where it has been certified gold forsales by the BPI. It was their first collaboration since the Blondie album The Hunter.
Her next solo venture was the album Def, Dumb and Blonde in At this point Harry reverted from "Debbie" to "Deborah" as her professional name. The success of the single propelled the album to 12 on the UK chart,  where it earned a silver disc. However, with little promotion from her record company in the US, it peaked at She followed this up with the ballad " Brite Side " and the club hit " Sweet and Low ". The collection reached 3 in the UK album chart  and earned a gold disc.
Harry's fourth solo album, Debravationappeared in July This was followed by " Strike Me Pink " in September. Controversy surrounded the latter track's promotional video, which featured a man drowning in a water tank, resulting in its being banned.
US editions of the album feature two additional tracks recorded with prerecorded music by R. The set list of the Debravation Tour featured an offbeat selection of Harry material including the previously unreleased track Close Your Eyes from and Ordinary Bummer from the Stein-produced Iggy Pop album Zombie Birdhousea track that, under the moniker Adolph's Dog, Blondie covered in Tentative plans to record these shows and release them as a live double CD never came to fruition.
However, a cover of the Rolling Stones ' " Wild Horses " exists as a bootleg. In earlyHarry took the Debravation tour to the US. Once Blondie reconvened in the late s, it was several years before Harry resumed her solo career. Working with production duo Super Buddha who produced the remix of Blondie's " In the Flesh " for the Sound and Vision compilationthe first music to surface in was a hip-hop track titled "Dirty and Deep" in which she spoke out against rapper Lil' Kim 's incarceration.
On June 6,an iTunes downloadable version was released via her official website. Harry performed Two Times Blue on various talk shows to promote the album.
She also started a date US tour on November 8, lasting until December 9, playing small venues and clubs across the country.
Debbie Harry - Wikipedia
While recording her fourth album inHarry collaborated with German post-punk band Die Haut on the track "Don't Cross My Mind" and released the song " Prelude to a Kiss " on the soundtrack to the film of the same name.
She also released a cover of " Summertime Blues " from the soundtrack to the film That Night in Australia.
Andy Warhol featured her in silk-screen portraits she still has one, though she confesses she has recently been tempted to sell itand every few years her look emerges yet again on the catwalks. She is flattered, but points out that her look was itself cobbled together from comic books and Hollywood films, mixed in with English punk influences and later the strong lines of the New York-based designer Stephen Sprouse.
In the mids Harry took a lengthy break from music while Stein battled with illness, and the Material Girl took a similar blend of pop and New York-street attitude, and became a global superstar. She really went to showbiz.
And she did very well. It has both good and bad sides, she goes on, shrugging — refusing to be drawn into criticising younger artists. It is healthy that they are far more business-savvy, she points out. Although Blondie have sold more than 40 million records over the course of their career, they were never massively rich.
I Want That Man
She likens their management team at the peak of their success to absentee landlords. We were innocent at the time but the contracts held, so that was really decisive. For some of our biggest years we were getting a very low percentage, which is unheard of nowadays.
But I still love working with Chris. During our conversation Harry confesses to watching The X Factor as a guilty pleasure — although she says it is not as good now that the judges are all so positive. But some of the bitter, darker humour was appealing to me! Harry was breathtakingly beautiful when she found fame, in her thirties, and she still has the same bone structure, the same features. She is just older. When we meet, her long blond hair is dry and frizzy, pushed under a beanie hat, and she is dressed casually in a baggy T-shirt, leggings and legwarmers.
Later, on-stage, the hair is straight and shiny, and she wears a well-fitted dress.
There was a time, she says, when older women were expected to disappear into drab floral tents. She was never going to do that, but she does sometimes struggle with stage clothes.