Customer Reviews

Hunter, The

5 star:		(10)
4 star:		(17)
3 star:		(10)
2 star:		(2)
1 star:		(3)

 

 

From 1979 to 1981, it could be stated that Blondie was the #1 group in the world. The success of "Parallel Lines," "Eat to the Beat," and "Autoamerican" - and their singles - offer proof.
Fans everywhere wondered what they could do to top their successes.

The result was 1982's "The Hunter," an album that did not top their 1979-81 period; in fact, the album showed with great clarity that Blondie had passed their prime.

Deborah Harry didn't want to be considered "Blondie" anymore; her 1981 solo album went far to demonstrate her intentions. But Chris Stein wanted to continue the group and "The Hunter" was the result. Harry's growing agitation with the "Blondie" image is one reason the album is mediocre; in addition, guitarist Frank Infante sued the group due to his contention that he was being kept out of group decisions. A settlement was reached, part of which was Infante's participation on "The Hunter." Also contributing to the downturn in quality on "The Hunter" was Chris Stein's early battle with a life-threatening illness that would sideline him for several years.

The album overall reflects Blondie's lack of interest in continuing as a group considering the many mediocre offerings ("Find the Right Words," "The Beast," "Little Caesar," "Dragonfly"). The group sounds downright tired on many of the tracks.

There are still classic Blondie efforts and sounds, however. "Orchid Club" is an underrated gem, and "For Your Eyes Only," a song Harry and Stein wrote for the movie of the same name (only to be rejected by the film's producers) comes closer to the spy themed movie than Sheena Easton's effort. "War Child" is full of energy and purpose, and "English Boys" is a nicely constructed, mellow song.

All in all, "The Hunter" is not a bad effort, but it was clear at the time the album was released that this was the group's swan song (until 1999's "No Exit) and the weakest of their six original albums.

In 1982 bad reviews dominated this obscure Blondie album. Blondie had a name and fame to keep up after million sellers like Parallel Lines, Eat to the beat and Autoamerican. Somehow you can hear indeed Debbie's was not on the same level like on the other Blondie albums. But did they want to sound like their former albums? Apparently not, Blondie used to do what they wanted to do: Blondie refused to re-write the rejected Bond theme: For your eyes only. This album might be recorded under pressure of a binding contract with the record company but this album contains very smart lyrical songs. Orchid club, Little Ceasar, the Hunter gets captured by the game, War child, Dragonfly and English boys are stand outs. The single Island of lost souls is t.m.o. more fun as their equal sounding #1 hit The tide is high.
This remastered version contains the extended version of War Child which is one of my favorite all time Blondie songs. Yes I am a Blondie fan and The Hunter is one of my most played Blondie cd's. Maybe that makes me a fool but I don't care: We want fun.....(for fans only)!

Listening to "The Hunter" is like reading Ray Bradbury's "The Illustrated Man." The songs are like eleven exotic short stories set against a background of lush melodies and sometimes dark, sometimes sweetly optimistic lyrics. There is a certain sadness about them all. From the hypnotic "Orchid Club" to the bittersweet "English Boys" to the sultry "The Hunter Gets Captured by the Game," the protagonists in nearly all of the songs seem lost, or at least, alone. On "Orchid," Deborah Harry muses, "Ah adventure, very near and then you vanish," and on "Island of Lost Souls," she laments, "Where did he go? I'm tired of waiting here for him."

In "For Your Eyes Only," she keeps a careful distance and warns, "Remember these intimate moments, don't forget my privacy, and on the sardonic "The Beast," she intones flatly, "Now I'm not bragging, heaven knows, I spend no more nights alone. Lucky me..."

In "War Child," she's a "lonely refugee;" in "The Hunter Gets Captured," she ruefully admits to falling in love with the man she set out to use. The reluctant girlfriend of "(Can I) Find the Right Words (to Say)" avoids her equally noncommittal lover in a dance of deception: "I'm down, can we meet? Is it true, do you cheat? How far can I go? How much do you know?"

My favorite songs are the truly innovative "Dragonfly," in which Deborah does a deadpan, play-by-play narration of an intergalactic spaceship race, and Jimmy Destri's "Danceway," which has a gorgeous melody and fantastic (as usual) drumming by Clem Burke.

The first thing I noticed about this album is that strong "beats" are featured very prominently on nearly every track. All kinds of beats - straightforward rock, synth, exotic, jungle, you name it. You'll like this if beats are important to you, as they are to me. The second thing I noticed is that overall it sounds somewhat subdued, including Debbie's vocals. Her seductive persona is still in evidence, though not as triumphantly as before. But, really - what could measure up to "Autoamerican", especially at a time when the band members were going through such serious problems? There are still some interesting sounds on here. "Dragonfly" is an excellent track, with a complex, relentless beat and a hypnotic vocal by Debbie. "The Beast" features some very good guitar work as well as some "Rapture"-like rap. Other tracks have excellent guitar work too. "English Boys" has jangly guitars that remind me of 60's folk-rock, and Debbie sings it in a strangely sweet voice that is quite appealing. "The Hunter Gets Captured By The Game" manages to have a retro R&B sound, updated for the 80's. The final track, the extended version of "War Child", goes back to Euro-disco for inspiration, sounding a little like Donna Summer's "I Feel Love" in places, while a couple of other tracks remind me of the "Parallel Lines" sound. So, although this is certainly not Blondie's most accomplished album, neither is it the failure that some claim it to be. Timing is everything, and that was a bad time for Blondie. I would say, give it a try, especially if you are a fan.

The last Blondie album of new material in the early 80's (until the band's return in the 90's), ''The Hunter'' is strange all the way. It has already been highly publicized that the band was ready to break up at this point of their carrer and personal problems were affecting the group's musical relashionship as well. The result: and album full of ordinary or even silly songs which were played with no interest, no emotion, as a simple contractual, professional thing. Even then, some tunes are remarkable. ''War Child'' is a very nice pop song, even if it's not in pair with the group's best singles. ''Island of Lost Souls'' is some kind of ''The Tide Is High - the return'', with its (pseudo)-reggae arrangement, but can be uncompromising enjoyable and even fun with its shy horn session. The best cut in the whole album, the feel-good, exuberant ''Danceway'', should have been released as a single. It would make the album sell well, but the whole collection would still be mediocre.
I own it on vynil and as the remastered CD version though. I recomment the second one for all real fans and completists, since it includes bonus tracks and fine liner notes that conclude the story of the band, told since the booklet of the self-titled debut. For all the rest, this would one to avoid if it wasn't the onlt Blondie release where you can get the real gem ''Danceway''.

the highlight of 'the hunter' is the amazing instrumentation...clem burke really shines with striking tribal beats on songs like 'orchid club' and 'war child', two of the best songs on the cd. the former ('orchid club') progresses along darkly and debbie's vocals haunt through the thick forest like beats.
'the beast' might be the darkest blondie song, ever.
'dragonfly' is strange but it grows on you.
'little caesar' is a powerful semi-ballad with really breathy vocals and intriguing horn arrangements. one of my favorites on the album!
'for your eyes only' is the would-be james bond theme that sheena e. did instead...but this one rocks right along!
'(can i) find the right words (to say)' should have been a number 1 hit. bottom line.
'island of lost souls' and 'the hunter gets captured by the game' are the singles from the album, and deservingly so...one is a reggae take while the other is jazzy and downtempo, but both are definitely worthy blondie songs!!!
the extended version of 'war child' is awesome...
overall, if you don't love this album, you're just not in touch with the darkside or you're bitter 'cuz it marked the end of an era for blondie.

The commercial failure of this album has perhaps worked to obscure what is actually a very solid work. This album is eclectic, somewhat along the lines that AUTOAMERICAN and NO EXIT are, with reggae (Island of Lost Souls) and jazz (Hunter Gets Captured by the Game) in the mix. The stand-out song is War Child--an overlooked song I think is one of Blondie's best. Here, Clem Burke on the drums really shines. The extended version of War Child is worth the price of this album alone. Experimental Dragonfly is perhaps an odd favorite of mine. This album will probably resonate more with Blondie fans than casual listeners.

At the time of this release, the Blondie band members were feeling the pressure of fame and a contract obligation for one last album and so came The Hunter. This is a strange and moody collection from a band that was mostly known for catchy "power pop". Does that mean it's a poor album? Not at all. As a matter of fact, I think the album contains some of the bands most progressive work. Orchid Club is a tribal trip with Debbie's voice noodling all over the song, English Boys is quietly sentimental and Dragonfly is a sci-fi hoot. Other songs try, but suffer by comparison to other Blondie songs, ( Island of Lost Souls and The Beast are The Tide Is High and Rapture light) but he band gives it a go. Is it Parrallel Lines? No. But should it be. The Hunter has it's own distinctive sound and proves (with the rest of the blondie catalogue) that the band was a group of skilled individuals with a flair for musical progression.

Don't get me wrong, I love this group! But this album is rather scarce in great songs. "Island Of Lost Souls" while a good song with a catchy hook, seemed to be trying to replay on the success of "The Tide Is High". In fact, almost all the songs on THE HUNTER sem to be "Tide" inspired. While I would never discourage anyone from buying a Blondie album, I would say that you should be prepared for less than the usual perfect Blondie songs. This was more the record company's album than the band's album. STILL worth owning!

My initial impressions on buying this were, "I wonder if this is as bad as it's supposed to be." It isn't - marginally.

What drags this down for me is that Debbie sounds really, really bored - and so, her singing is the same on almost every track (save "The Hunter Gets Captured . . ."). This makes the album strikingly monotonous - something you never expected to encounter on a Blondie album.

Nonetheless, a few tracks rise above this: "Orchid Club" (But do you know what "Oh-h-oh the boys' herb, vanilla, vanilla" means?), "The Beast" (not a remake of "Rapture" - this is much rock-ier, and the lyrics are pretty fun), "Island of Lost Souls" (much more fun than "The Tide is High"), "War Child" (bonus track extended version is even better!), "Danceway" - almost a return to PARALLEL LINES-esque power-pop, "Dragonfly" - I don't know why I like this (I can't even understand all the lyrics), but I do; and "English Boys," a wistful ballad (kind of) that I think would have been a better closer for the album - a graceful way to close this phase of Blondie, and "The Hunter Gets . . ." the opener since the title says it all - that is, what's happened. (It's also a good song.) The rest - however many are left - never rose above mediocrity for me. "Little Caesar," however, is singularly awful, and if you haven't listened to this album before, you needn't bother with this track.

The liner notes by Mike Chapman are also rather sad to read as we see a band that has given up on itself.

But you might find this enjoyable, in part anyway. And you can console yourself by knowing it wasn't the very end of the line.