Blondie released this song again for their compilation album Greatest Hits Deluxe Redux in 2014. A different rendition can also be found on The Complete Picture from 1991 UK video compilation.
Giorgio Moroder composed the music for this scene – a hard-pulsing disco-rock sound he could easily have produced when working with Donna Summer. He offered this composition to Stevie Nicks but her label refused to permit its inclusion in her performance.
Blondie first shot to stardom with their #1 hit “Heart Of Glass,” but were then stuck at #23, #25, and eventually #29. To gain the momentum back they needed an assist from someone like Giorgio Moroder; European disco producer who co-wrote this track with Debbie Harry after initially approaching Fleetwood Mac vocalist Stevie Nicks but she had an exclusive contract preventing any outside collaborations at that time.
At the time, Blondie was an influential New York City band leading the charge in American punk and new wave in the mid-seventies. Even though they hung with urban night life crowds and occasionally donned leather jackets, musically they never considered themselves punk. Their core members included guitarist Chris Stein, bassist Deborah Harry and drummer Clem Burke.
Blondie decided to try something different after their US chart-topping single, “Heart Of Glass”, had become such a success. Producer Giorgio Moroder had proven his expertise with previous works that were widely popular throughout Europe – the perfect person to turn Blondie songs into chart toppers!
Moroder had prepared a basic instrumental track, and asked Harry and the band to provide lyrics and melody; this process took just an hour or two. Additionally, they recorded it both in English (“Amore, Chiamami”) and French (“Appelle-moi mon Cheri”).
Blondie achieved unprecedented success with this song: it spent six weeks at #1 in the United States that spring, as well as reaching #1 in eight other countries around the world. Furthermore, its presence remained on charts for over one year – remaining its longest-running #1 single in Billboard Hot 100 history to this day.
Harold Faltermeyer recalls the studio sessions for this album were somewhat chaotic. They recorded in Los Angeles at Westlake Recording Studios and used SMPTE timecode synchronisation in order to match up with the movie soundtrack.
Blondie made their debut, Eat to the Beat, by providing poised rock ‘n’ roll anthems which showcased Debbie Harry’s powerful vocal range. Plastic Letters saw them merge the garage rock style of their punk roots with more pop production, exploring radio rock and tabloid titles (“Youth Nabbed as Sniper,” “Contact in Red Square”). Parallel Lines is a lively romp – an inventive compilation of 20 diverse ideas brought together into an exuberant cacophony of sound. Messy yet delicious: this song blends multilingual bridges, boogie riffs and shout-out backing vocals into an exciting mix that initially threatens to overpower it all – until Harry shows her wicked delight at hearing about her lover’s alibi! After seeing Harry go nuts over it all it’s impossible not to join in!
Call Me by Blondie is one of the enduring hits from their disco period that topped American charts for six weeks during its final days as pop culture, at the tail end of disco’s retirement from cultural consciousness. Call Me has become an intoxicating dance number that explores new wave and techno sounds while keeping their signature rock sound intact.
Giorgio Moroder – also known as the Italian Disco King – wrote the song with Blondie lead singer Debbie Harry and offered for Fleetwood Mac’s Stevie Nicks to join her, however contractual obligations prevented her from doing so.
Blondie’s iconic sound, featuring classic funk bass and three synth bells, and one of the first instances where they used rap was showcased here. While only used sparingly as an alternate voice to Harry’s repeated “oohs and aahs,” its use added an air of menacing urgency that enhanced this song even further.
Call Me is one of the more danceable tracks on Blondie’s debut record, yet also proves itself as a rocking song with its great guitar riff and bassline. This track illustrates just how versatile Blondie could be as an act; they were more than just punk-influenced girl-group.
Blondie’s most beloved hit “Call Me” reached the Top 10 charts in both the United States and United Kingdom during spring 1997; spending six weeks at #1. Additionally, this song made Top 20 lists in Australia, Canada, and several other countries.
Giorgio Moroder was responsible for crafting this music, which was first recorded in New York before moving to Los Angeles for finishing. Stevie Nicks originally declined due to contract obligations but later asked Harry for lyrics and melodies which became “Man Machine.”
A bridge in the song subtly references Kay’s speaking skills by employing translations of its title from English into Italian (“chaimami”) and French (“appelle moi”). A full eight-minute version can be found on the American Gigolo soundtrack; however, it does not feature on any of Blondie’s greatest hits albums.
Blondie recorded it again for their Greatest Hits Deluxe Redux compilation album and it charted for five weeks, one of their last songs to appear on the Billboard Hot 100 before their breakup for several years.
Blondie’s debut single “Call Me” became their biggest hit upon its initial release and reached No.1 on US pop charts for six consecutive weeks; additionally it also topped UK chart and charted top-20 worldwide. Giorgio Moroder (a frequent collaborator with Donna Summer during her disco heyday) composed and wrote lyrics and music for this track; Stevie Nicks of Fleetwood Mac was initially offered vocal duties but declined due to contractual commitments. Harry’s clever bridge makes reference to Gere’s character Kay speaking multiple languages by starting off by singing in Italian (“chaimami”) and French (“appelle moi”). Blondie recorded an 8-minute version of Call Me for American Gigolo’s soundtrack album while the radio edit (found on CD versions of Call Me) is only 3 minutes and 33 seconds long.