Not an evil at all.

Before this writer even owned any albums or regularly listened to music, there were two records that seemed to take front place in the family record collection standing out for their eye-ctaching covers. The first was 'Wings Over America', which had this fascinating looking statue on the cover which at first glance seemed quite scary. Wings were famous for featuring Denny Laine, ex of The Moddy Blues and Linda Eastman, who was one of their heirs to her families photographic film company money. There was also some other guy called Paul who came from Liverpool and may have been in a band before as well but he probably isnt in the news much these days.

The second record, and far more pertinent to this review, was 'Parallel Lines' by Blondie. The cover was an artistic classic with the black and white bars at the back being offset by the band at the front. Of course, probably the most important thing was that on the cover was quite possibly the greatest looking woman in the world ever. Even as a young boy, it was clear that Debbie Harry was something else and no matter how the years have gone bye, this is one woman who is always going to get favourable reviews, Debbie was the original girl who made a bin-bag look good such was her looks and some of her more adventurous fashion choices. As the years went by though, it was obvious that Blondie were as much about the music as their lead singer and the bands legacy is guaranteed, with even a recent comeback proving to be a major success.

None more so than the number one UK single 'Maria', which is similar in feel to the opening song on Ms. Deborah (note the maturity of the name) Harry's new album 'Necessary Evil.' 'Two Times Blue' kicks-off the album and its light electronic pop manner would be pleasurable for anyone who has been aware of her career but doesnt demand that an artist stays in the same place. 30 years on from her former bands heydey, its unreasonable to place punk and Nu-Wave expectations on her and the lead track stands up to scrutiny to any new artist performing this sort of music.

Even though she is now into her....well, lets not disclose a ladies age but there is a sexual chemistry and energy to the music of Ms. Harry. The breathing and cooing vocals coupled with the idea of the cheeky winks she would be supplying to accompany some of the lines proves that the singer hasnt lost sight of part of her appeal and charm and songs like 'Dirty And Deep' or 'Charm Alarm' purr and burn with excitement. Its aided by a nice line in strutting electronica along the way but lets face it, this album is all about the lead singer.

The voice and lyrical charm havent been lost by Deborah and the music is fine, it isn't startling but its certainly not poor and if it lacks or feels flat at times its only because its competing against an artists outstanding back catlogue. Of course the artist has the right to move on and demand their current material is appreciated on its own merits but its also inevitable that fans will hark back to the moments they'll always cherish. The name on the front of this record will earn it more attention than it would for some artists but conversely, this will result it in being judged harsher.

If you want to know why the world fell in love with Debbie Harry, go and get the Blondie records and if you still have a hunger for more, then by all means, give Deborah Harry a chance.

Blondie....Debbie....Deborah...its still okay to love the woman but theres better ways to appreciate her than this.