Blondie – Vivir en la Habana (Live from Havana, 2019) (2021)
FLAC (tracks) 24 bit/88,2 kHz | Time – 39:32 minutes | 788 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © BMG Rights Management (UK) Limited

Blondie will release Vivir En La Habana in July, an ‘official soundtrack’ to a new short film capturing the band’s 2019 live debut performance in Havana, Cuba.

The band was invited to perform as part of a cultural exchange through the Cuban Ministry of Culture. The four-day event was filmed (naturally) and the documentary is being premiered in June in the UK, at the Sheffield Doc/Fest, and in North America at the Tribeca Festival.
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Blondie – Pollinator (2017)
FLAC (tracks) 24 bit/88,2 kHz | Time – 45:40 minutes | 1,08 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © BMG Rights Management (UK) Ltd

Pollinator is the rock and roll hall of fame band Blondie’s 11th studio album. The record features special guests, Joan Jett, Sia, Charli XCX, Nick Valensi of the Strokes and many more!
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Blondie – Parallel Lines (1978/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 39:19 minutes | 1,69 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Chrysalis / EMI Records

Parallel Lines is American rock band Blondie’s third studio album, originally released in 1978. The record made it to number 1 on the UK charts and hit number 6 int he US.  Parallel Lines features hits “Heart of Glass,” “One Way or Another,” and many more!
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Blondie – Eat To The Beat (1979/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 43:09 minutes | 992 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Chrysalis Records

Just as Blondie’s second album, Plastic Letters, was a pale imitation of their self-titled debut, Eat to the Beat, their fourth album, was a secondhand version of their breakthrough third album, Parallel Lines: one step forward, half a step back. There was an attempt, on such songs as “The Hardest Part” and “Atomic,” to recreate the rock/disco fusion of the group’s one major U.S. hit, “Heart of Glass,” without similar success, and, elsewhere, the band just tried to cover too many stylistic bases. “Die Young Stay Pretty,” for example, dipped into an island sound complete with modified reggae beat (a foreshadowing of the upcoming hit “The Tide Is High”), and “Sound-a-Sleep” was a lullaby that dragged too much to be a good change of pace. The British, who had long since been converted, made Eat to the Beat another chart-topper, with three major hits, including a number one ranking for “Atomic” and almost the same success for “Dreaming,” but in the U.S., which still saw Blondie as a slightly comic one-hit wonder, the album was greeted for what it was – slick corporate rock without the tangy flavor that had made Parallel Lines such ear candy.
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