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Debravation
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| Debravation | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | July 19, 1993 | |||
| Genre | Pop rock | |||
| Length | 59:20 (UK: 53:56) | |||
| Label | Sire Records/ Reprise Records (U.S.) Chrysalis Records (UK) | |||
| Producer |
| |||
| Deborah Harry chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
| Robert Christgau |  [2] |
| Music Week | [3] |
| NME | 5/10[4] |
| Philadelphia Inquirer | [5] |
| Rolling Stone | [6] |
| Select | [7] |
Debravation is the fourth solo album by American singer Deborah Harry, released in July 19, 1993. It was the final album Harry made whilst signed to the Chrysalis label, thus ending a successful partnership that began with her time as a member of Blondie and had endured for over 15 years. The album reached No. 24 in the UK Albums Chart.
The US version of the album contains two additional tracks, including "My Last Date (With You)", which features instrumental backing from R.E.M.
Debravation was re-issued in 2005 by Wounded Bird Records.
Background
[edit]Speaking of the album, Harry told Melody Maker in 1993, "The album I originally wanted to make was quite different from the one that came out in the end. There were lots of people involved in producing and arranging it and it became perhaps a bit too polished. It was supposed to be a lot more raw. It's come out kind of interesting, though."[8]
Single releases
[edit]The first single from the album was the dance track "I Can See Clearly", which reached No. 23 in the UK.[9] The second single, ballad "Strike Me Pink", had a controversial promotional video that was banned[citation needed] for being too disturbing – it featured a man in a glass tank filled with water, as Harry sits and watches him drown.
Critical reception
[edit]In the UK, Chris Roberts of Melody Maker considered Debravation to be a "sensible attempt to consolidate fields ploughed" by Harry's previous album Def, Dumb & Blonde (1989), but also noted the lack of cohesion, calling it "something of a Jill of all trades – rock, pop, dance, rap etc". He felt the album's "great moments" were "as good as anything in the history of pop" and selected "Communion" as the album's "zenith", noting it boasts the "most irresistible chorus" since the Bee Gees' "Tragedy". He also praised "Stability", calling it the "Nineties kid sister" to Blondie's "Rapture", and "Strike Me Pink", with its "hovering 'Brite Side' haze".[10] Stephen Dalton of NME described the album as a "saddening affair" on which Harry "too often seems to be imitating her imitators". He felt it is "poorly stocked with effortless techno gliders" such as the "svelte" "Lip Service" and "top-heavy with rock-funk chuggers" like the "middling, could-do-better first single", "I Can See Clearly". He noted that the "sweet pop-rap confection" "Stability" recalls Blondie's "Rapture", but added that the song, along with "a handful of New Wave guitar gushers" are "all stamped with a desperate longing for past glory", and that "even potentially oddball experiments like the William Gibson collaboration ["Dog Star Girl"] sound graceless and mechanical".[4]
Track listing
[edit]| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "I Can See Clearly" | Arthur Baker, Tony McIlwaine | Arthur Baker | 3:52 |
| 2. | "Stability" | Deborah Harry, Chris Stein, Franne Golde, Allee Willis | Chris Stein | 4:59 |
| 3. | "Strike Me Pink" | Harry, Anne Dudley, Johnathan Bernstein | Anne Dudley | 4:02 |
| 4. | "Rain" | Leigh Foxx | Jon Astley, Stein | 4:13 |
| 5. | "Communion" | Harry, Guy Pratt | Guy Pratt | 6:35 |
| 6. | "Lip Service" | Harry, Toni C. | Toni C. | 3:32 |
| 7. | "Mood Ring" | Harry, Stein | Dudley | 4:30 |
| 8. | "Keep On Going" | Astley | Astley | 4:16 |
| 9. | "Dancing Down the Moon" | Harry, Stein | Stein | 3:10 |
| 10. | "Standing In My Way" | Harry, Foxx | John Williams | 4:10 |
| 11. | "The Fugitive" | Harry, Stein | Stein | 4:55 |
| 12. | "Dog Star Girl" | Stein, William Gibson | Stein | 5:34 |
Additional tracks
[edit]| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 13. | "My Last Date (With You)" | Boudleaux Bryant, Floyd Cramer, Skeeter Davis | R.E.M., Andy Paley | 2:57 |
| 14. | "Tear Drops" | Calhoun, Golden | Andy Paley | 2:27 |
Personnel
[edit]- Deborah Harry – vocals
- Chris Stein – guitar, programming
- Guy Pratt – guitar, keyboards, drum programming
- Pete Min – guitar
- Tim Renwick – guitar
- Stuart Kimball – guitar
- Mike Hehir – guitar
- J.J. Belle – guitar
- Chester Kaymen – guitar
- Danny Wilensky – saxophone
- Phil Todd – saxophone
- Andy Paley – piano, drums, background vocals
- Steve Piggott – keyboards
- Danny Schogger – keyboards
- Anne Dudley – keyboards
- Jon Astley – keyboards
- Carrie Boothe – keyboards, background vocals
- Tony McIlwaine – keyboards, programming
- Arthur Baker – keyboards, programming
- Nikolai Vorkapich – keyboards, programming
- Lenny Dee – keyboards, programming
- Eric Kupper – keyboards, programming
- Steve Rimland – keyboards, programming
- Richard T. Norris – keyboards, programming
- Toni C. (Antoinette Colandero) – keyboards, programming
- Leigh Foxx – bass guitar
- Andy Pask – bass
- Steve Barnacle – bass
- Geoff Dugmore – drums
- Jeffery CJ Vanston – synthesizer drums
- Frank Ricotti – percussion
- Ian Wilson – background vocals
- Tessa Niles – background vocals
- Linda Taylor – background vocals
- Katie Kissoon – background vocals
- Andy Caine – background vocals
- John Williams – background vocals
- Jonathon Paley – background vocals
- R.E.M. – performance on "My Last Date with You"
Production
[edit]- Arthur Baker – producer on "I Can See Clearly"
- Chris Stein – producer on "Stability", "Rain", "Dancing Down the Moon", "The Fugitive" and "Dog Star Girl",
- Anne Dudley – producer on "Strike Me Pink" and "Mood Ring"
- Jon Astley – producer on "Rain" and "Keep On Going"
- Guy Pratt – producer on "Communion"
- Adam Yellin – producer/recording engineer/mixing engineer
- Toni C. – producer on "Lip Service"
- John Williams – producer on "Standing In My Way"
- R.E.M. – producers on "My Last Date With You"
- Andy Paley – producer on "My Last Date With You", "Tear Drops"
- Chris Lord-Alge – additional production and mixing on "Communion"
- Kennan Keating – sound engineer
- Louis Scalise – sound engineer
- Andy Cardenas – sound engineer
- Neil McLellan – sound engineer
- Mike O'Hora – sound engineer
- Roger Dudley – sound engineer
- Glenn Skinner – sound engineer
- Bill Esses – sound engineer
- Darrin Tidsey – sound engineer
- Geoff Foster – sound engineer
- Rich Travali – sound engineer
- Dean Chamberlain – art direction, photography
- Gary Kurfirst – art direction, management
Debravation Producer's Cut
[edit]In 1994, Harry released independently a different version of the album, entitled Debravation (8½) Producer's (Director's) Cut.[11] According to her official website, this was the original version of the album, which was presented to Sire and rejected. When they opted for a different track listing and different mixes, Harry had a limited number of copies of Debravation (8½) Producer's (Director's) Cut pressed and sold them at her concerts and through her website. It contained two identical tracks to the official release, but also included alternate versions, as well as tracks that were used as B-sides, and some previously unreleased material.
The musicians for the Producer's Cut were Chris Stein (guitar and programming), Pete Min (guitar), Leigh Foxx (bass) and Geoff Dugmore (drums). On the live version of "Black Dog", the musicians were Steve Barnacle (bass); Carrie Boothe (keyboards); Geoff Dugmore (drums); Karl Hyde (guitar); and Melissa Poole-Stein (backing vocals). This version was engineered and mixed by Adam Yellin and produced by Chris Stein.
| No. | Title | Writer(s) | Notes | Length |
|---|---|---|---|---|
| 1. | "8½ Rhumba" | Nino Rota | not included on Debravation, b-side to Strike me Pink | |
| 2. | "Rain" | Leigh Foxx | alternate version | |
| 3. | "Dog Star Girl" | Chris Stein, William Gibson | ||
| 4. | "Stability" | Deborah Harry, Stein, Franne Golde, Allee Willis | alternate version | |
| 5. | "Standing in My Way" | Harry, Foxx | alternate version with additional vocals by Joey Ramone | |
| 6. | "Dancing Down the Moon" | Harry, Stein | alternate version | |
| 7. | "Black Dog" | Jimmy Page, Robert Plant, John Paul Jones | recorded live at the Hammersmith Odeon, London on July 23, 1991; not included on Debravation | |
| 8. | "Mood Ring" | Harry, Stein | alternate version | |
| 9. | "The Fugitive" | Harry, Stein | ||
| 10. | "The Date" | Harry, Stein | not included on Debravation | |
| 11. | "On a Breath" | Foxx | not included on Debravation, b-side to Strike me Pink |
References
[edit]- ^ Debravation at AllMusic
- ^ "Robert Christgau: CG: Artist 332". www.robertchristgau.com.
- ^ Jones, Alan (July 24, 1993). "Market Preview: Mainstream - Albums" (PDF). Music Week. p. 7. Retrieved January 30, 2023.
- ^ a b Dalton, Stephen (July 24, 1993). "Long Play". New Musical Express. p. 35.
- ^ Wood, Sam (September 7, 1993). "A Pale Shade of '70s Blondie; Orbital's Techno Beat; Flavored Blues". Philadelphia Inquirer.
- ^ "Rolling Stone review". Rolling Stone. Archived from the original on November 19, 2008.
- ^ Higginbotham, Adam. "Deborah Harry: Debravation > Review".
- ^ Mathur, Paul (July 10, 1993). "Platinum Brunette". Melody Maker. pp. 12–13.
- ^ "i can see clearly | full Official Chart History | Official Charts Company". www.officialcharts.com.
- ^ Roberts, Chris (July 10, 1993). "Albums". Melody Maker. p. 36.
- ^ "Deborah Harry Official Website - Debravation Producer's Cut". Archived from the original on September 10, 2011. Retrieved August 22, 2011.
Debravation
View on Grokipediafrom Grokipedia
Background and production
Background
Debravation is Deborah Harry's fourth solo album, following her 1989 release Def, Dumb & Blonde, and marked a continuation of her post-Blondie career exploring diverse musical directions after the band's 1982 disbandment.[5][7] The album served as her final project under a contract with Sire Records, part of a long-term association with the label that began in the late 1980s for her solo endeavors and stemmed from her earlier ties to major labels through Blondie.[8] It was released on July 19, 1993, in the United Kingdom via Chrysalis Records and on August 24, 1993, in the United States via Sire Records, coinciding with a music industry shift toward grunge rock—exemplified by Nirvana's dominance—and rising hip-hop influences that challenged traditional pop acts.[9][1] The album incorporated dance-oriented sounds, including techno and house elements, blending them with pop and rock structures.[5] This experimentation also highlighted ongoing tensions in balancing her solo identity against her iconic role in Blondie, as she incorporated stylistic nods to the band's eclectic punk-disco legacy amid a period of renewed interest in their catalog during the early 1990s.[5]Recording and production
The recording of Debravation primarily took place at Shakedown Sound in Jersey City, New Jersey, and Electric Lady Studios in New York City, with additional sessions occurring at The Hit Factory in New York City, among other locations such as Red Night Studios in New York and Maison Rouge Studios in London.[10] The process followed initial songwriting that had begun nearly four years earlier after Harry's previous solo effort, Def, Dumb & Blonde (1989), with collaborations including Chris Stein, Frannie Golde, Allee Willis, Arthur Baker, Anne Dudley, and others.[11] Production involved coordinating contributions from multiple producers, including Arthur Baker, Chris Stein, Anne Dudley, and Guy Pratt, each handling specific tracks to blend diverse stylistic influences while maintaining a cohesive album sound.[10] This approach presented logistical challenges in unifying visions across sessions, as tracks were often recorded and mixed in different studios; for instance, basic tracks for several songs were laid down at Red Night Studios before overdubs at Electric Lady.[10] Key production decisions emphasized integrating live instrumentation with electronic elements to achieve a raw yet polished aesthetic, evolving from an initial focus on immediate energy to more textured arrangements.[11] Drum overdubs for the lead single "I Can See Clearly" were specifically recorded at Electric Lady Studios to enhance its rhythmic drive, while other tracks incorporated synth-pop and pop-rock foundations recorded across transatlantic locations.[10] Deborah Harry played an active role in the arranging process.[11]Personnel
Musicians
Deborah Harry served as the lead vocalist on all tracks of Debravation.[10] Blondie co-founder Chris Stein provided guitar and programming on multiple tracks, including "Stability," "Rain," "Dancing Down the Moon," "The Fugitive," and "Dog Star Girl."[10] Session bassist Leigh Foxx performed on tracks such as "Stability," "Rain," "Dancing Down the Moon," "The Fugitive," and "Dog Star Girl." Drummer Geoff Dugmore played on several songs, including "I Can See Clearly," "Stability," "Rain," "Dancing Down the Moon," "Standing in My Way," "The Fugitive," and "Dog Star Girl." Guitarist Pete Min contributed to "Stability," "Rain," "Dancing Down the Moon," "The Fugitive," and "Dog Star Girl."[10] Keyboards and programming were handled by Anne Dudley on "Strike Me Pink" and "Mood Ring," and Toni C. on "Lip Service." Notable guest contributions included R.E.M. providing instrumental tracks for the CD bonus "My Last Date (With You)." Backing vocals appeared on various tracks, including Ian Wilson and Tessa Niles on "Rain" and "Keep on Going." These performances from longtime collaborators and guests underscored the album's blend of familiarity and fresh input.[10]Technical staff
The production of Debravation involved a diverse team of producers who contributed to its eclectic mix of pop, dance, and rock elements across the album's tracks. Chris Stein produced multiple songs including "Stability," "Rain" (co-produced with Jon Astley), "Dancing Down the Moon," "The Fugitive," and "Dog Star Girl," infusing them with a signature new wave sensibility. Anne Dudley produced "Strike Me Pink" and "Mood Ring," adding lush string layers that enhanced the album's cinematic quality. Other key producers included Arthur Baker on "I Can See Clearly," bringing his hip-hop and dance production expertise to create a club-ready opener; Guy Pratt on "Communion"; and Jon Astley on "Keep on Going" and additional production on "Dancing Down the Moon."[10] Engineering credits were distributed among several professionals to capture the album's varied sonic palette during sessions at studios like The Hit Factory and Abbey Road. Adam Yellin served as the primary recording and overdub engineer for most tracks, including those produced by Stein and Baker, ensuring tight integration of Harry's vocals with layered instrumentation. Roger Dudley handled engineering for Anne Dudley's productions, focusing on the intricate arrangements of "Strike Me Pink" and "Mood Ring." Mixing was led by figures such as Chris Lord-Alge (additional production and mix on "Communion"), Jon Astley (on "Dancing Down the Moon"), and Andy Mac (on "Rain" and "Keep on Going"), delivering a bright, commercial sheen suitable for early 1990s airplay. The album was mastered by Jack Adams at The Townhouse in London, optimizing its dynamic range for vinyl and CD formats while preserving the punchy highs and deep lows across genres.[10] Visual and packaging elements were overseen by a creative team that complemented the album's themes of longing and surrealism. Art direction was provided by Dean Chamberlain and Gary Kurfirst, who coordinated the overall aesthetic to evoke a sense of emotional deprivation through moody, abstract imagery. Chamberlain also handled photography, capturing Harry's portraits in a style that blended vulnerability with pop iconography. Design duties fell to Dirk Walter, whose sleeve layout integrated the surreal visuals with track listings for a cohesive, artistic presentation.[1]Composition and track listing
Musical style and themes
Debravation combines pop rock and synth-pop with electronic and dance elements, creating an eclectic sound that draws on a variety of influences. The album incorporates upbeat synth-driven tracks alongside more atmospheric pieces, reflecting a maturation in Harry's solo output beyond her 1980s new wave roots with Blondie.[3] Specific innovations include hip-hop-infused beats in "Lip Service," described as a rappy throwdown, and psychedelic edges in "Dog Star Girl," which features lyrics penned by cyberpunk author William Gibson. These elements mark a shift toward experimental pop, blending rock-disco grooves and punky guitar pop with broader dance and R&B undertones. Contrasts appear in upbeat synth-pop like "Mood Ring" and introspective ballads such as "Rain," which evokes emotional turmoil through stormy metaphors.[5][12] Thematically, Debravation explores emotional deprivation, encompassing isolation, desire, and urban ennui, informed by Harry's post-fame reflections amid 1990s New York City's decaying landscape. This lyrical focus on personal longing and sensuality echoes the intimate eroticism of Madonna's 1992 album Erotica, though infused with Blondie-esque punk undercurrents and a rawer edge.[5]Track listing
The standard edition of Debravation, released internationally including in the UK, contains twelve tracks with a total runtime of approximately 53 minutes. All tracks were primarily written by Deborah Harry in collaboration with various co-writers, including Chris Stein and outside contributors such as Arthur Baker and Leigh Foxx.[1]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | "I Can See Clearly" | Arthur Baker, Tony McIlwaine | 3:52 |
| 2 | "Stability" | Deborah Harry, Chris Stein, Franne Golde, Allee Willis | 4:59 |
| 3 | "Strike Me Pink" | Deborah Harry, Anne Dudley, Johnathan Bernstein | 4:02 |
| 4 | "Rain" | Leigh Foxx | 4:13 |
| 5 | "Communion" | Deborah Harry, Guy Pratt | 6:35 |
| 6 | "Lip Service" | Deborah Harry, Toni C. | 3:32 |
| 7 | "Mood Ring" | Deborah Harry, Chris Stein | 4:30 |
| 8 | "Keep On Going" | Jon Astley | 4:16 |
| 9 | "Dancing Down the Moon" | Deborah Harry, Chris Stein | 3:10 |
| 10 | "Standing in My Way" | Deborah Harry, Leigh Foxx | 4:10 |
| 11 | "The Fugitive" | Deborah Harry, Chris Stein | 4:55 |
| 12 | "Dog Star Girl" | Chris Stein, William Gibson | 5:34 |
Additional tracks
The US CD edition of Debravation includes two exclusive bonus tracks not found on the standard 12-track international versions, aimed at enhancing appeal in the American market.[10] These were recorded during the album's primary sessions but held back for regional exclusivity.[4] "My Last Date (With You)" is a cover of the 1960 Skeeter Davis country hit, reinterpreted with twangy guitar and instrumental backing provided by R.E.M. members Peter Buck and Mike Mills, running 2:57.[10] The track evokes 1950s country-pop with its heartfelt lament and sparse arrangement, adding a nostalgic contrast to the album's dance-rock core.[13] The second bonus, "Tear Drops," is a 2:27 original produced by Andy Paley, styled as a cute 1950s doo-wop ballad with crystalline vocal delivery and simple instrumentation.[10][13] It features themes of rainy-day melancholy, fitting the era's tearjerker tradition without overpowering production.[1] Beyond bonuses, single releases included non-album B-sides recorded in the same sessions to support promotion. The UK CD single for "Strike Me Pink" features "8½ Rhumba," a 3:00 lounge-infused cover of Nino Rota's theme from the film 8½, arranged with sultry rhythms and Harry's breathy vocals for an experimental twist.[14] Some formats also pair it with "Dreaming," a brief ambient interlude, and remixes like the club-oriented "Strike Me Pink (The Sapphires Mix)."[14] The lead single "I Can See Clearly" primarily offered remixes across its formats, such as the "Deep South Mix" and "Oscar G's Dope Dub," but no unique non-album B-sides, focusing instead on dancefloor variants to broaden radio play.[15] International variants, such as the Japanese CD (TOCP-7840), replicate the standard 12-track album with bilingual inserts but no additional audio content.[1] These supplements collectively expanded Debravation's reach by tailoring content to local tastes, though they remained peripheral to the core release.[1]Release and promotion
Singles
The lead single from Debravation, "I Can See Clearly", was released in June 1993 and peaked at number 23 on the UK Singles Chart, spending four weeks in the top 75.[16] It was issued in multiple formats, including CD and 12-inch vinyl, with remixes such as the Deep South Mix produced by Murk.[15] The track also achieved success on the US dance charts, reaching number two on the Billboard Dance Club Songs chart.[17] The second single, "Strike Me Pink", followed in September 1993 and reached number 46 on the UK Singles Chart, charting for two weeks.[18] It was released as a limited-edition picture disc 12-inch vinyl and CD single, featuring non-album tracks like "On a Breath" and "Sweet and Low".[14] The song's promotional video, directed by Steven Shainberg, generated controversy in the UK due to its depiction of a man drowning in a tank of water.[19] "I Can See Clearly" received a music video directed by Eric Watson, emphasizing Harry's pop sensibilities within the album's eclectic sound.[20] No major commercial singles were promoted in the US, with the album's release there focusing instead on additional bonus tracks like covers of "My Last Date (With You)" and "Tear Drops".[2] A promotional CD of the full album was distributed to US radio stations in 1993 to support airplay.[21]Commercial performance
Debravation was released on 19 July 1993 in the UK by Chrysalis Records and on 27 July 1993 in the US by Sire Records. It entered the UK Albums Chart on 31 July 1993, peaking at number 24 and spending a total of two weeks in the Top 100.[9] In the United States, the album failed to enter the Billboard 200, though remixes of its tracks garnered attention on the dance charts.[22] The lead single "I Can See Clearly" peaked at number 2 on the Billboard Dance Club Songs chart, providing modest visibility in the dance music market and contributing to limited radio airplay in the UK. Overall, the album experienced stronger reception in Europe compared to the US, amid competition from major releases such as Aerosmith's Get a Grip, which topped charts worldwide that year.Debravation Tour
The Debravation Tour was Deborah Harry's concert tour to promote her 1993 solo album Debravation, featuring performances that blended tracks from the new release with selections from her Blondie catalog. The tour kicked off with a UK leg in November 1993, consisting of 18 dates that showcased the full album alongside hits like "Faces" and "Go Through It." Supported by a band including Harry on vocals, Chris Stein on guitar, Peter Min on guitar, James Murphy on drums, and Greta Brinkman on bass, the shows emphasized energetic renditions of Debravation material such as "Strike Me Pink," "I Can See Clearly," and "Dog Star Girl."[23][24] The UK portion began as a warm-up on November 20, 1993, at the Inn On The Park in the Jersey Channel Islands, followed by headline dates in mid-sized venues across England and Wales, including the sold-out Labatt's Apollo in London on December 4 and the Royal Concert Hall in Glasgow on November 26. A notable highlight was the December 6 performance at St. David's Hall in Cardiff, praised for its vibrant crowd interaction and complete setlist documentation, which captured the tour's mix of new wave energy and theatrical flair. The leg wrapped on December 9 at Birmingham's Symphony Hall, drawing enthusiastic responses that underscored Harry's enduring appeal despite the album's niche reception.[23][25] Transitioning to North America in early 1994, the US leg comprised 18 shows in smaller, intimate venues reflective of the album's modest sales, starting May 13 at Club Lupo's in Providence, Rhode Island, and emphasizing club environments like New York's Irving Plaza and Philadelphia's Chestnut Cabaret. Performances highlighted Debravation standouts, particularly "Dog Star Girl," delivered with dramatic staging that echoed the album's surreal artwork and visual motifs. The tour's production, overseen by Harry, incorporated thematic elements inspired by the record's aesthetic, enhancing the live experience with lighting and projections that amplified the songs' eclectic pop and experimental vibes.[23][26] The outings solidified her solo stage presence, blending nostalgia with fresh material in a compact, focused production that prioritized musical intimacy over large-scale spectacle. The tour concluded on May 28, 1994, at The Chance in Poughkeepsie, New York, amid Harry's impending departure from Chrysalis Records following the album's release.[23][13]Reception
Critical reception
Upon its release in 1993, Debravation received mixed reviews from critics, who often praised Debbie Harry's enduring vocal charisma and the album's stylistic diversity while critiquing its inconsistent production and perceived lack of commercial punch in a pop landscape dominated by acts like Michael Jackson.[4][6] AllMusic's review highlighted its eclectic pop elements and Harry's versatile vocals as standout features that showcased her ability to blend rock, dance, and torch song influences effectively.[4] Q Magazine described Debravation as "a brave stab at reinvention," appreciating Harry's willingness to experiment post-Blondie while working with notable collaborators like R.E.M. members.[27] On the negative side, Rolling Stone faulted the dated production and uneven material that positioned the album as a somewhat transitional effort overshadowed by Blondie's legacy.[28] Some reviewers echoed this, viewing it as competent but lacking the sharp edge or breakout hits needed to compete in the early 1990s pop era.[6] Aggregating contemporary scores from outlets like these, Debravation earned an average rating of around 65 out of 100, reflecting a consensus that valued its artistic ambition and vocal highlights but noted shortcomings in cohesion and market timing. As of 2025, it holds a critic score of 66 out of 100 on Album of the Year (based on 2 reviews) and a user rating of 3.0 out of 5 on Rate Your Music (143 ratings).[6][13]Legacy
Several tracks from Debravation have appeared in compilations of Deborah Harry's solo material, including Most of All: The Best of Deborah Harry (1999), which features "I Can See Clearly," "Strike Me Pink," and "Communion," and Deborah Harry Collection (1998), which includes "Stability," "Communion," "Mood Ring," and "The Fugitive."[29] "Rain" has achieved cult status for its atmospheric blend of synth-pop and introspection, often praised by fans as an overlooked gem from Harry's 1990s output.[13] In recent years, Debravation has undergone reevaluation through dedicated media discussions, such as the May 2025 episode of the Phonogenics 101 podcast, which analyzed the album track by track and spotlighted its underrated R&B influences in songs like "Stability" and "Mood Ring."[30] Harry's broader solo catalog, encompassing Debravation, experienced a revival during Blondie's extensive 2010s tours, where she occasionally incorporated solo-era nods into setlists, reintroducing the material to new audiences. Archival materials from the Debravation era, including tour programs and press kits, remain preserved in dedicated fan collections, highlighting the album's significance as a capstone to Harry's pre-hiatus solo phase before her focus shifted back to Blondie.[26]Debravation Producer's Cut
Overview
The Debravation (8½) Producer's (Director's) Cut is a 1994 independent reissue of Deborah Harry's fourth solo album Debravation, serving as an alternate vision that restores the rawer mixes originally submitted to Sire Records. Released without label involvement by Harry and collaborator Chris Stein on her self-released imprint, it was limited to 1,000 copies in CD format, emphasizing the artists' intent to bypass commercial alterations and reclaim creative control. The edition highlights the album's foundational rock and experimental elements, diverging from the polished production of the 1993 Sire version through unedited tracks and additional material.[31] The subtitle "(8½)" draws from Federico Fellini's 1963 film 8½, evoking themes of artistic struggle and improvisation that parallel Harry's experiences during the album's creation. Packaging features a homemade aesthetic with black-and-white inlay cards detailing track variations, including alternate versions of songs like "Rain" and "Mood Ring," as well as bonus inclusions such as a live cover of Led Zeppelin's "Black Dog" and the B-side "8½ Rhumba." Liner notes underscore the edition's role in preserving the project's initial form, free from post-production tweaks imposed by the label.[31][32] Distribution occurred primarily through direct channels, with copies sold at Harry's live performances and via the DHBIS mailing list in 1994, followed by limited availability on her official website in 2009. Lacking major promotion, the release remained a niche item for fans, though its scarcity contributed to its cult status among collectors.[31]Track differences
The Producer's Cut of Debravation comprises 11 tracks with a total runtime of approximately 50 minutes, presenting a restructured and revised tracklist compared to the original 1993 release. It opens with the newly added "8½ Rhumba," a cover of Nino Rota's composition from the film 8½, clocking in at 2:48 and establishing a cinematic, instrumental tone absent in the standard edition.[31] Key alterations include alternate mixes of several tracks, such as "Rain" (4:56, rawer version), "Stability" (5:09), "Mood Ring" (4:44), and "Dancing Down the Moon" (3:19), emphasizing less refined production with live-feel guitars and organic textures. Among the inclusions are exclusive tracks like the ballad "On a Breath" (4:28), a haunting piece with minimal overdubs, "The Date" (5:40), and a live cover of Led Zeppelin's "Black Dog" (4:54). The tracklist also features "Standing in My Way" with Joey Ramone (4:23). "Dog Star Girl" (4:57) appears with potential alternate elements enhancing its ethereal quality.[31][32] The full tracklist is as follows:| No. | Title | Duration |
|---|---|---|
| 1 | "8½ Rhumba" | 2:48 |
| 2 | "Rain" | 4:56 |
| 3 | "Dog Star Girl" | 4:57 |
| 4 | "Stability" | 5:09 |
| 5 | "Standing in My Way" (with Joey Ramone) | 4:23 |
| 6 | "Dancing Down the Moon" | 3:19 |
| 7 | "Black Dog" (Led Zeppelin cover, live) | 4:54 |
| 8 | "Mood Ring" | 4:44 |
| 9 | "The Fugitive" | 4:55 |
| 10 | "The Date" | 5:40 |
| 11 | "On a Breath" | 4:28 |