Hubbry Logo
KooKooKooKooMain
Open search
KooKoo
Community hub
KooKoo
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
KooKoo
KooKoo
KooKoo
View on Wikipedia
from Wikipedia

KooKoo
Studio album by
Debbie Harry
ReleasedJuly 27, 1981
Recorded1981
StudioPower Station, New York City
Genre
Length42:27
LabelChrysalis
Producer
Debbie Harry chronology
KooKoo
(1981) 		Rockbird
(1986)
Blondie chronology
Autoamerican
(1980) 		The Hunter
(1982)
Singles from KooKoo
  1. "Backfired"
    Released: July 1981
  2. "The Jam Was Moving"
    Released: 1981

KooKoo is the debut solo album by American singer Debbie Harry, released on July 27, 1981, by Chrysalis Records. Produced by Nile Rodgers and Bernard Edwards of Chic, the album was recorded whilst Harry took a break from her band Blondie. It was a moderate commercial success, reaching number 25 on the US Billboard 200 and number six on the UK Albums Chart.

Background

[edit]

KooKoo was recorded while Harry and boyfriend Chris Stein were taking a break from the band Blondie. The album was produced by Nile Rodgers and Bernard Edwards of the R&B band Chic, who had just had major success working with Diana Ross on her 1980 album Diana. Harry and Stein first met the pair at the Power Station recording studio in New York while Blondie were recording their 1979 album Eat to the Beat, and they remained good friends in the intervening years. KooKoo was one of three albums to be (co)written and produced by Rodgers and Edwards in 1981, the other two being Chic's fifth album Take It Off and Johnny Mathis' I Love My Lady, which remained unreleased until 2017.

KooKoo showcased the early fusion of funk, rock and dance music that would become the trademark of Rodgers and Edwards, and this style would later be evident on albums such as David Bowie's Let's Dance, Duran Duran's Notorious, the Power Station's self-titled debut album, and Robert Palmer's Riptide. Backing vocals were provided by Mark Mothersbaugh and Gerald Casale of Devo, credited as Spud and Pud Devo.

KooKoo reached number six on the UK Albums Chart and spent seven weeks on the chart, being certified silver by the British Phonographic Industry (BPI) for shipments in excess of 60,000 copies. The album reached number 25 on the US Billboard 200 and was certified gold by the Recording Industry Association of America (RIAA), denoting shipments in excess of 500,000 copies.

KooKoo was digitally remastered and re-issued on compact disc with two bonus tracks (the 12″ versions of "Backfired" and "The Jam Was Moving") by EMI in the United Kingdom in 1994, and by Razor & Tie in the United States in 1999, this time with just one bonus track. The album was reissued again in the US by Gold Legion.com in 2011 (the 30th anniversary of the album's release). This reissue includes three bonus tracks (both of the aforementioned 12″ versions, and also the rare extended mix of "Inner City Spillover") as well as extensive liner notes. In May 2023, a deluxe edition was released, consisting of the original album and a bonus disk of remixes pressed in transparent vinyl, and a lenticular cover.

Promotion

[edit]

The cover art for the album was created by Swiss artist H.R. Giger, known for his design work on the 1979 sci-fi/horror film Alien. Based on a photograph of Harry taken by the renowned photographer Brian Aris, Giger created several variations of the cover (another of which is seen on the album's inner sleeve) in what Harry described as a combination of punk, acupuncture and sci-fi. Although the lyrics to the track "Oasis" include the word "kookoo" (meaning "crazy"), Harry stated that the album title came to her after she saw Giger's completed work, and although she had misgivings about the conceptual ideas behind the artwork (as she did not identify either the album or herself as "punk"), she was suitably impressed to use it anyway.[2]

For the promotion of KooKoo, Chrysalis Records planned to display large posters of the album cover in various stations of the London Underground. However, officials deemed the image of Harry with metal skewers going through her face and neck to be too disturbing. A television ad campaign went ahead, however.

Promo videos were made for the tracks "Backfired" and "Now I Know You Know", both directed by Giger and filmed at his studio in Switzerland. "Backfired" featured a dark-haired Harry dancing superimposed over a backdrop of Giger's distinctive artwork, with Giger himself appearing in a semi-translucent face mask. "Now I Know You Know" featured Harry in a long black wig and a form-fitting bodysuit painted with Giger's unusual artwork, dancing around in a small set furnished with Giger's "bio-mechanical" design work.

Singles

[edit]

Two singles were released from the album: "Backfired", which peaked at number 24 in Australia, number 32 in the UK and number 43 in the US in August 1981, and "The Jam Was Moving", which reached number 82 in the US.

A third single, "Chrome", was only released in some parts of Europe, but failed to chart. Another track, "Jump Jump", was only released as a single in Peru.

"Chrome" served as the B-side to "The Jam was Moving", only being issued in Germany as a single and in the US as a promotional 12-inch single only.

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarHalf star[3]
Rolling StoneStarStar[4]
Christgau's Record GuideB−[5]
SoundsStarStarStarStar[6]

In The Boston Phoenix, Ken Emerson gave the album a mixed review, writing that "Harry comes across on KooKoo as inaccessible, invulnerable, and creepy. The congealment of her character that began with the success of Heart of Glass is now complete: she’s an ice-cold icon. ... [T]hough KooKoo lacks the playful energy and innocence of Parallel Lines (1978), Blondie’s best album, it’s far more accomplished and fully realized than either of the band’s subsequent LPs. ... You may dislike the destination, but KooKoo knows exactly where it’s going."[7] Rob Sheffield wrote in the Spin Alternative Record Guide (1995), "KooKoo is disappointingly diffuse, and it's easy to hear what went wrong: while Harry meekly imitates the suave funk of Chic's classic Real People, Rodgers reverts to his true roots in European art-rock."[1]

Writing for Popmatters in 2021, Rich Wilhelm described it as "a flawed but beguiling experiment that paved the way for Let's Dance and Like a Virgin".[8]

Track listing

[edit]

Side A:

  1. "Jump Jump" (Deborah Harry, Chris Stein) – 4:04
  2. "The Jam Was Moving" (Bernard Edwards, Nile Rodgers) – 2:59
  3. "Chrome" (Harry, Stein) – 4:17
  4. "Surrender" (Edwards, Rodgers) – 3:37
  5. "Inner City Spillover" (Harry, Stein) – 5:04

Side B:

  1. "Backfired" (Edwards, Rodgers) – 4:54
  2. "Now I Know You Know" (Edwards, Rodgers) – 5:39
  3. "Under Arrest" (Edwards, Harry, Rodgers, Stein) – 3:03
  4. "Military Rap" (Harry, Stein) – 3:51
  5. "Oasis" (Edwards, Harry, Rodgers, Stein) – 4:59

Bonus Tracks CD Re-Issue UK 1994

  • "Backfired" 12" Mix – 6:23
  • "The Jam Was Moving" 12" Mix – 5:03

Bonus Track CD Re-Issue US 1999

  • "Backfired" 12" Mix – 6:23

Bonus Tracks CD Re-Issue 2011

  • "Backfired" 12" Mix – 6:23
  • "The Jam Was Moving" 12" Mix – 5:03
  • "Inner City Spillover" 12" Mix – 5:58

Bonus Tracks Vinyl Re-Issue 2023

Side A:

  1. "Backfired" Extended Version
  2. "The Jam Was Moving" Extended Version
  3. "Inner City Spillover" Extended Version

Side B:

  1. "Backfired" Bruce Forrest & Frank Heller Remix
  2. "The Jam Was Moving" Chris Stein & Debbie Harry Remix

Personnel

[edit]

Musicians

[edit]

Production

[edit]
  • Nile Rodgers – producer for Chic Organization Ltd.
  • Bernard Edwards – producer for Chic Organization Ltd.
  • Bill Scheniman – sound engineer
  • Jason Corsaro – second engineer
  • H. R. Giger – cover concept and painting
  • Brian Aris – photography
  • Peter Wagg – art direction
  • Dennis King – mastering at Atlantic Studios
  • Recorded and mixed at The Power Station, NYC

Charts

[edit]

Certifications

[edit]
Certifications for KooKoo
Region Certification Certified units/sales
Canada (Music Canada)[19] Gold 50,000^
United Kingdom (BPI)[20] Silver 60,000^
United States (RIAA)[21] Gold 500,000^

^ Shipments figures based on certification alone.

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

KooKoo

View on Grokipedia
from Grokipedia
KooKoo is the debut solo studio album by American singer Debbie Harry, best known as the lead vocalist of the band Blondie, released on July 27, 1981, by Chrysalis Records. Produced by Nile Rodgers and Bernard Edwards of the disco group Chic, the album incorporates elements of new wave, funk, disco, and experimental pop, featuring contributions from musicians such as Mark Mothersbaugh and Gerald Casale of Devo on backing vocals. Its striking cover artwork, depicting Harry as an alien-like figure, was designed by Swiss surrealist artist H.R. Giger, whose biomechanical style influenced the album's futuristic themes. The album achieved moderate commercial success, peaking at number 25 on the US Billboard 200 chart and number 6 on the , while being certified gold by the RIAA in the for sales exceeding 500,000 copies. Two singles were released from KooKoo: "Backfired", which reached number 43 on the US and number 32 in the UK, and "The Jam Was Moving". Upon release, KooKoo received mixed critical reviews, with some praising its bold genre-blending and Harry's versatile performance while others criticized it as inconsistent or overly commercial compared to Blondie's work. Over time, the album has developed a for its innovative production and prescient themes of urban alienation and extraterrestrial , leading to a deluxe in 2023 on limited-edition clear vinyl, including remixes, extended versions, and bonus material.

Background and development

Concept and influences

Debbie Harry pursued her debut solo album KooKoo during a hiatus from Blondie that began in late 1980, following the release of the band's Autoamerican in November of that year and amid exhaustion from extensive touring. Harry, alongside bandmate and partner Chris Stein, sought a creative outlet separate from the group's punk and new wave foundations, viewing the break as an opportunity to explore individual projects rather than continue the relentless road schedule. Stein reportedly considered constant touring "a waste of time," aligning the project's conceptualization with Blondie's temporary pause before reconvening in 1982. Harry's motivations were shaped by her growing interest in and , extending beyond Blondie's established punk and new wave sound to incorporate more rhythmic, groove-oriented elements. She admired the infectious energy of tracks like Chic's "" and "," which exemplified a polished disco-funk aesthetic that contrasted with the rawer edges of her band work. This desire for stylistic evolution reflected Harry's broader artistic curiosity, pushing her toward a solo endeavor that could blend experimental loops, shout-along hooks, and icy electronic flutters in a forward-looking manner. The decision to collaborate with and of stemmed directly from Harry's appreciation for their production prowess in fusing and , which she envisioned as a means to create a "true between a black act and a white act" that synthesized diverse musical traditions. As detailed in her 2019 memoir Face It, Harry aimed to craft an that merged these worlds, with Rodgers and Edwards contributing songwriting and production to infuse R&B grooves and bass-driven tracks. Their involvement, initiated during encounters at New York studios like the Power Station, marked a deliberate shift toward a hybrid sound that honored Chic's innovative approach while allowing Harry personal expression. The album's themes of romance and city life drew from influences like New York's urban nightlife and Harry's personal relationships, particularly her partnership with Stein, infusing the project with a mystic yet approachable vibe that captured the era's nocturnal energy and interpersonal dynamics. These elements provided a conceptual foundation for exploring intimacy amid metropolitan chaos, distinguishing KooKoo as a reflection of Harry's lived experiences during the hiatus.

Pre-recording preparations

Following Blondie's successful run in the late 1970s, Debbie Harry negotiated a solo recording deal with Chrysalis Records, her band's established label, which was secured in early 1981 to allow her creative independence during a band hiatus. This agreement included provisions for collaborating with high-profile producers, enabling Harry to enlist Nile Rodgers and Bernard Edwards of Chic, whom she had met years earlier while recording Blondie's Eat to the Beat at New York's Power Station studios. The deal facilitated a substantial budget to support this partnership, reflecting Chrysalis's investment in Harry's post-Blonde ventures. Song selection for KooKoo emphasized a balanced creative input, with three tracks co-written by Harry and her longtime partner , four by Rodgers and Edwards, and one collaborative effort involving all four. Examples include Rodgers and Edwards' rhythmic contributions to "Surrender" and "The Jam Was Moving," while "Jump Jump," co-written by Harry and Stein, highlighted her individual voice amid the group dynamic. Initial demos and rehearsals took place in New York, where Harry, Stein, Rodgers, and Edwards worked to merge Blondie's punk-pop sensibilities with Chic's funk rhythms, resulting in three tracks completed by March 1981. These sessions focused on experimental loops and genre fusion, laying the groundwork for the album's hybrid sound without entering full studio production. Harry prepared vocally by shifting toward a more rhythmic delivery suited to Chic's grooves, incorporating growls and exhortations to complement the bass-driven tracks, a departure from her earlier, more ethereal Blondie style. This adaptation, honed through pre-recording practice, emphasized syncopated phrasing to enhance the album's danceable energy.

Recording and production

Studio sessions

The recording sessions for KooKoo took place at the Power Station studio in , beginning in early 1981 under the production of and of . By March 16, 1981, three tracks had already been completed, reflecting an intensive early phase that built on Harry's break from Blondie. Adhering to 's established production approach, the sessions prioritized tracking the rhythm section—bass and drums—first to lock in the foundational grooves, often recorded live to preserve the band's dynamic interplay. Vocals were layered afterward, with Harry focusing on her lower, warmer register to integrate the funk-driven rhythms with rock elements, a process that highlighted the album's experimental fusion of styles. This method aimed to synthesize "black and white music," as Harry later described, though it involved challenges in aligning 's precise R&B grooves with her new wave sensibilities. The Power Station's facilities supported a blend of live room captures for core band performances and subsequent overdubs for synths and guitars, enhancing the tracks' textural depth. Both recording and mixing occurred at the same venue, allowing for a seamless that finalized the by mid-1981 ahead of its July release.

Key collaborators

The production of KooKoo was led by and of , who served as co-producers, with Rodgers contributing guitar and arrangements, and Edwards handling bass and arrangements. Their involvement brought 's distinctive elements to the , including Edwards' prominent slap bass lines and the use of string synths that added lush, rhythmic textures to tracks like "Backfired" and "The Jam Was Moving." Backing vocals were provided by and of , who delivered quirky, nasal harmonies on "Jump Jump," infusing the track with an experimental new wave edge that complemented Harry's vocal style. Chris Stein, Blondie's guitarist and Harry's longtime collaborator, added guitar parts across several tracks, while Rodgers contributed additional vocals on "Backfired" to enhance the album's futuristic sound. Engineering duties were managed by Bill Scheniman, who oversaw the live mixes during sessions at New York's Power Station, capturing the album's energetic blend of rock and . The final mastering was handled by Dennis King, who emphasized punchy dynamics to optimize the sound for vinyl playback, ensuring a vibrant and immediate listening experience.

Music and style

Composition

KooKoo represents a genre blend of , and , fusing the new wave and punk influences from Debbie Harry's work with Blondie alongside the and R&B grooves pioneered by producers and of . This synthesis creates an eclectic sound that incorporates elements of pop, , and electronic music, emphasizing rhythmic drive over melodic hooks. For instance, the lead track "Backfired" features prominent beats with an upbeat tempo of approximately 112 beats per minute and syncopated rhythms, evoking the dancefloor energy of late-1970s productions. Similarly, "Chrome" introduces new wave edges through its steely guitar lines and icy synth flutters, blending basslines with an otherworldly, experimental edge. Specific tracks highlight the album's structural diversity and thematic depth. "The Jam Was Moving" functions as a party anthem, built on thumping bass and call-and-response vocal exhortations that invite listener participation, capturing the exuberance of urban nightlife. In contrast, "Inner City Spillover" explores urban alienation via reggae-inspired rhythms and spoken-word-like delivery, offering on city life and marginalization. Lyrically, KooKoo delves into themes of romance, , and self-empowerment, often portraying fleeting interpersonal dynamics amid a backdrop of personal transformation. "Now I Know You Know," for example, addresses ephemeral connections and the disillusionment of unfulfilled romantic pledges, evolving from an initial structure into a jazzy coda with interplay. The album's overall length totals 41:56 across its 10 tracks, with production techniques like layered horns and buzzing synths reinforcing a focus on groove and atmospheric tension rather than Blondie's signature pop hooks.

Artwork and packaging

The artwork for KooKoo was created by Swiss surrealist artist H.R. Giger, renowned for his biomechanical designs in the film Alien, who transformed a black-and-white photograph of Debbie Harry taken by photographer Brian Aris into a haunting portrait by airbrushing four acupuncture needles into her face, symbolizing the four elements and evoking futuristic femininity through the fusion of organic human features with mechanical intrusions. Giger's collaboration with Harry and Blondie guitarist began in earnest in early 1981 during Harry's visit to his studio, where he selected Aris's image of Harry with her hair sharply combed back for its stark suitability and proceeded to paint and variations directly onto prints and face casts. The original vinyl release featured a with printed on the inner spread, accented by stylized metallic lettering that complemented Giger's eerie visuals and reinforced the album's themes of otherworldly and extraterrestrial allure. However, the artwork provoked , including a ban from display on the London Underground due to its perceived grotesqueness, with critics and some industry figures decrying Giger's dark, biomechanical aesthetic as incompatible with Harry's pop sensibility and potentially alienating mainstream audiences.

Release and promotion

Marketing strategies

KooKoo was released on July 27, 1981, by , with an initial marketing push targeted at the and markets to leverage Debbie Harry's established fame from Blondie. The album's promotion emphasized Harry's transition to a solo artist, highlighting her star power alongside the production expertise of and from . Advertising campaigns featured TV appearances, such as on , where Harry and discussed the album's creation and sound, and print ads in magazines that showcased the surreal cover art by . However, in the UK, promotional posters featuring the album's eerie artwork were banned from the London Underground for being too disturbing, limiting visual advertising there. The marketing budget prioritized urban radio play, aligning with the album's funk and R&B influences from the Chic producers to appeal to dance-oriented audiences. Harry's promotional efforts included personal appearances and live performances to build buzz, with album tracks integrated into setlists during Blondie's 1982 Tracks Across America Tour supporting their final album, The Hunter. For instance, "Chrome" was performed during the tour. This tie-in helped extend visibility for KooKoo material amid Blondie's ongoing activity before their breakup later that year. The album was released simultaneously in the and on July 27, 1981, designed to capitalize on Blondie's strong European fanbase and chart success.

Singles

The lead single from KooKoo, "Backfired", was released in July 1981 and served as the primary promotional track for the album. Co-written and produced by and of , the song peaked at number 43 on the US chart and number 32 on the UK Singles Chart. A 12-inch single featured an extended version lasting over six minutes, emphasizing an elongated funk instrumental break that highlighted the track's dance-oriented groove. The accompanying music video, directed by , showcased Harry in dynamic performance sequences amid abstract settings, aligning with the album's promotional visuals influenced by Giger's biomechanical aesthetic. The follow-up single, "The Jam Was Moving", arrived in September 1981 and reached number 82 on the , marking a more modest commercial showing. Written by and , the track's upbeat new wave rhythm drove individual radio and club promotion efforts, including targeted airplay on urban contemporary stations. Promotional formats included a 7-inch vinyl pressing with "Chrome" as the B-side, emphasizing the single's role in sustaining album momentum post-"Backfired". A third track, "Now I Know You Know", received limited release as a promotional single in 1981, without entering major charts but supporting video-driven outreach. The song's video, directed by , presented abstract visuals of Harry in a form-fitting bodysuit against biomechanical backdrops, embodying the artist's experimental collaboration with the surrealist designer. This promo effort focused on art-house and music television circuits, underscoring the album's thematic ties to futuristic and alien motifs without broader commercial push. Singles from KooKoo were primarily issued in 7-inch vinyl formats for mainstream retail, often paired with album tracks as B-sides such as "Military Rap" for "Backfired" and "Inner City Spillover" for select pressings of "The Jam Was Moving". Extended 12-inch versions, including remixes, catered to dance clubs and provided additional promotional value through longer playtimes and instrumental variations.

Reception

Critical reviews

Upon its release in 1981, KooKoo garnered mixed reviews from critics, who were divided on its fusion of new wave, , and pop elements. Rolling Stone's offered mild praise for the as a "worthy experiment in altered states" that preserved Debbie Harry's commercial viability, but critiqued its cautious production by and for lacking extremes and indulgence. The Washington Post dismissed it as a "dismal " unlikely to elevate the reputations of its creators, though it commended H.R. Giger's striking cover art. Village Voice critic assigned it a B- grade, acknowledging "sharp little moments" amid otherwise "klutzy" efforts that might gain retrospective value if both Harry and her collaborators achieve classic status. Common themes in these contemporary assessments included appreciation for the polished production sheen courtesy of Chic's Rodgers and Edwards, which lent a funky, crossover appeal, alongside criticisms that Harry's vocals sounded restrained and the material lacked the raw edge of Blondie's prior releases like . British publications echoed this ambivalence. No equivalent existed at the time, but aggregate scores from period sources averaged around 60 out of 100, underscoring the divided opinions. Retrospective reviews have been kinder, often reframing KooKoo as an innovative, if imperfect, pivot in Harry's career. rated it 3 out of 5 stars, praising the solid grooves and Harry's versatile delivery while noting that the synth-heavy sound now feels somewhat dated. A 2021 PopMatters reappraisal positioned it as an underrated collaboration, hailing the "flawed but beguiling experiment" for blending Blondie's pop sensibilities with disco-funk in a way that anticipated later hits like David Bowie's Let's Dance and Madonna's Like a Virgin.

Commercial performance

KooKoo achieved moderate commercial success following its 1981 release, peaking at number 25 on the Billboard 200 chart and earning a gold certification from the RIAA for sales of 500,000 units that same year. In the , the album reached number 6 on the Official Albums Chart and was certified silver by the BPI for 60,000 units sold. Internationally, KooKoo performed solidly in several markets, attaining number 16 in , number 17 in both (gold certified) and , and number 7 in , with estimated global sales exceeding 500,000 copies.

Post-release

Reissues

The album KooKoo has seen several reissues since its original 1981 release, primarily in and vinyl formats, often featuring remastered audio and bonus tracks drawn from extended single mixes. In 1994, EMI's UK division through Chrysalis released a digitally remastered CD edition that appended two bonus tracks: the 12-inch mixes of "Backfired" (6:23) and "The Jam Was Moving" (5:03). A 1999 U.S. CD reissue by included a remastered version of the original album with a single bonus track, the 12-inch extended mix of "Backfired" (6:20), while omitting the additional extended mix from the prior edition. The 2011 expanded CD edition from Gold Legion, marking the album's 30th anniversary, offered a remastered presentation with three bonus tracks: "Backfired (Special Long Version)" (6:21) from the 1981 U.S. 12-inch single, "The Jam Was Moving (Extended Version)" (5:00) from the 1981 U.K. 12-inch single, and "Inner City Spillover (Extended Version)" (5:58), the latter appearing on CD for the first time. This release also featured a 16-page color booklet with by Christian John Wikane and rare photos. In 2023, Chrysalis issued a deluxe vinyl edition limited to 6,000 numbered copies worldwide, pressed on double 180-gram clear transparent vinyl and half-speed mastered from the original pre-production tapes. This set included the original on one disc and a bonus 12-inch disc with extended versions and remixes of the singles "Backfired" and "The Jam Was Moving," housed in a lenticular sleeve replicating the original H.R. Giger artwork, along with a reproduction art print by Chris Stein and printed inner sleeves. A digital version of this expanded edition was also made available for streaming.

Legacy and influence

KooKoo is recognized for pioneering the fusion of pop and in solo projects, blending elements of new wave, , and R&B through its production by and of . This innovative approach synthesized black and white musical traditions, creating a blueprint for subsequent genre-blending efforts. The album's production style directly influenced David Bowie's Let's Dance (1983), also helmed by Rodgers and Edwards, as well as Madonna's Like a Virgin (1984), establishing a template for mainstream pop's embrace of dance-funk grooves. In 2021 retrospectives marking its 40th anniversary, KooKoo has been praised for its innovative production. The track "Backfired" has seen limited but notable covers, including a 1981 version by The Top of the Poppers, and has been performed live by Harry during Blondie tours in later decades, such as a 2023 rendition with . While no major hip-hop samples of the song have been documented, Harry's broader incorporation of rap elements in her work during this era contributed to her enduring cross-genre appeal. KooKoo signified push for artistic amid Blondie's 1981 hiatus, as she prioritized the solo project over the band's planned sixth album, which exacerbated internal tensions and contributed to the group's 1982 breakup following the underperforming The Hunter.

Content sections

Track listing

All tracks are written by and , except where noted.

Side one

No.TitleWriter(s)Length
1."Jump Jump"Harry, Stein4:02
2."The Jam Was Moving"Edwards, Rodgers2:58
3."Chrome"Harry, Stein4:16
4."Surrender"Edwards, Rodgers3:36
5."Inner City Spillover"Harry, Stein5:02

Side two

No.TitleWriter(s)Length
6."Backfired"Harry, Edwards, Rodgers4:52
7."Now I Know You Know"Edwards, Rodgers5:31
8."Under Arrest"Edwards, Harry, Rodgers, Stein2:56
9."Military Rap"Harry, Stein3:48
10."Oasis"Edwards, Harry, Rodgers, Stein4:55
The album's total runtime is 41:56. The standard format was a 12-inch vinyl LP (Chrysalis CHR 1347); a CD version followed in later years without alterations to the track order or content.

Musicians

RolePersonnel
Lead vocals
Backing vocalsFonzi Thornton, Gordon Grody, and (as Spud & Pud Devo)
Bass
DrumsTony Thompson
Guitar,
Synthesizer
PercussionOllie Brown

Production Staff

RolePersonnel
Producers,
EngineerBill Scheniman
Mastering engineerDennis King

Artwork and Design

RolePersonnel
Art directionPeter Wagg
Cover concept and painting
PhotographyBrian Aris

References

  1. https://www.discogs.com/master/57420-Debbie-Harry-KooKoo
  2. https://www.dazeddigital.com/music/article/53662/1/kookoo-how-debbie-harrys-extraterrestrial-debut-broke-all-the-rules
  3. https://hrgiger.com/music/kookoo.htm
  4. https://recordsandcharts.com/albumrun.php?alid=8385
  5. https://www.officialcharts.com/charts/albums-chart/19810823/7502/
  6. https://kslx.com/debbie-harry-reissuing-her-debut-solo-album-kookoo/
  7. https://www.officialcharts.com/songs/debbie-harry-backfired/
  8. https://www.billboard.com/artist/debbie-harry/
  9. https://www.allmusic.com/album/koo-koo-mw0000047028
  10. https://diffuser.fm/debbie-harry-kookoo/
  11. https://shop.blondie.net/vendors/bee4bc11-05ed-5897-b324-e0c06f8f5f21/products/debbie-harry-kookoo-deluxe-vinyl-edition
  12. https://www.popmatters.com/debbie-harry-kookoo-atr40
  13. https://www.soundthread.net/post/2016/08/18/debbie-harry-kookoo-1981-debut-album
  14. https://chrysalis-records.com/artist/250606-debbie-harry?lang=en_US
  15. https://www.classicpopmag.com/features/lowdown-blondie-debbie-harry/
  16. https://www.washingtonpost.com/archive/lifestyle/style/1981/08/30/recordings-debbie-harry-on-a-kookoo-track/731e28e2-356a-4525-baba-3f472945940c/
  17. https://www.discogs.com/release/409859-Debbie-Harry-KooKoo
  18. https://www.popmatters.com/acufunkture-revisited-an-interview-with-nile-rodgers-2496205742.html
  19. https://musicbrainz.org/release/8cd039c7-53b1-49a1-b740-3244756c8bc6
  20. https://songbpm.com/%40debbie-harry/backfired
  21. https://www.discogs.com/release/2970286-Debbie-Harry-Chrome
  22. https://www.popmatters.com/debbie-harry-kookoo-atr40/2
  23. https://rateyourmusic.com/release/album/debbie-harry/kookoo/
  24. http://alienexplorations.blogspot.com/2016/08/koo-koo-album-cover.html
  25. https://www.rockarchive.com/prints/b/debbie-harry-bl002brar
  26. https://longlivevinyl.net/2018/09/17/story-behind-sleeve-debbie-harry-kookoo/
  27. https://www.rollingstone.com/music/music-news/debbie-harry-hr-giger-chris-stein-book-1367558/
  28. https://titanbooks.com/71187-giger-debbie-harry-species-creating-the-visual-concept-for-kookoo/
  29. https://www.mojo4music.com/time-machine/1980s/mojo-time-machine-debbie-harry-causes-outrage/
  30. https://www.youtube.com/watch?v=NzIJYNCtjOM
  31. https://www.discogs.com/release/819209-Debbie-Harry-KooKoo
  32. https://en.wikipedia-on-ipfs.org/wiki/Backfired
  33. https://pophits.org/songs/debbie-harry-backfired
  34. https://www.discogs.com/release/1034878-Debbie-Harry-Backfired
  35. https://www.youtube.com/watch?v=NOhHmlpg-9k
  36. https://pophits.org/songs/debbie-harry-the-jam-was-moving
  37. https://www.discogs.com/release/1115760-Debbie-Harry-The-Jam-Was-Moving
  38. https://www.youtube.com/watch?v=CbIfKQTY50I
  39. https://www.discogs.com/master/56390-Debbie-Harry-Backfired
  40. https://www.discogs.com/master/102558-Debbie-Harry-The-Jam-Was-Moving
  41. https://www.albumoftheyear.org/album/20107-deborah-harry-kookoo.php
  42. https://www.officialcharts.com/artist/19150/debbie-harry/
  43. https://bestsellingalbums.org/artist/3110
  44. https://australian-charts.com/showitem.asp?interpret=Debbie+Harry&titel=KooKoo&cat=a
  45. https://danishcharts.dk/showitem.asp?interpret=Debbie+Harry&titel=KooKoo&cat=a
  46. https://www.discogs.com/release/2145510-Debbie-Harry-Koo-Koo
  47. https://eil.com/shop/moreinfo.asp?catalogid=400649
  48. https://www.discogs.com/release/35019326-Debbie-Harry-KooKoo
  49. https://theseconddisc.com/2011/10/04/gold-legion-goes-koo-koo-expands-debbie-harrys-solo-debut/
  50. https://www.discogs.com/release/3357239-Debbie-Harry-KooKoo
  51. https://superdeluxeedition.com/news/debbie-harry-kookoo-2lp-deluxe-vinyl/
  52. https://chrysalis-records.com/release/326460-debbie-harry-kookoo-deluxe-edition?lang=en_US
  53. https://www.roughtrade.com/product/debbie-harry/kookoo-deluxe-edition
  54. https://music.apple.com/us/album/kookoo/1629181741
  55. https://www.whosampled.com/Debbie-Harry/Backfired/
  56. https://www.youtube.com/watch?v=cjuL32pgsIE
  57. https://www.discogs.com/release/1675327-Debbie-Harry-KooKoo
Add your contribution
Related Hubs
User Avatar
No comments yet.