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One Way... or Another
Studio album by
Cactus
ReleasedFebruary 24, 1971 (1971-02-24)
Recorded1970–1971
StudioElectric Lady (New York City)
Genre
Length41:32
LabelAtco
ProducerCactus
Cactus chronology
Cactus
(1970) 		One Way... or Another
(1971) 		Restrictions
(1971)
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[1]

One Way... or Another is the second studio album by American rock band Cactus, released in 1971 by Atco Records. It includes several original songs as well as two cover versions: Little Richard's 1956 hit "Long Tall Sally" and Chuck Willis' "I Feel So Bad" as "Feel So Bad" (their first album contained the song "Feel So Good").

Recording and music

[edit]

The album was recorded at the newly opened Electric Lady Studios in New York with the renowned Eddie Kramer and his team at the engineers console. It follows the six-originals, two-covers pattern of their debut album Cactus. "Long Tall Sally", in a slower tempo than the original, opens the album with a rousing start. The album then runs through a string of original compositions, with the addition of Chuck Willis' 1954 song "Feel So Bad" in the middle. Also included is the short instrumental "Song for Aries", which showcases McCarty's underrated lead guitar.[1] The album was released in February 1971, just seven months after their first album.

Track listing

[edit]

All titles by Appice, Bogert, Day, McCarty except where noted.

  1. "Long Tall Sally" (Robert "Bumps" Blackwell, Enotris Johnson, Richard Penniman) – 5:54
  2. "Rockout Whatever You Feel Like" – 4:00
  3. "Rock N' Roll Children" – 5:44
  4. "Big Mama Boogie – Parts I & II" – 5:29
  5. "Feel So Bad" (Chuck Willis) – 5:31
  6. "Song for Aries" (Appice, Day, McCarty) – 3:05
  7. "Hometown Bust" – 6:39
  8. "One Way... or Another" – 5:06

Personnel

[edit]

Cactus

Technical

  • Cactus – producer, design
  • Edwin H. Kramer – engineer
  • Dave Palmer, John Jansen – assistant engineers
  • Alan Azzolino – cover photo
  • Jim Cummins – sleeve and poster photography

Charts

[edit]
Chart (1971) Peak
position
Canada Top Albums/CDs (RPM)[2] 69
US Billboard 200[3] 88

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

One Way... or Another

View on Grokipedia
from Grokipedia
"" is a by the American rock band Blondie, released as the second single from their third studio , Parallel Lines, in May 1979. Written by lead singer and bassist , the track draws lyrical inspiration from Harry's personal experience with a stalker following a breakup, transforming a dark theme into an upbeat, empowering anthem through its catchy punk-pop arrangement. Recorded at the in during the summer of 1978 under producer , the song exemplifies Blondie's evolution from their punk roots to mainstream new wave success, blending raw guitar energy with polished influences. Harry has reflected on the track's origins, stating, “I was actually stalked by a nutjob… I tried to inject a little bit of levity into it to make it more lighthearted,” which underscores its dual tone of menace and resilience. Guitarist highlighted its genre-bridging quality, noting, “It definitely connects punk and pop, especially in the vocals and the raw guitars.” Upon release, "" achieved commercial success, entering the at number 69 and peaking at number 24 for two weeks in , while also reaching number 7 on the Canadian RPM Top Singles chart. The single's B-side, "Just Go Away," further showcased the band's versatility. Over the decades, it has become one of Blondie's signature songs, contributing to the album ' status as a landmark release that solidified the group's transition to global stardom. The song's enduring legacy includes notable covers, such as One Direction's 2013 charity version titled "One Way or Another (Teenage Kicks)," which topped the UK Singles Chart and reached number 13 on the US to benefit . It has also appeared prominently in popular media, featuring in films like (2004) and Coyote Ugly (2000), as well as television series such as Glee and , reinforcing its cultural impact as a timeless rock classic.

Background and writing

Inspiration

The inspiration for "One Way or Another" stemmed from Debbie Harry's personal encounter with a stalker in during the early 1970s, where the individual persistently followed her and her roommate, prompting her to relocate to . Harry later described the ordeal in her memoir Face It, noting how the experience fueled the song's narrative of pursuit, transforming a frightening real-life event into a bold artistic expression. To cope with the trauma, Harry channeled her frustration and fear into an empowering, aggressive tone for the track, adopting the stalker's perspective while infusing levity as a "survival mechanism" to reclaim control rather than dwell in victimhood. In 1978, during rehearsals for Blondie's album , Harry shared the stalker story with bassist , sparking collaborative discussions that shaped the lyrics around themes of relentless determination. Harrison contributed the song's driving main riff, drawing from the instrumental surf rock style of to create an upbeat, futuristic sound that contrasted the dark subject matter. He recalled in the for the 2022 box set Blondie: Against The Odds 1974-1982 that his initial demo was a "psychedelic, Ventures-like futuristic surf song gone wrong," which keyboardist helped refine before Harry layered on the vocals. This blend of personal catharsis and musical influences resulted in a track that empowered Harry by flipping the script on her ordeal.

Songwriting process

The songwriting process for "One Way... or Another" commenced in early 1978 through a collaboration between Blondie vocalist , who handled the primary lyrics, and bassist , who composed the music and contributed to the lyrics. Harry adapted a personal anecdote about a persistent stalker ex-boyfriend from her time in into the song's verses, channeling the unsettling experience into vivid, confrontational imagery while infusing it with a defiant tone. Harry proposed the infectious chorus hook "One way or another, I'm gonna find ya," which provided a repetitive, escalating that unified the track's narrative drive. The collaborators refined the structure through several iterations, aiming to fuse punk's visceral urgency with pop's melodic appeal; this included honing Harrison's foundational bass line, which anchored the rhythm, and evolving the guitar —initially influenced by ' surf-rock style—into a punchy, riff-driven element that amplified the song's intensity. Prior to recording sessions, the composition was finalized at a length of 3:31 in the key of , establishing a concise yet dynamic framework for the track.

Recording and production

Studio sessions

The recording of "One Way or Another" took place from June to July 1978 at The in , as part of the broader sessions for Blondie's third studio album, . These sessions, which spanned approximately six weeks in total, marked the band's first collaboration with producer , who guided the group toward a more polished sound. The track was captured amid an intensive recording schedule, where several songs, including "," arrived unfinished and required rapid development . The band faced notable challenges in replicating their energetic live punk performances within the studio's structured environment, exacerbated by rigorous demands for precision that clashed with their improvisational roots. Debbie Harry recorded her vocals last, employing multiple overdubs of short passages to refine the phrasing and achieve the song's signature snarling, confrontational delivery. This process helped infuse the track with a gritty intensity despite the controlled setting. "" integrated seamlessly into ' overall aesthetic, bridging the album's punk origins with emerging pop accessibility, much like the disco-inflected "Heart of Glass" that exemplified the project's stylistic evolution.

Production techniques

Producer Mike Chapman was instrumental in refining the raw punk demo of "One Way... or Another" into a polished rock track, transforming Blondie's sound through a meticulous production process that emphasized tight rhythms and layered guitars to give the song its driving energy and commercial appeal. During pre-production and studio sessions at the Record Plant in New York, Chapman conducted extensive rehearsals to tighten the band's performances, requiring multiple takes and punch-ins to achieve precision in the rhythm section. The track, initially unfinished during rehearsals, was completed in the studio with overdubs applied to Nigel Harrison's bass—recorded via direct injection and amplified signal—and Clem Burke's , which were captured using a U47 on the kick, KM84s on toms, snare, and , and U87s for overheads to enhance the song's propulsive beat. Chris Stein's guitar riff was layered using and AKG 414 microphones on a Marshall cabinet, contributing to the polished, multi-textured sound that defined the album. Debbie Harry's lead vocals were recorded with a U47 or U67, with Chapman directing numerous takes to capture her snarling delivery and boost its intensity through careful layering and performance refinement. In mixing at the Forum in Covington, Kentucky, on a Sphere console, Chapman employed high-volume playback on Westlake monitors to ensure dynamic balance, while checking mixes on Auratone speakers and in mono for radio compatibility. Reverb was selectively applied using EMT plate reverbs and echo chambers to add spatial depth—particularly in the chorus for an echoing, stalking quality—while stereo panning accentuated the guitar riff's movement across the soundfield. Compression was used on vocals and the rhythm section to maintain punch without overpowering the track's intensity. The final mastering process adjusted overall dynamics to suit the song's 3:35 runtime, optimizing it for AM/FM radio play while preserving the raw energy of the original demo, resulting in a track that balanced punk edge with pop accessibility.

Composition and lyrics

Musical elements

"One Way... or Another" follows a classic verse-chorus form, opening with a distinctive intro that establishes its energetic momentum. The song is composed in and maintains a brisk of 162 beats per minute (BPM), situating it firmly within the rock genre while blending punk's raw aggression with new wave's polished edge. This structure alternates between verses that build narrative tension and explosive choruses that release it, creating a dynamic flow that underscores the track's relentless drive. The instrumentation centers on a prominent bass-driven groove crafted by Nigel , whose walking lines and rhythmic accents propel the song forward with infectious urgency. Drummer complements this with syncopated patterns, employing off-beat snare hits and fills that add a jagged, propulsive layer to the rhythm section. Guitarist contributes angular, lines that cut through the mix, providing sharp accents and textural contrast to the bass foundation. Debbie Harry's vocal performance spans roughly an , ranging from to around B4, allowing for versatile expression within the song's framework. In the verses, she employs a spoken-word delivery—conversational and understated—to convey simmering intensity, gradually escalating to shouted, anthemic choruses that amplify the track's defiant energy. This vocal arc heightens the emotional contrast, drawing listeners into the song's escalating narrative. A pivotal bridge section introduces heightened tension through a key modulation from the established D major to F♯ minor, shifting the harmonic palette to create a momentary sense of unease before resolving back to the main hook in the final chorus. This modulation, paired with intensified instrumentation, serves as a climactic pivot that reinforces the song's themes of pursuit and resolution without disrupting its overall cohesion.

Themes and interpretation

The central theme of "One Way or Another" revolves around obsessive pursuit, with the narrator adopting a predatory tone to reclaim agency from a position of vulnerability. Lyrics such as "I will drive past your / And if the lights are all on, I'll call" and the repeated refrain ", I'm gonna get ya, get ya, get ya, get ya" exemplify this shift, portraying as a tool of rather than . This narrative inversion draws from Debbie Harry's real-life encounter with a persistent stalker, allowing her to channel trauma into a defiant expression. The song lends itself to dual interpretations: as an empowerment anthem where Harry asserts control over her harasser, or as an ironic commentary on the obsessive and toxic dynamics that can pervade relationships. Harry herself described injecting "a little levity" into the lyrics as a "survival mechanism" to lighten the dark subject matter, underscoring the song's role in transforming personal adversity into something resilient and universal. This layered approach highlights how the track critiques possessiveness while celebrating the strength to confront it. Surveillance imagery permeates the lyrics, evoking a sense of constant watching and intrusion, as in "I'll walk down the mall / And I'll be searching for you," which mirrors the invasive tactics of the stalker Harry faced. These elements reflect the urban paranoia of 1970s , where the band formed amid a backdrop of street-level threats and social unease in neighborhoods like the . This interpretation has positioned the track as a rallying cry for female empowerment, aligning with Harry's broader role as an icon of independence in punk and new wave scenes.

Release and promotion

Single details

"One Way or Another" was released in May 1979 by in the United States as the fourth single from Blondie's third studio album, , which had been issued the previous September. The single was primarily available in a 7-inch vinyl format, pressed at 45 RPM, and featured a picture sleeve with photographs of the band members. The B-side was "Just Go Away", a track written solely by lead vocalist . Promotion for the single in the emphasized radio airplay, with Chrysalis targeting rock-oriented stations to capitalize on the song's aggressive punk-rock energy, distinguishing it from the disco-influenced hits like "Heart of Glass" from the same album. There was no major single release in the at the time, though the track later entered the UK charts at number 98 in March 2013, coinciding with renewed interest from a charity cover version by . To support the single's rollout, Blondie produced a promotional directed by David Mallet, filmed on the streets of to visually capture the song's themes of pursuit and obsession through stalking imagery. This video was part of the conceptual film companion to the band's follow-up album , released later in 1979, and helped establish early MTV-era visuals for the group.

Track listing

The original US 7-inch single release of "" by Blondie, issued by in 1979, featured the following tracks:
SideTitleWriter(s)Duration
A, 3:31
BJust Go Away3:21
All tracks on the single were published by Bug Music and . No extended or 12-inch version of "" was released at the time of the single's original issuance. In , a digital reissue of the single became available, incorporating the original Blondie version alongside a bonus cover by as part of a charity medley. Later compilations, such as the 1995 remix album Remixed Remade Remodeled, included extended remixes of the track, such as the "Damien's Supermarket Mix" running 8:24.

Commercial performance

Chart positions

"One Way or Another" experienced moderate commercial success as a single in upon its 1979 release, while its UK chart performance was limited until a later resurgence. The song's enduring appeal has been bolstered by digital platforms, contributing to ongoing visibility in modern music consumption.
Chart (Year)Peak PositionWeeks on ChartSource
US Billboard Hot 100 (1979)2412Billboard
Canada RPM Top Singles (1979)78Songfacts
UK Singles Chart (2013)981Official Charts Company
(2013)942Official Charts Company

Certifications and sales

In the United Kingdom, "One Way... or Another" has been certified Platinum by the (BPI), recognizing combined sales and streaming equivalent to 600,000 units. In , the song earned a Gold certification from (PROMUSICAE) in 2021 for 30,000 units. These awards reflect the track's enduring popularity through physical sales and modern digital consumption. The single did not receive a direct certification from the (RIAA) upon its 1979 release, as pre-digital era singles were rarely awarded unless exceeding 1 million units, a threshold the song did not meet despite peaking at number 24 on the Hot 100. However, it has since been certified by the RIAA for 500,000 units, including streaming equivalents. Its inclusion on the album , which has sold over 20 million copies worldwide, underscores the song's role in the project's massive commercial footprint. As of November 2025, "" had amassed over 491 million streams on alone, fueling ongoing revenue and contributing to updated certifications in streaming-inclusive markets. This digital performance has elevated the track's global estimated units beyond 1 million when accounting for historical sales tied to ' success.

Reception and legacy

Critical reception

Upon its release as a single in 1979, "One Way or Another" received positive attention from critics for its dynamic blend of punk energy and pop accessibility. In a review of the parent album , praised the "gritty" delivery in the song, noting it as a witty flourish that exemplified the band's edge. The song's driving and Harry's commanding were seen as emblematic of Blondie's toward mainstream appeal while retaining an edge rooted in New York punk scenes. Retrospective assessments have solidified the song's status as a classic. It was ranked number 298 on Rolling Stone's 2021 list of the 500 Greatest Songs of All Time, commended for its infectious and Harry's assertive portrayal of obsession turned . Modern critics often emphasize the track's enduring catchiness, particularly its memorable guitar riff and rhythmic propulsion, which continue to influence new wave and genres. While the song earned acclaim for its artistic merits, it faced some early backlash from punk purists who viewed Parallel Lines—and by extension tracks like ""—as overly polished and commercialized, turning heads among those who favored rawer aesthetics. In contrast, contemporary reevaluations celebrate its feminist undertones, interpreting Harry's as a subversive reclamation of agency in the face of and , aligning with broader punk-rock feminist narratives.

Cultural impact

The song served as the theme for the ABC television series Snoops during its 1999–2000 run, with a specially recorded clean version by Blondie featuring in the opening titles, thereby exposing the track to younger audiences amid the show's investigative dramedy format. This placement, alongside appearances in episodes of TV series like , has sustained its visibility in modern media, often underscoring themes of pursuit and empowerment. In hip-hop, "One Way or Another" has been sampled in notable tracks, including Black Eyed Peas' "Karma" (1998) and G. Dep's "One Way" (2001) featuring , reflecting the song's rhythmic hook and punk energy influencing crossovers. Since its 1978 debut, the track has remained a concert staple for Blondie, frequently performed with extended improvisations and audience participation to energize crowds, as seen in live recordings from venues like Asbury Park's Convention Hall. As a product of the late-1970s New York punk scene at clubs like , the song embodies the era's raw attitude and Harry's defiant persona, symbolizing the movement's blend of rebellion and pop accessibility. It has been referenced in works celebrating female rock pioneers, such as Chris Stein's memoir Under a Rock (2024), which highlights its role in the punk soundscape, and educational surveys like Berklee College of Music's profile on influential . A 2013 cover by , reimagined as a medley with The Undertones' "," supported Comic Relief's charitable efforts, raising funds for global causes.

Cover versions

The English-Irish boy band recorded a medley cover of "" combined with The Undertones' "" as the official charity single for Comic Relief's Red Nose Day 2013 campaign. Produced by Julian Bunetta and John Ryan, the track was released on February 17, 2013, and debuted at number one on the UK Singles Chart, selling 113,000 copies in its first full week to become the fastest-selling single of the year at that point. The cover featured playful elements like clown costumes in its and live performances, raising over £2 million for the charity through sales and related efforts. Blondie themselves have performed numerous live variations of the song throughout their career, adapting it to different arrangements in concert settings. A notable acoustic rendition was captured during a performance, showcasing a stripped-down, intimate take on the original's energetic punk drive. The band also included a full-band live version on their 2004 album Live by Request, recorded during a fan-requested show in , which highlighted Harry's commanding vocals amid audience interaction. The song received exposure through television adaptations, including a mash-up cover on the series Glee in the 2011 episode "Mash Off" (season three, episode six), where the New Directions and The Troubletones groups blended it with Pat Benatar's "Hit Me with Your Best Shot" in a competitive performance. Sung by cast members including , , and , the version was released as a single and emphasized the track's anthemic hooks in a high-energy group arrangement. In 2024, Sheryl Crow performed a cover during her Summer Carnival tour at Hersheypark Stadium. In 2025, Dua Lipa included a live rendition during her Radical Optimism tour at Madison Square Garden on September 18. "One Way or Another" has been interpolated and sampled in several hip-hop tracks during the 2000s, adapting its riff and structure to rap contexts. Necro incorporated elements into his 2001 song "One Way or Another" on the album I Need Drugs, delivering a gritty, underground reinterpretation. Similarly, G. Dep's 2001 single "One Way" featuring Black Rob sampled the melody for a Bad Boy Records-style beat, peaking at number 17 on the Billboard Hot Rap Songs chart. These uses demonstrate the song's versatility in blending punk origins with hip-hop production.

Personnel

Musicians

The recording of "One Way... or Another" featured the core Blondie lineup performing all instrumentation and vocals. Lead vocals were provided by , whose dynamic delivery drove the track's energetic punk-rock edge. On bass, laid down the song's driving riff and rhythmic foundation, contributing to its infectious groove. Drums were handled by , delivering a tight, propulsive beat that underpinned the track's momentum. performed both rhythm and lead guitar parts, adding layered textures and melodic hooks. Jimmy Destri contributed keyboards, notably organ fills that enhanced the song's new wave flair. provided additional guitar, bolstering the dual-guitar attack. Backing vocals were supplied by Harry alongside the other band members, creating a fuller choral effect in the choruses.

Production credits

The production of "One Way... or Another" was led by , an Australian-born known for his work with new wave and rock acts, who helmed the sessions for Blondie's third album at the in during June and July 1978. Chapman's approach emphasized tight arrangements and polished sound, contributing to the track's infectious energy and commercial appeal. Engineering duties for the recording fell to Peter Coleman, who served as both lead and assistant producer under Chapman, capturing the band's performances with a focus on and clarity. Assistant engineer Grey Russell supported the sessions, handling tape operations and overdubs to ensure seamless integration of the band's elements. Mixing was also managed within this team at the , refining the track's punk-pop blend for release. The art direction and design for the single's sleeve were provided by Ramey Communications, a firm specializing in album packaging, which created a minimalist visual aligned with the era's new wave aesthetic. At , co-founder and president played a key role in the single's promotion, having signed Blondie to a major deal in 1977 and allocating resources to position the band for international success, including targeted radio and tour support for "."

References

  1. https://www.songfacts.com/facts/blondie/one-way-or-another
  2. https://faroutmagazine.co.uk/blondie-debbie-harry-one-way-or-another-story-behind-the-song/
  3. https://americansongwriter.com/one-way-or-another-blondie-meaning-and-song-lyrics/
  4. https://rockandrollglobe.com/new-wave/touched-by-her-presence-dear-debbie-harrys-face-it/
  5. https://ew.com/article/2011/09/20/blondie-debbie-harry-stories-behind-the-songs/
  6. https://faroutmagazine.co.uk/the-blondie-track-inspired-by-debbie-harry-stalker/
  7. https://recordcollectormag.com/articles/blondie-1978-act-class
  8. https://guitar.com/reviews/album/the-genius-of-parallel-lines-by-blondie/
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  29. https://www.guitarworld.com/features/the-lowlist-blondies-parallel-lines-the-album-that-defined-new-wave
  30. https://kworb.net/spotify/artist/4tpUmLEVLCGFr93o8hFFIB_songs.html
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  43. https://www.youtube.com/watch?v=QdJmFRZVh3M
  44. https://www.discogs.com/release/6122193-Blondie-Live-By-Request
  45. https://glee.fandom.com/wiki/Hit_Me_with_Your_Best_Shot/One_Way_or_Another
  46. https://secondhandsongs.com/performance/336853/all
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  48. https://blondie.net/discography/parallel-lines/
  49. https://www.guitarworld.com/features/frank-infante-blondie
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  51. http://albumlinernotes.com/Parallel_Lines.html
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