Gradually, we’re delving into Blondie’s discography. Hailing from New York, this band offered a unique fusion from the start, blending Punk with Hard Rock. Later, they added an undeniable Pop sensibility, characterizing their genre, deemed “New Wave” by many critics.
This trend encompassed bands like The Police, Talking Heads, among others a style where rebellion, romanticism, and synthesizers converged, injecting a refreshing element into the so-called “Post-Punk.”
Blondie stood apart Debbie Harry’s femininity and sensuality mingled with the band’s guitarist and at the time her partner, Chris Stein. Apart from his significant musical contributions, Stein doubled as the band’s official photographer, capturing the essence of his then girlfriend, transforming her into a female Rock icon, an entirely disruptive move for that era. Today, we’re discussing “Parallel Lines,” their third studio album that propelled them into international stardom.
What can we hear?
A band that delved deep into the recording studio to hone their technique and consequently, their sound. A story quite similar to Kiss’s album “Destroyer” (1976), where their producer Bob Ezrin introduced technical elements to the band’s sound. In this case, Australian producer Mike Chapman, renowned in the English pop scene, came to reshape Blondie’s musical direction. There’s a tale that bassist Nigel Harrison, frustrated with Chapman’s perfectionism, ended up throwing a synthesizer at him.
We hear a sound that minimized the rebellion of their previous albums, leaning more towards pop. This transition is evident in songs like “Pretty Baby” or the mega-hit that made them millionaires, “Heart Of Glass.” This disco track has practically played in clubs worldwide, showcasing the tremendous influence of producer Mike Chapman.
However, despite the Pop essence, the New Wave Rock isn’t abandoned at any point. For example, “One Way Or Another,” their international super hit, embodies a different, feminine, and strident Punk vibe, presenting complexity. It contains one of the best guitar bridges in Rock history, featuring a delightful guitar interplay between Chris Stein and Frank Infante. You can read more in depth about it at guitar.com
Blondie's Versatility
“Parallel Lines” is a diverse album. We hear Disco, Punk, Pop, and even a touch of experimentation in the song “Fade Away and Radiate.” A track that might even bear progressive and psychedelic influences, one that wouldn’t seem out of place in Pink Floyd’s repertoire.
Synthesizers are crucial in “Parallel Lines,” adding a unique dimension to the album. They pave the way for differentiation. Songs like “I Know But I Don’t Know” or “11:59” offer a renewed Punk sound, with purposeful instrumentation, and notably, Debbie Harry’s vocals at their peak—velvety, potent, delicate, and yet brimming with female empowerment, poised to break tired and clumsy stereotypes.
Clem Burke’s drumming (who would later collaborate with Ramones) is worth noting organic production but with high standards of excellence. We can discern his brilliant cymbals, a snare with a loose snare wire, and toms recorded with maximum fidelity on each album track.
@therockreview #Blondie has always rocked on! And continues to #Rock. Check out our #AlbumReview of ‘Parallel Lines’ which has inspired many female singles such as #shirleymanson of #garbage and #hayleywilliams of #paramore ♬ original sound - teeharpo
Full-On Punk Attitude
“Parallel Lines” topped the UK charts and held the number 6 spot in the United States for several months an extraordinary feat for Blondie, who proposed new musical, visual, and social concepts, rooted in the classic Punk of bands like the Sex Pistols, radiating their attitude. Rumor has it that Debbie Harry finished writing some of the songs (including “One Way or Another”) on a last-minute basis in the recording studio.
In conversation with a close fan, we concluded that Blondie always deserved more. They are much more than their hits a project that consistently aimed to propose new music outside the box, undoubtedly positioning women as a premier act in Rock.
Which track from Blondie’s “Parallel Lines” album resonates with you the most, and why? Share your thoughts in the comments!
