UNPARALLELED POP

Parallel Lines, Blondie’s third album, was the one where they transitioned from arch art-punk New Wavers to breakthrough pop megastars. Built around the cool deadpan delivery of an extraordinary front person, Parallel Lines yielded a slew of hits and sold bucketloads around the world. Not bad for a New York alt rock band who started at the down-at-heel CBGB’s nightclub in Manhattan’s East Village. Ramones played their first ever gig at CBGBs and the legendary venue was a springboard for several bands who became world famous, Talking Heads and Television amongst their number. But we digress. Today we are looking at the band who lined up behind the mesmerising Ms Debbie Harry, the eponymous Blondie.

Recorded in mid-1978 at New York’s Record Plant and released in September of that year, Parallel Lines blasts out of the gate with the crackling energy of "Hanging On The Telephone". After a quick ring tone, the song reveals itself as a pop-rock gem. Including the title hook at the end of each verse is a clever device, especially on an opening track. We’re singing along before we know it.

Things don’t slow down with "One Way Or Another", displaying a New Wave sneer that hints at Blondie’s origins. "Picture This" is a love-song with twists and turns as Harry gets close to actually emoting, somewhat at odds with her oh-so-cool image and don’t-give-a-toss delivery. The fourth ace in this winning opening hand is the arty, moody "Fade Away And Radiate". Here the keyboards come forward, adding texture and atmosphere to the previous guitar band strut. What makes it so strong, and so well placed in the running order, is that it backs off the pace without diminishing the intensity. "Fade Away" is an oft overlooked jewel in the Blondie catalogue, enhanced by a lovely little guitar solo embedded in the synth mix. Superb pop.

Keyboard player Jimmy Destri wrote "11:59", the opening song on side two of Parallel Lines. It’s classic power pop: great rhythmic drive, guitars, organ solo, catchy chorus and that hint of darkness buried in the best power pop. It’s 11:59 and I want to stay alive. The punkiest song is without doubt "Will Anything Happen?". This, the second Jack Lee song on the LP, beautifully illustrates the rockier style of power pop and makes a brilliant pair with "11:59". Then, after guitarist Chris Stein’s lovely pop ballad "Sunday Girl", we come to the biggest hit from Parallel Lines. Oddly, it is also the musical outlier.

"Heart Of Glass" channels the Euro-disco of Giorgio Moroder, combining Kraftwerk-style repetition with of-the-era Donna Summer drums to create a club classic that sounds as good in the lounge room or car as it does under the swirling mirror ball glitter of a chemically enhanced dance party. Co-written by Debbie Harry and partner Chris Stein, "Heart Of Glass" has a brilliant ascending bass-line, pattering drum machine rhythms and a great lyric. No wonder it is the best known Blondie song and has appeared in numerous Best Song Ever lists through the years.

After a bubbly, joyous Buddy Holly cover the album finishes with Harry’s pop-tabulous "Just Go Away". Demonstrating that she is a sassy New York gal and not just an updated Nico copyist, Ms Blondie rips into this slight song with such gusto that we’re left smiling and jumping about and thinking, maybe I’ll just turn the LP over and start again. Parallel Lines is that sort of record.

© Bruce Jenkins—September 2023