25 Albums I Can't Live Without: #13

Blondie, "Parallel Lines"

It just occurred to me that we’re halfway through the list. I hope you’re enjoying this countdown as much as I am.

Some artists’ music I’ve been familiar with all my life, while other artists took me much longer to become familiar with. I was well into my 20s before I knew much more of Blondie’s music than what was popular on the radio back in the day.

Even as a kid, I knew that Blondie’s music was different, even though I couldn’t tell you what “new wave” meant. Now that I’m older and have learned to appreciate deeper cuts, I can unequivocally say that “Parallel Lines” is an absolute masterpiece.

The quintessentially New York City band had worked with Richard Goettehrer on their previous records, but the head of the label decided that glam-rock superstar producer Mike Chapman could help Blondie craft better albums. There was animosity because Blondie was a group of tough, jaded New Yorkers who bristled at what they saw as a Los Angeles guy producing them even though Chapman is actually Australian and cut his teeth in the British rock scene.

Their styles clashed; Chapman said that all Blondie wanted to do was have fun and not work, and his mandate was to be tough and help the band live up to its potential. Chapman’s perfectionism paid off because he was able to smooth out some of their rougher edges and create a sound that melded pop sensibilities with the band's scruffy toughness.

“Parallel Lines” kicks off with a bang with “Hanging on the Telephone,” one of two covers of songs by The Nerves. The other Nerves cover on Side 2 is “Will Anything Happen?”

“One Way or Another” has been in so many commercials that it’s almost a cliche, but it’s still a terrific song. Inspired by Debbie Harry’s experience with a stalker, the aggressive lyrics pack a punch that match her powerful vocals.

“Picture This” is an evocative song of longing, and Chapman was convinced that Harry’s lyrics were her true feelings for her bandmate, songwriting partner, and boyfriend, Chris Stein.

“Pretty Baby” is a pastiche of the early ‘60s girl-group sound that works both as a throwback and a snapshot of late ‘70s New York. It shows how much Harry drew from earlier eras for her image and sound.

Side 2 kicks off with “11:59,” which keyboardist Jimmy Destri wrote. It contains some of the most poetic lyrics on the album. It draws on some ‘60s influences as well, and Destri’s organ work shines.

“Sunday Girl” is a pure pop number that Stein based on Harry’s cat running away.

Another cover, this time of Buddy Holly’s “I’m Gonna Love You Too,” and the snarling, taunting “Just Go Away” close out the album.

But I’ve saved the best for last. Anytime I talk about “Heart of Glass,” I love to point out the evolution of the song over the years before it appeared on “Parallel Lines.”

Sheer pop perfection.

Blondie had a long, checkered history after “Parallel Lines,” but nothing came close to the band’s masterwork. I can listen to it time and time again, and it never gets old.

Photo credit: Private Stock Records, Public domain, via Wikimedia Commons