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Track List
01) Hanging on the Telephone
02) One Way or Another
04) Fade Away and Radiate
06) I Know but I Don't Know
08) Will Anything Happen?
10) Heart of Glass 
03) Picture This
05) Pretty Baby
07) 11:59
09) Sunday Girl
11) I'm Gonna Love You Too
12) Just Go Away
01) Hanging on the Telephone
02) One Way or Another
04) Fade Away and Radiate
06) I Know but I Don't Know
08) Will Anything Happen?
10) Heart of Glass
03) Picture This
05) Pretty Baby
07) 11:59
09) Sunday Girl
11) I'm Gonna Love You Too
12) Just Go Away
2:24
3:35
4:01
3:54
3:01
3:48
2:57
3:21
3:19
3:05
2:10
3:27
Data Complete 80%
Total Rating
Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1978
New Wave
Happy
Punk
---
Medium
Album
58/100
00842812100536
20,000,000 copies
Album Description
Available in:
Paru en 1978 chez Chrysalis Records, Parallel Lines s'impose comme le troisième album studio de Blondie et le sommet commercial incontesté de leur discographie.
Marquant leur première collaboration avec le producteur Mike Chapman, ce disque a propulsé le groupe au rang de stars mondiales en atteignant le sommet des charts britanniques et en s'écoulant à plus de vingt millions d'exemplaires à travers le monde.
Véritable machine à tubes, l'opus délivre des classiques indémodables du mouvement new wave tels que « Heart of Glass », « Hanging on the Telephone », « Sunday Girl » ou encore « One Way or Another ».
Avec six singles tirés de ses douze pistes, l'album a laissé une empreinte indélébile dans l'histoire de la musique, figurant en bonne place dans les classements prestigieux de Rolling Stone, du NME et de Blender.
Tirant son nom d'une chanson inachevée du groupe, cette œuvre reste un modèle d'efficacité pop-rock, fusionnant avec élégance l'énergie brute du punk new-yorkais et une sophistication mélodique qui continue d'influencer les générations actuelles.
User Album Review
The most perfect example of Blondie's grafting of sixties power pop with new wave, Parallel Lines was one of the biggest hits of 1978/9. Supremely assured, the group was unafraid to go disco, go art, or just play fine, fine pop.
After years in the business, Debbie Harry was street-wise, confident, completely in control. Thousands of teenagers were enraptured – boys wanted to be with her, girls wanted to be her. With her musical partner Chris Stein, they created intelligent pop that referenced all of their 60s favourites, while embracing the CBGBs punk scene in New York that the group had grown out of. Working with British bubblegum producer, Mike Chapman, they selected material which played to the group's strengths. Chapman had co-written glam classics such as “Blockbuster” by Sweet and “Tiger Feet” by Mud, so was well-trained in spotting a great pop tune when he heard one. And hear them he did, with Stein and Harry dipping into a catalogue of songs, with contributions from the rest of the band and songwriter Jack Lee, who contributed the unforgettable opener, “Hanging On The Telephone.” To underline Blondie’s art background, Robert Fripp was also on hand, contributing guitar to the brooding “Fade Away and Radiate.”
But no-one cared much for the art when the pop was this flamboyant. Containing the No.1s “Sunday Girl” and disco-pastiche turned disco-classic “Heart Of Glass” as well as “Picture This” and “Hanging On The Telephone”, Parallel Lines, with its iconic cover imagery, was a permanent fixture in Britain in the late 70s. It went to No. 1 in the chart on 17th February and remained there for four weeks, staying on the listings for 106 weeks in total.
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User Comments
Available in:
Paru en 1978 chez Chrysalis Records, Parallel Lines s'impose comme le troisième album studio de Blondie et le sommet commercial incontesté de leur discographie.
Marquant leur première collaboration avec le producteur Mike Chapman, ce disque a propulsé le groupe au rang de stars mondiales en atteignant le sommet des charts britanniques et en s'écoulant à plus de vingt millions d'exemplaires à travers le monde.
Véritable machine à tubes, l'opus délivre des classiques indémodables du mouvement new wave tels que « Heart of Glass », « Hanging on the Telephone », « Sunday Girl » ou encore « One Way or Another ».
Avec six singles tirés de ses douze pistes, l'album a laissé une empreinte indélébile dans l'histoire de la musique, figurant en bonne place dans les classements prestigieux de Rolling Stone, du NME et de Blender.
Tirant son nom d'une chanson inachevée du groupe, cette œuvre reste un modèle d'efficacité pop-rock, fusionnant avec élégance l'énergie brute du punk new-yorkais et une sophistication mélodique qui continue d'influencer les générations actuelles.
User Album Review
The most perfect example of Blondie's grafting of sixties power pop with new wave, Parallel Lines was one of the biggest hits of 1978/9. Supremely assured, the group was unafraid to go disco, go art, or just play fine, fine pop.
After years in the business, Debbie Harry was street-wise, confident, completely in control. Thousands of teenagers were enraptured – boys wanted to be with her, girls wanted to be her. With her musical partner Chris Stein, they created intelligent pop that referenced all of their 60s favourites, while embracing the CBGBs punk scene in New York that the group had grown out of. Working with British bubblegum producer, Mike Chapman, they selected material which played to the group's strengths. Chapman had co-written glam classics such as “Blockbuster” by Sweet and “Tiger Feet” by Mud, so was well-trained in spotting a great pop tune when he heard one. And hear them he did, with Stein and Harry dipping into a catalogue of songs, with contributions from the rest of the band and songwriter Jack Lee, who contributed the unforgettable opener, “Hanging On The Telephone.” To underline Blondie’s art background, Robert Fripp was also on hand, contributing guitar to the brooding “Fade Away and Radiate.”
But no-one cared much for the art when the pop was this flamboyant. Containing the No.1s “Sunday Girl” and disco-pastiche turned disco-classic “Heart Of Glass” as well as “Picture This” and “Hanging On The Telephone”, Parallel Lines, with its iconic cover imagery, was a permanent fixture in Britain in the late 70s. It went to No. 1 in the chart on 17th February and remained there for four weeks, staying on the listings for 106 weeks in total.
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