The 500 Greatest Albums Of All Time: 100–1". NME. London. October 25, 2013 . Retrieved October 19, 2020.

Blondie – Parallel Lines (2015, 180 Gram, Vinyl) - Discogs Blondie – Parallel Lines (2015, 180 Gram, Vinyl) - Discogs

Sheffield, Rob (1995). "Blondie". In Weisbard, Eric; Marks, Craig (eds.). Spin Alternative Record Guide. Vintage Books. pp.49–50. ISBN 0-679-75574-8. American album certifications – Blondie – Parallel Lines". Recording Industry Association of America. June 6, 1979. Christgau, Robert (September 2008). "Blondie: Parallel Lines". Blender. No.73. New York . Retrieved June 30, 2013. Whitburn, Joel (2001). Top Pop Albums 1955–2001. Menomonee Falls, Wisconsin: Record Research Inc. p. 80. ISBN 0-89820-147-0. Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6.Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1sted.). Helsinki: Kustannusosakeyhtiö Otava. ISBN 978-951-1-21053-5. a b Plagenhoef, Scott (August 1, 2008). "Blondie: Parallel Lines: Deluxe Edition". Pitchfork . Retrieved July 9, 2012. Parallel Lines was a significant turning point for Blondie, though to be thoughtful, everyone should have seen this outing barreling at them like a suburban commuter train, a shift in the direction of more new wave pop oriented material, defined by a stylish blend of disco and radio friendly numbers that radiated with swirling synths, Chic induced guitar riffs, along with a relentless beat (drum machine) that stood in stark contrast to the nearly honey dripping sweetness of Deborah Harry’s vocals. Frere-Jones, Sasha (November 2001). "Destination Unknown". Spin. Vol.17, no.11. New York. p.137. ISSN 0886-3032– via Google Books.

Blondie – Parallel Lines (1979, Disco Version, Vinyl) - Discogs Blondie – Parallel Lines (1979, Disco Version, Vinyl) - Discogs

Greatest Albums of All Time". Rolling Stone. New York. May 31, 2012 . Retrieved September 18, 2019. Blondie Celebrating 30th Birthday Of 'Parallel Lines' ". Billboard. May 20, 2008 . Retrieved February 4, 2014. Against the Odds 1974–1982 (liner notes). Blondie. Capitol, Universal. 2022. 00602508760969. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) Parallel Lines (liner notes). Blondie. Chrysalis Records. 1978. CHR 1192. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link)Blondie's New York... and the Making of Parallel Lines". BBC Four. August 25, 2017 . Retrieved February 12, 2021. Chapman took an unorthodox approach when recording with Harry whom he describes as "a great singer and a great vocal stylist, with a beautifully identifiable voice. However... also very moody". Chapman was far more cautious of demanding much from Harry as he saw her as a highly emotional person who would vest these emotions in the songs they made. He remembers Harry disappearing into the bathroom in tears for several hours at a time during recording. [1] During a day of recording, Harry sang two lead parts and some harmonies, less work than she did previously with Gottehrer. This was due to Chapman encouraging her to be cautious about the way she sang, particularly to recognise phrasing, timing and attitude. [2] Parallel Lines' 30th Anniversary collector's edition artwork". deborah-harry.com. Archived from the original on February 4, 2014 . Retrieved February 4, 2014. Blondie's second studio album Plastic Letters was their last album produced by Richard Gottehrer, whose sound had formed the basis of Blondie's new wave and punk output. During a tour of the west coast of the US in support of Plastic Letters, Blondie encountered Australian producer Mike Chapman in California. Peter Leeds, Blondie's manager, conspired with Chrysalis Records to encourage Chapman to work with Blondie on new music. Drummer Clem Burke recalls feeling enthusiastic about the proposition, believing Chapman could create innovative and eclectic records. However, lead vocalist Debbie Harry was far less enthusiastic about Chapman's involvement as she knew him only by reputation; according to Chapman, her animosity towards him was because "they were New York. [He] was L.A.". Harry's cautiousness abated after she played Chapman early cuts of "Heart of Glass" and "Sunday Girl" and he was impressed. [2] Recording [ edit ] In 2000, Parallel Lines was voted number 57 in Colin Larkin's book All Time Top 1000 Albums. [27] Three years later, it was ranked at number 140 on Rolling Stone 's list of the 500 greatest albums of all time, [8] maintaining the rating in a 2012 revised list; [28] an accompanying essay said the album was "where punk and New Wave broke through to a mass U.S. audience". [8] It has also been placed at number 18 and 45 on NME 's 100 Best Albums of All Time (2003) [29] and 500 Greatest Albums of All Time (2013) lists, [30] respectively; number 7 on Blender 's 100 Greatest American Albums of All Time; [31] number 94 on Channel 4's 2005 list of the 100 greatest albums of all time; [32] and number 76 on Pitchfork 's list of the best albums from the 1970s. [33] Reissues [ edit ]