Parallel Lines [VINYL]

Product Information

In June 1978 the band entered the Record Plant in New York to record their third album, and first with Chapman. [2] However, Chapman found the band difficult to work with, remembering them as the worst band he ever worked with in terms of musical ability, although praising Frank Infante as "an amazing guitarist". Sessions with Chris Stein were hampered by his being stoned during recording, and Chapman encouraged him to write songs rather than play guitar. Similarly, according to Chapman, Jimmy Destri would prove himself to be far better at songwriting than as a keyboardist, and Clem Burke had poor timing playing drums. As a result, Chapman spent time improving the band, especially Stein with whom Chapman spent hours rerecording his parts to ensure they were right. [1] Bassist Nigel Harrison became so frustrated with Chapman's drive for perfection that he threw a synthesizer at him during recording. [2] Chapman recalls the atmosphere at the Record Plant in an interview for Sound on Sound:

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

Dutch album certifications – Blondie – Parallel Lines" (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers . Retrieved August 5, 2018. Enter Parallel Lines in the "Artiest of titel" box. Select 1979 in the drop-down menu saying "Alle jaargangen". Scaping, Peter, ed. (1979). "Top 200 LPs in 1978". BPI Year Book 1979 (4thed.). London: British Phonographic Industry. pp.182–85. ISBN 0-906154-02-2. Sheffield, Rob (1995). "Blondie". In Weisbard, Eric; Marks, Craig (eds.). Spin Alternative Record Guide. Vintage Books. pp.49–50. ISBN 0-679-75574-8. Sheffield, Rob (January 1995). "The Go-Go's: Return to the Valley of the Go-Go's / Blondie: The Platinum Collection". Spin. Vol.10, no.10. New York. pp.72–74. ISSN 0886-3032– via Google Books. Billboard 200 Albums – Year-End 1979". Billboard. Archived from the original on May 22, 2020 . Retrieved February 21, 2020.NME Writers' All Time Top 100 Albums". timepieces.nl. March 2003. Archived from the original on September 17, 2014 . Retrieved July 11, 2012.

Blondie – Parallel Lines (1978, Vinyl) - Discogs

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 [album]". deborah-harry.com. Archived from the original on February 4, 2014 . Retrieved February 4, 2014. Parallel Lines' 30th anniversary collector's edition press release (May 2008)". deborah-harry.com. Archived from the original on February 4, 2014 . Retrieved February 4, 2014.Harris, Bill (November 17, 2006). "Queen rules – in album sales". Jam!. Archived from the original on June 29, 2012 . Retrieved October 19, 2020. 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 ]