Blondie's Parallel Lines mixed punk, disco and radio-friendly FM rock with nostalgic influences from 1960s pop and girl group hits. This 1978 album kept one foot planted firmly in the past while remaining quite forward-looking, an impulse that can be heard in its electronic dance music hit “Heart of Glass.” Bubblegum music maven Mike Chapman produced Parallel Lines, which was the first massive hit by a group from the CBGB punk underworld. By embracing the diversity of New York City's varied music scenes, Blondie embodied many of the tensions that played out at the time between fans of disco, punk, pop and mainstream rock. Debbie Harry's campy glamor and sassy snarl shook up the rock'n'roll boy's club during a growing backlash against the women's and gay liberation movements, which helped fuel the “disco sucks” battle cry in the late 1970s. Despite disco's roots in a queer, black and Latino underground scene that began in downtown New York, punk is usually celebrated by critics and scholars as the quintessential subculture. This book challenges the conventional wisdom that dismissed disco as fluffy prefab schlock while also recuperating punk's unhip pop influences, revealing how these two genres were more closely connected than most people assume. Even Blondie's album title, Parallel Lines, evokes the parallel development of punk and disco-along with their eventual crossover into the mainstream.

Blondie's Parallel Lines mixed punk, disco and radio-friendly FM rock with nostalgic influences from 1960s pop and girl group hits. This 1978 album kept one foot planted firmly in the past while remaining quite forward-looking, an impulse that can be heard in its electronic dance music hit “Heart of Glass.” Bubblegum music maven Mike Chapman produced Parallel Lines, which was the first massive hit by a group from the CBGB punk underworld. By embracing the diversity of New York City's varied music scenes, Blondie embodied many of the tensions that played out at the time between fans of disco, punk, pop and mainstream rock. Debbie Harry's campy glamor and sassy snarl shook up the rock'n'roll boy's club during a growing backlash against the women's and gay liberation movements, which helped fuel the “disco sucks” battle cry in the late 1970s. Despite disco's roots in a queer, black and Latino underground scene that began in downtown New York, punk is usually celebrated by critics and scholars as the quintessential subculture. This book challenges the conventional wisdom that dismissed disco as fluffy prefab schlock while also recuperating punk's unhip pop influences, revealing how these two genres were more closely connected than most people assume. Even Blondie's album title, Parallel Lines, evokes the parallel development of punk and disco-along with their eventual crossover into the mainstream.

Thoroughly revised and expanded, this entertaining musical companion provides original reviews of more than seven hundred albums, along with deailed information on recording and production details, release dates, artists and musicians, cross references, and more. Original.

From Blondie's earliest days, performing at legendary New York punk venues such as Max's Kansas City and CBGB's, to their ultimate ascension to global superstardom at the end of the 1970s, Roberta Bayley was present to record the dramatic rise of Blondie and the unique phenomenon of Debbie Harry. The images collected in Blondie: Unseen 1976-1980 provide an inimitable evocation of one of the most creative and exciting periods in popular culture.

Parallel Lives is the definitive biography of Blondie, the iconic New York band led by singer Debbie Harry and guitarist Chris Stein. One of the most iconic groups of their generation, Blondie experienced an unparalleled rise to global superstardom during the late 1970s, topping charts and breaking moulds. This Omnibus Enhanced edition includes a Digital Timeline of Blondie's career packed with audio, video and images of tour nights, memorabilia, music videos and interviews. Additionally, throughout the book are links to curated playlists allowing you to hear Blondie's finest gems, their early influences and more. Beginning with their childhoods, backgrounds and influences, Parallel Lives charts the development of Blondie towards their global success and fractured break-up; followed by their 1997 reformation, critical renaissance and controversial induction into the Rock n’ Roll Hall of Fame. Drawing upon extensive and revealing interviews with Debbie Harry, Chris Stein and other significant players, the Omnibus Enhanced Blondie: Parallel Lives is the definitive, eye-witness account of the group’s long and tumultuous existence. Co-author Kris Needs had established a friendship with Harry, Stein and the rest of the band that endures to this day. Now, as a trusted confidante, he finally reveals the full story.

INDIEFAB Book of the Year Awards -- 2014 Finalist On the occasion of Blondie’s fortieth anniversary, Chris Stein shares his iconic and mostly unpublished photographs of Debbie Harry and the cool creatures of the ’70s and ’80s New York rock scene. While a student at the School of Visual Arts, Chris Stein photographed the downtown New York scene of the early ’70s, where he met Deborah Harry and cofounded Blondie. Their blend of punk, dance, and hip-hop spawned a totally new sound, and Stein’s photographs helped establish Harry as an international fashion and music icon. In photos and stories direct from Stein, brilliant writer of hits like "Rapture" and "Heart of Glass," this book provides a fascinating snapshot of the period before and during Blondie’s huge rise, by someone who was part of and who helped to shape the early punk music scene—at CBGB, Andy Warhol’s Factory, and early Bowery. Stars such as David Bowie, the Ramones, Joan Jett, and Iggy Pop were part of Stein’s world, as were fascinating downtown characters like Jean-Michel Basquiat, Richard Hell, Stephen Sprouse, Anya Phillips, Divine, and many others. As captured by one of its greatest artists and instigators, and designed by Shepard Fairey, this book is a must-have celebration of the new-wave and punk scene, whose influence on music and fashion is just as relevant today as it was four decades ago.

Over 250 Disco-era album covers-from sexy to silly, elegant to outrageous-that brings alive a time when fashion, politics, and sexuality all converged in harmony on the dance floor. Paging through To Disco, with Love is like catching Saturday Night Fever all over again. From Diana Ross and Donna Summer gazing fiercely from their chart topping albums to the Village People's trademark costumes and the Bee Gee's blinding white jumpsuits, To Disco celebrates the days when the dance floor ruled the world. Gathered together and presented chronologically, these striking covers tell the story of a moment in time when art and photography, music, and dance changed the world. We see a rapid evolution, from the early days when Disco's roots were firmly planted in Soul, Latin, and Jazz, all the way to the digital revolution of the 1980s. Like fleeting moments caught in the strobe, these covers vibrantly capture our takes on fashion and beauty, wealth and status, sex, race, and even God. As the hair gets bigger, bell bottoms wider, and platform shoes steeper, the vibrancy and energy of this moment in music history is brought back to vivid life. Accompanied by insightful, spirited descriptions that showcase the evolving trends in photography, illustration, and design, To Disco, with Love charts the history of the music and the industry during its groovy heyday.

Everyone recognises the iconic photo from the cover of the Ramones' self-titled album of 1976. But how many have seen the image, taken with the same roll of film, of Dee Dee excitedly chasing his bandmates out of shot with a stick? This compilation of stunning images from punk and new wave's most iconic albums uncovers these lost photographs, along with the stories behind them. With hundreds of photographs, accompanied by anecdotes, interviews and first-hand accounts from the photographers themselves, this book gives access to rare behind-the-scenes stories about how shoots took place and the creative processes behind them.

What do Gregory Abbott, Boy Meets Girl, Lou Christie, Club Nouveau, Gardner Cole, Cutting Crew, Rick Dees, The Escape Club, Expose, Michael Sembello, Billy Vera & the Beaters, Rob Hyman, Tiffany, The Knack, A Taste of Honey and Wild Cherry all have in common? For starters, they are all pop stars that have enjoyed the experience of having their songs reach the Number One position on the American music charts. They are also among the 140 artists who responded to writer Randolph Michael's call to be questioned for this book, Flashbacks to Happiness, which is a survey of hit songs of the 1980's and what it took to make them. Readers who are interested in popular music, and the '80's decade in particular, will find the interviews included within these pages to be fascinating testaments of how the music industry has changed to such a drastic extent in the last 20 years. It also details how artists have managed to keep their careers alive despite today's increasingly unstable marketplace and often-fickle music buying public.

Blondie was formed in New York by singer Debbie Harry and her guitarist boyfriend Chris Stein, after they left a band calledthe Stilettoes in July 1974. The band's name was inspired by 'Hey, Blondie!' catcalls directed at Debbie.Blondie signed with Private Stock Records, and released their debut album BLONDIE in December 1976, but initially at leastit wasn't successful. The band's second album, PLASTIC LETTERS, was moderately successful, but it really wasn't until the band's third album PARALLEL LINES was released that global success on a massive scale really took off.For the purposes of this book, to qualify as a Top 40 hit, a single or album must have entered the Top 40 chart in at least one of the featured countries. The Top 40 hits are detailed chronologically, according to the date they first entered the chart in one or more of the featured countries. Each Top 40 single and album is illustrated and the catalogue numbers and release dates are detailed, for the USA and the UK, followed by the chart runs in each country.The main listings are followed by 'The Almost Top 40 Singles', which gives an honourable mention to singles that peaked between no.41-50 in one or more countries, but which failed to enter the Top 40 in any. There is also a points-based list of the Top 20 singles and Top 20 albums, plus a fascinating Trivia section, which looks at the most successful singles and albums in each of the featured countries.