photo & text by nacrowe
as i mentioned before in my FACE IT book review, my brother works at a big box electronics retailer and within the past year had an older customer come in about her phone. my brother started looking over the phone and asked the customer "are you?..." to which she said "yes." at that point he went in a back room with the phone to begin repairing it and told an associate "that's pretty wild that DEBBIE HARRY is outside" to which his coworker asked "who's DEBBIE HARRY?"
well, DEBBIE HARRY is the legendary singer of BLONDIE, one of the most iconic NEW WAVE bands that came out of the original PUNK ROCK scene at CBGB's in the late 1970s that also famously nurtured TELEVISION, PATTI SMITH, SUICIDE, THE DEAD BOYS, TALKING HEADS and, of course, THE RAMONES. i know there is much debate about what specifically constitutes a PUNK band versus a NEW WAVE band and where BLONDIE fits into that schema. such talk never really interested me. all i know is that PARALLEL LINES (CHRYSALIS, 1978) is a great pop record with all that entails: great hooks, powerful performances, thoughtful lyrics and sheer charisma. there is a reason that HARRY is so beloved and has been a touchstone for everyone from JOAN JETT, ELASTICA and MADONNA to GARBAGE, R.E.M. and NO DOUBT. i dont want to get away from the obvious fact that DEBBIE HARRY is a female cultural icon in the vein of MARILYN MONROE. there is a reason ANDY WARHOL did portraits of her during the last decade of his life. but i think that image also has an underbelly and such is that she is criminally underrated as a singer and a recording artist due to her commercial appeal and status as a pre-internet celebrity.
PARALLEL LINES often gets attached to the PUNK and NEW WAVE movements, but in my estimation the movement that should be referenced is the POWER POP movement that sought to modernize the modern classicism of THE BEATLES. This is evidenced in the excellent covers of THE NERVE's "HANGING ON THE TELEPHONE" and BUDDY HOLLY's "I'M GONNA LOVE YOU TOO" as well as all the CHRIS STEIN written/co-written tracks such as "PICTURE THIS," "SUNDAY GIRL," and of course "HEART OF GLASS." all showcase a way with a memorable pop hook that was not attached to their more experimental brethren at the time. that sense of melodic appeal and pop sheen has been a sore spot for many when compared to the likes of PATTI SMITH, TALKING HEADS or THE RAMONES, but in my mind they all carved their own lane. why do they all need to sound the same. it is the same case when one realizes that GREEN DAY and NEUROSIS came from the same EAST BAY scene and where admirers of one another. life is complicated, get over it.
Perhaps my favorite moment on PARALLEL LINES is "ONE WAY OR ANOTHER" written by HARRY and based on her experience with a stalker. the song is from the perspective of the perpetrator and the lyrics really counteract that celebratory upbeat vibe of the music. its an interesting juxtaposition that subverts listener expectations and showcases the psychological complexity of a deranged mind focused on the object of his/her obsession. it many ways this voyeurism is mirrored in the deification involved in celebrity culture, something i am almost certain was not lost on HARRY who was the object of said attention.
i want to close by mentioning that guitarist CHRIS STEIN is also criminally underrated as a songwriter. his sense of melody, structure and arrangement is often overlooked among his peer group. i feel the influence of BLONDIE on modern music is as much his legacy as HARRY's, who obviously was the public-facing member of the group. on top of that he is also a talented photographer.
definitely check out PARALLEL LINES and take in its sublime pop bliss. and then listen to THE RAMONES.