Listening to the 1978 release of “Parallel Lines,” by Blondie feels as if you’re treating yourself to something special. What I mean by that is that this record has always remained dear to me. It’s an album where I wasn’t expecting that it would have some sort of impact during my university years. I still remember listening to the record for the first time in its entirety. I was amazed, because I couldn’t believe how almost every song was catchy, and not corny. FINALLY! The engaging energy, the melody, Deborah Harry’s voice is all bottled up into what I call, possibly, my favourite record of all time… But let me tell you one thing here, the writing behind each song is great, and how it’s expressed, by being distinctive on its own gets to me. These days, before, and within the future, there’s always going to be competition in the music industry, and you need to stand out. TRUST ME! And Blondie stands out, because you can recognize their melody, the pace of their music, and the beat. In a nutshell, it’s their sound that sticks out the most, PERIOD.

Let me explain, Clem Burke is such a helluva drummer. When he’s opening side two of the record with “11:59,”you can feel his energy from that insane pounding of a drum beat that he’s doing. Kinda like as if he’s purposely giving you the intention of being pulled towards this sort of mayhem that’s about to be laid down. But oddly enough, he eases up when Debbie Harry’s soft vocals segways into the song. Same goes for, “Hanging on the Telephone,”  but you can forget about him easing up, because he’s pulling all of his energy towards this song. Sure Burke can be rough, but can get into this sort of hypnotizing disco upbeat that fits perfectly well with the band’s well known hit, “Heart of Glass.”

But, It’s not only about Bruke’s drumming that I love in “Parallel Lines,” it’s the production behind each song. There’s some sort of undying energy being released. It’s as if, we’re looking back retrospectively, the band is telling you that, this is what we played back in 1978 down at Bowery in New York at CBGB’s club.

What’s even better was how Harry’s vocals can sometimes be rough, but fits perfectly with each song. And please don’t get the impression that Harry’s vocals are always rough, because it’s not. Just listen to “Sunday Girl,” where you can hear Harry’s soft, tender voice, being accompanied by their great, and catchy melody. Every time I get the chance to listen to that voice, I dream. It’s as if she’s taking you into the world she’s describing to us; it’s just magical. Just see for yourselves the lyrics of“11:59.” You can see how she’s expressing the notion of time running out, but expressing it in a beautiful poetic way.

“Pumping like a fugitive in cover from the night 

Take it down the freeway like a bullet to the ocean 

Wait until the morning, take tomorrow by the hand 

Take it down the highway like a rocket to the ocean, we can run 

Today can last another million years 

Today could be the end of me 

It’s 11:59, and I want to stay alive.”