Question: Are you excited about revisiting "Parallel Lines" after 30 years?
Answer: As an entity, as a total package, yes. But we have been doing a lot of those songs individually all along. It changed the nature of Blondie in a lot of ways. It put us on the map worldwide. It brought us to a different idea about what it was actually like to make records. It was a different approach. ... It made us mature in a way, and really stop fooling around and get into the idea of what it was really to make a pop record, to make a competitive record.
Question: When it started taking off, did it surprise you?
Question: Well, no. (Laughs) I was always very optimistic, and I still am. I always think that if we get to the point where we actually record it, it's pretty much something that I'm proud of and interested in and that other people will like.
Question:And now, are you prepared to sort of dive back into history this way?
Question: For a band like Blondie, that's what we're sort of relegated to. We're not really encouraged to move forward and be current. That, to me, is a disaster. ... A lot of bands, after they make their early breakthroughs, people think, "Well, that's it for them." That's like death, creative death. That's why I always had to do solo albums because I really needed to do something about today. I'm happy, and I'm proud to have done something that people love and relate to, but I'm always moving ahead.
The hits of Parallel Lines brought New York sounds to the rest of the world.
Heart of Glass: The combination of disco, rock and pop elements gave Blondie its first No. 1 and one of disco's few hits that never sounded dated.
One Way or Another: The snarling guitars unveiled what polished New York punk could be.
Sunday Girl: A little new wave, a little French pop and a whole lot of charm landed them a British No. 1.