Editing Parallel Lines (section)

==Background==
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 |quote  = "Musically, Blondie were hopelessly horrible when we first began rehearsing for ''Parallel Lines'', and in terms of my attitude they didn't know what had hit them. I basically went in there like Adolf Hitler and said, 'You are going to make a great record, and that means you're going to start playing better.'"
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 |source = —[[Mike Chapman]], in an interview for ''[[Sound on Sound]]'', recalling Blondie's initial musical inexperience<ref name="sound"/>
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Blondie's second studio album, ''[[Plastic Letters]]'' (1977), was their last album produced by [[Richard Gottehrer]], whose sound had formed the basis of Blondie's [[new wave music|new wave]] and [[punk rock|punk]] output. During a tour of the [[West Coast of the United States|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 (song)|Heart of Glass]]" and "[[Sunday Girl]]" and he was impressed.<ref name=porter>{{cite book|last1=Porter|first1=Dick|last2=Needs|first2=Kris|author-link2=Kris Needs|title=Blondie: Parallel Lives|publisher=[[Omnibus Press]]|edition=1st|year=2012|isbn=9781780381299}}</ref>