Heart of Glass (song)
"Heart of Glass" is a song by the American new wave band Blondie, written by singer Debbie Harry and guitarist Chris Stein. It was featured on the band's third studio album, Parallel Lines (1978), and was released as the album's third single in January 1979 and reached number one on the charts in several countries, including the United States and the United Kingdom.[1][2]
For the Celine Dion song, see Courage (Celine Dion album)."Heart of Glass"
- "Rifle Range" (UK)
- "11:59" (US)
January 1979
June 1978
3:22 (US 7" Version)
4:12 (UK 7" Version)
3:54 (Original Album Version)
5:50 (12" "Disco" Version, 2nd Album Version)
4:33 ("Special Mix" from The Best of Blondie)
In December 2004, Rolling Stone ranked the song number 255 on its list of the 500 greatest songs of all time.[3] It was ranked at number 259 when the list was updated in April 2010[4] and at number 138 in their 2021 update.[5] Slant Magazine placed it at number 42 on their list of the greatest dance songs of all time[6] and Pitchfork named it the 18th best song of the 1970s.[7] Billboard magazine ranked "Heart of Glass" number 47 in their list of 500 best pop songs of all time in 2023.[8]
"Heart of Glass" ranked at number 66 in the UK's official list of biggest selling singles of all-time,[9] with sales of 1.32 million copies.[10] It was inducted into the Grammy Hall of Fame as a recording of "qualitative or historical significance" in 2015.[11] Harry herself stated that "Heart of Glass" was, along with "Rapture," the song she was proudest of having written.[12]
Harry and Stein sold their future royalties to the song, and the rest of Blondie's catalog, to Hipgnosis Songs Fund, in 2020.[13]
Background[edit]
Debbie Harry and Chris Stein wrote an early version of "Heart of Glass", called "Once I Had a Love", in 1974–75. This earlier version was initially recorded as a demo in 1975. The song had a slower, funkier sound with a basic disco beat. For this reason the band referred to it as "The Disco Song".[14][15] This original version was inspired by The Hues Corporation's hit disco song "Rock the Boat" (1974).[16] The song was re-recorded in a second demo with the same title in 1978, when the song was made a bit more pop-oriented. Harry said that "'Heart of Glass' was one of the first songs Blondie wrote, but it was years before we recorded it properly. We'd tried it as a ballad, as reggae, but it never quite worked", and that "the lyrics weren't about anyone. They were just a plaintive moan about lost love."[15] It was only when the band met with producer Mike Chapman to start work on Parallel Lines that Harry recalled Chapman "asked us to play all the songs we had. At the end, he said: 'Have you got anything else?' We sheepishly said: 'Well, there is this old one.' He liked it – he thought it was fascinating and started to pull it into focus."[15]
Exactly who decided to give the song a more pronounced disco vibe is subject to differing recollections. On some occasions, the producer Mike Chapman has stated that he convinced Harry and Stein to give the song a disco twist. On other occasions, Chapman has credited Harry with the idea.[17] As a band, Blondie had experimented with disco before, both in the predecessors to "Heart of Glass" and in live cover songs that the band played at shows. Bassist Gary Valentine noted that the set list for early Blondie shows often included disco hits such as "Honey Bee" or "My Imagination".[18]
In an interview published in the February 4, 1978, edition of NME, Debbie Harry expressed her affinity for the Euro disco music of Giorgio Moroder, stating that "It's commercial, but it's good, it says something... that's the kind of stuff that I want to do".[19] A notable example of this type of musical experimentation occurred when Blondie covered Donna Summer's "I Feel Love" at the Blitz Benefit on May 7, 1978.[20] In his history of CBGB, music writer Roman Kozak described this event: "When Blondie played for the Johnny Blitz benefit in May, 1978, they surprised everyone with a rendition of Donna Summer's 'I Feel Love'. It was arguably the first time in New York, in the middle of the great rock versus disco split, that a rock band had played a disco song. Blondie went on to record 'Heart of Glass,' other groups recorded other danceable songs, and dance rock was born."[21]
The song was ultimately given the disco orientation that made the song one of the best-known Blondie recordings. For the single release the track was remixed by Chapman, with the double-tracked bass drum even more accentuated.
In reflecting on the development of "Heart of Glass" from its earliest incarnations until the recorded version on Parallel Lines, Chris Stein noted that the earliest versions had a basic conventional disco beat, but that the recorded version incorporated the electronic sound of Euro disco, stating that "The original arrangement of 'Heart of Glass'—as on the [1975] Betrock demos—had doubles on the high-hat cymbals, a more straight-ahead disco beat. When we recorded it for Parallel Lines we were really into Kraftwerk, and we wanted to make it more electronic. We weren't thinking disco as we were doing it; we thought it was more electro-European."[14]
The Parallel Lines version (as well as most others) contained some rhythmic features that were very unusual for the disco context, which typically follows a strict four-beats-per-measure pattern for maximum danceability. The instrumental interludes in "Heart of Glass", in contrast, consist of 7
4 (seven-beat) phrases, with exception to the last phrase and subsequent reprises of each interlude, which resolve back to eight beats per phrase.
The song is associated with the disco, new wave, pop, and dance-rock genres.[22][23][24][25]
Production[edit]
"Heart of Glass" was recorded at the Record Plant in New York City in June 1978.[26] The production of "Heart of Glass" was discussed in detail by Richard Allinson and Steve Levine on the BBC Radio 2 radio program The Record Producers that was aired on May 25, 2009. As explained in the program, the production of "Heart of Glass" was built around the use of a Roland CR-78 drum machine. The CR-78 was first introduced in 1978, the same year that Parallel Lines was recorded, and the use of this device on "Heart of Glass" was, according to the program, among the earliest uses of this device in popular music. As the program explained, it was also very unusual to use a drum machine in the context of a rock band.
In deciding to use the CR-78 for "Heart of Glass", the choice was made to combine the sound of the drum machine with the sound of actual drumming. This reflected the hybrid nature of the song, the combination of a drum machine that was typically used in the context of dance music with the actual drum sound that was a traditional aspect of rock recordings. In combining these elements, the sound of the drum machine was first recorded on an individual track. To synchronize the actual drum play with the drum machine, the drums were also recorded on separate tracks, with the bass drum recorded separately from the rest of the drums.
Having combined the drums with the drum machine, another important feature of the CR-78 was that it could be used to send a trigger pulse to the early polyphonic synthesizers. This trigger pulse feature was also used on "Heart of Glass". The trigger pulse created by the CR-78 became a distinctive electronic/synth element of the song. The additional synthesizer portions of the song were played separately.
Other electronic musical instruments used in the track include the Roland SH-5 and Minimoog synthesizers. Due to the lack of music sequencers, they recorded three different parts using the SH-5 and Minimoog.[16]
For the guitars, each guitar part was again recorded on separate tracks. For the vocals, a single track and a double track of Debbie Harry's voice were combined into a single vocal recording.
In an interview in the magazine that is part of the collector's edition for the ninth Blondie studio album Panic of Girls, Debbie Harry explained that band members Chris Stein and Jimmy Destri had purchased the CR-78 from a music store on 47th Street in Manhattan, and that this is how the device had become part of the production of "Heart of Glass": "Chris and Jimmy were always going over to 47th Street where all the music stores were, and one day they came back with this little rhythm box, which went 'tikka tikka tikka'... And the rest is history!" Stein also credited Destri with influencing the song's sound, saying he "had a lot to do with how the record sounds... It was Jimmy who brought in the drum machine and a synthesiser. Synchronising them was a big deal at the time. It all had to be done manually, with every note and beat played in real time rather than looped over."[15]
Music video[edit]
The "Heart of Glass" music video was directed by Stanley Dorfman. Contrary to popular belief, it was not filmed at the Studio 54 nightclub; Chris Stein said that "in the video, there's a shot of the legendary Studio 54, so everyone thought we shot the video there, but it was actually in a short-lived club called the Copa or something".[15] The video begins with footage of New York City at night before joining Blondie on stage. Then, the video alternates between close-ups of Debbie Harry's face as she lip-syncs and mid-distance shots of the entire band. Harry said, "For the video, I wanted to dance around but they told us to remain static, while the cameras moved around. God only knows why. Maybe we were too clumsy."[15]
In the video Harry wears a silver asymmetrical dress designed by Stephen Sprouse.[15][42] To create the dress, Sprouse photo-printed a picture of television scan lines onto a piece of fabric, and then, according to Harry, "put a layer of cotton fabric underneath and a layer of chiffon on top, and then the scan-lines would do this op-art thing."[43] The popularity of the song helped Sprouse's work earn a lot of exposure from the media.[44] Harry also said that the T-shirts used by the male members of the band in the video were made by herself.[15]
"Draped in a sheer, silver Sprouse dress," Kris Needs summarized while writing for Mojo Classic, "Debbie sang through gritted teeth, while the boys cavorted with mirror balls". Studying Harry's attitude in the "effortlessly cool" video, musician and writer Pat Kane felt she "exuded a steely confidence about her sexual impact... The Marilyn do has artfully fallen over, and she's in the funkiest of dresses: one strap across her shoulder, swirling silks around about her. Her iconic face shows flickers of interest, amidst the boredom and ennui of the song's lyrics." Kane also noted that the band members fooling around with disco balls, "taking the mickey out of their own disco fixation."[45] Reviewing the Greatest Hits: Sound & Vision DVD for Pitchfork, Jess Harvell wrote that while "owning your own copy of 'Heart of Glass' may not seem as cool [anymore]... there's the always luminous Deborah Harry, who would give boiling asparagus an erotic charge, all while looking too bored to live."[46]
Crabtree Remix (The Handmaid's Tale)[edit]
A mashup by Daft Beatles (mashup producer Jonas Crabtree) titled "Crabtree Remix" was issued as a single in 2016. It combines elements of "Heart of Glass" and the Naxos recording of the second movement of the Violin Concerto by Philip Glass. The star of The Handmaid's Tale TV series, Elisabeth Moss, said in an interview for Refinery29 that she discovered the "Crabtree Remix" while making a playlist to prepare for the role and played it to the show's director Reed Morano. "Reed decided to put in the show during the protest scene, which is the perfect place for it. That song gives me chills just talking about it."[97] The series' costume designer Ane Crabtree also cites the "Crabtree Remix" as an inspiration for creating the iconic Handmaid's look: "Lizzy Moss introduced me to the Philip Glass/Blondie mashup 'Heart of Glass' by Daft Beatles. Listening to it over and over again led to me designing the head gear for the Handmaids".[98]