Following a brief review of Blondie’s history, most of this feature article consists of an interview with Chris Stein on the finer points of guitars, studio work, and Stein’s musicianship, including the various guitars he plays.--Ed. 
 
 

In the late '70s, Deborah Harry's icy beauty and tough/tender voice so captivated audiences that many assumed her name was "Blondie" and that she was being backed by some very lucky--and very expendable--musicians. It got so bad that a publicist distributed "Blondie is a Band!" buttons to remind journalists and fans alike that the group was indeed a group.
 

But one listen to No Exit [Beyond/BMG], the band's reunion CD, proves that the "boys" are, were, and always will be indispensable elements of the classic Blondie sound. In fact, the muted rhythm figures--typically with a hint of slapback--and moody single-note lines of guitarist Chris Stein broadcast a Blondie song even before Harry enters the mix. As songwriter, guitarist, and Harry's former paramour, Stein is responsible for much of what glorified--or damned, depending on your perspective--Blondie as the most commercial act to bust out of the late-'70s new wave movement. Despite its punk roots and studied New York artiness, the band became one of the last old-time singles acts, releasing brilliant radio tracks such as "Rip Her to Shreds," "In the Flesh," "Denis," "Hanging on the Telephone," "Heart of Glass," "One Way or Another," "Rapture," "The Tide is High," "Call Me," and "Island of Lost Souls"--as well as many album tracks that sounded like singles....

Source: Guitar Player, April 1999
 

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