The essential Blondie playlist

Released in 1980, "Rapture" is one of Blondie's most innovative tunes, fusing together new wave, hip-hop, and rock influences. An instant hit, the song is considered to be the first in music history to hit #1 with rap vocals. 

The theme song for the 1980 film "American Gigolo," this Blondie classic was a #1 hit in the United States, the United Kingdom, and Canada. 

Originally recorded by The Paragons, Blondie made its foray into the world of reggae in 1980, when "The Tide Is High" became a #1 hit. In addition to the breezy arrangement, the song also debuted with a music video that's decidedly more dramatic than the lyrics might indicate. 

Appearing on "Blondie 4(0) Ever," a double album released in celebration of the band's 40th anniversary in 2014, "Prism" sounds like it could've been released in 1979, at the height of the band's fame. 

Released in 1978, "One Way Or Another" was inspired by Deborah Harry's real-life experience with a stalker. A catchy melody makes those lyrics seem much less sinister. 

Released in 1979, "Heart of Glass" is what many Blondie fans would consider to be the band's signature song. With its disco and Europop influence, it remains a nightclub staple thanks to Blondie's ethereal vocals and that endlessly catchy melody. 

Appearing on the band's 1979 album "Eat to the Beat," "Dreaming" takes its inspiration from ABBA's iconic dance-pop hit "Dancing Queen." That influence is evident, even though this song boasts a decidedly more rock and punk-influenced vibe. 

Appearing on the band's acclaimed album "Parallel Lines," "Hanging on the Telephone" is really the best of Blondie. It brings together the punk, new-wave, and totally '80s vibes that make this band's sound unique. 

In 1976, when Blondie made its debut on the rock scene, "Rip Her To Shreds" made clear that this band was different than its contemporaries in the genre. The punk influence is obvious, and even though the song didn't chart in the U.K. upon its initial release, it's officially a rock classic. 

This 1978 tune about a girl who's "cold as ice cream, but still as sweet" was the follow-up to the smash hit "Heart of Glass." It may not have that kind of star power, but it's still a stellar example of Blondie's catchy instrumentation and Deborah Harry's distinctive vocals. 

Released in 1979 on "Eat to the Beat," the ethereal single "Atomic" is a favorite among Blondie aficionados and critics alike. The song is a showcase of Harry's delicate, yet soaring vocals. 

Appearing on the band's final album "Ghosts of Download," "Rave" exemplifies that classic Blondie sound, blending punk instrumentation and new wave sensibilities. 

This song appeared only on a Greatest Hits album released in 2014, but it's no less iconic. It's classic Blondie, with killer instrumentation and, of course, Harry's unique vocals. 

Inspired by keyboardist and Blondie songwriter Jimmy Destri's vision of a perfect woman, "Maria" was a hit on the dance charts in Europe and the United States in 1999, marking a major comeback for the band. 

Appearing on "Parallel Lines," "Picture This" is one of Blondie's most critically acclaimed tracks. It's also widely considered one of the best tracks in new wave, the genre that Blondie helped pioneer. 

This 1980 song about a factory worker who runs away to find her dreams remains a favorite among devoted Blondie fans thanks to its dreamy vibe that seamlessly blends punk and new wave sounds. 

Released in 1978 on "Parallel Lines," "Fade Away and Radiate" is one of those tunes that's decidedly ahead of its time. 

In 2013, Blondie proved that it could still make killer music that doesn't sound like it's stuck in the '80s with "A Rose By Any Name," an edgy track that features vocals from fellow female rocker Beth Ditto. 

Pretty much every song on 1978's "Parallel Lines" has been enshrined in rock history, including "Pretty Baby." With its punk-driven sound and Harry purring the lyrics, it's an essential addition to any Blondie playlist. 

Released in 1980 and co-written by Jimmy Destri, "Angels on the Balcony" boasts some of Blondie's most dramatic lyricism. Afterglow in a distant row, the door is open and the lights are cold," Harry sings. "The children come in here and they dare the ghost, like a fire burning in a stone."