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Our favo(u)rite British music mags are in especially fine Snob form this month. In Mojo, David Fricke, actually an American rock writer with an awesome Marky Ramone ’do, describes the sound of vintage Blondie as “a knockout combination of hot candy and pop-art vision, powered by the drumming of Clem Burke and iced with the peppermint-Kraftwerk keyboards of Jimmy Destri.” Nice one, David! Though if it’s “hot candy,” why are the Kraftwerk peppermints so icy?
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Nilsson, Harry. Brooklyn-born, powerfully piped singer-songwriter equally famous for well-realized retro-pop albums such as Nilsson Schmilsson (1971) and for being John Lennon’s drinking buddy/partner in crime during the latter’s “Lost Weekend” period in Los Angeles. Though his adept melding of Tin Pan Alley and Sergeant Pepper idioms suggested an artist of limitless possibility in the late ’60s and early ’70s, his increasingly sozzled state put him into a mid-’70s artistic decline from which he never recovered. (His tipple of choice was the Brandy Alexander, which the admiring Lennon referred to as a “milkshake”). Since his 1994 death, however, Nilsson’s oeuvre has acquired significant hipster cachet, with his oeuvre lavishly repackaged by BMG and his song “One,” as sung by Aimee Mann, used prominently over the credits of P.T. Anderson’s 1999 epic Magnolia.