Harry Nilsson

Harry Edward Nilsson III (June 15, 1941 – January 15, 1994), sometimes credited as Nilsson, was an American singer-songwriter who reached the peak of his commercial success in the early 1970s. His work is characterized by pioneering vocal overdub experiments, returns to the Great American Songbook, and fusions of Caribbean sounds. A tenor with a octave range, Nilsson was one of the few major pop-rock recording artists to achieve significant commercial success without ever performing major public concerts or undertaking regular tours.

Born in Brooklyn, Nilsson moved to Los Angeles as a teenager to escape his family's poor financial situation. While working as a computer programmer at a bank, he grew interested in musical composition and close-harmony singing, and was successful in having some of his songs recorded by various artists such as the Monkees. In 1967, he debuted on RCA Victor with the LP ''Pandemonium Shadow Show'', followed by a variety of releases that included a collaboration with Randy Newman (''Nilsson Sings Newman'', 1970) and the original children's story '' The Point!'' (1971). He created the first remix album ('' Aerial Pandemonium Ballet'', 1971) and recorded the first mashup song (" You Can't Do That", 1967). His most commercially successful album, ''Nilsson Schmilsson'' (1971), produced the international top 10 singles " Without You" and "Coconut". His other top 10 hit, " Everybody's Talkin'" (1968), was featured prominently in the 1969 film ''Midnight Cowboy''. A version of Nilsson's "One", released by Three Dog Night in 1969, also reached the U.S. top 10.

During a 1968 press conference, the Beatles were asked what their favorite American group was and answered "Nilsson". Sometimes called " the American Beatle", he soon formed close friendships with John Lennon and Ringo Starr. In the 1970s, Nilsson, Lennon and Starr were members of the Hollywood Vampires drinking club. They produced one collaborative album, '' Pussy Cats'' (1974). After 1977, Nilsson left RCA, and his record output diminished. In response to Lennon's 1980 murder, he took a hiatus from the music industry to campaign for gun control. For the rest of his life, he recorded only sporadically. In 1994, Nilsson died of a heart attack while in the midst of recording what became his last album, '' Losst and Founnd'' (2019).

The craft of Nilsson's songs and defiant attitude he projected remain touchstones for later generations of indie rock musicians. Nilsson was voted No. 62 in ''Rolling Stone''s 2015 list of the " 100 Greatest Songwriters of All Time", where he was described as "a pioneer of the Los Angeles studio sound" and "a crucial bridge" between 1960s psychedelia and the 1970s singer-songwriter era. The RIAA certified ''Nilsson Schmilsson'' and ''Son of Schmilsson'' (1972) as gold records, indicating over 500,000 units sold each. He earned two Grammy Awards (for "Everybody's Talkin'" and "Without You").

Early life

Nilsson was born in Bedford–Stuyvesant, Brooklyn, New York City on June 15, 1941. His paternal great-grandfather, born a Swede who would later emigrate to and become naturalized in the United States, created an act known as an "aerial ballet" (which is the title of one of Nilsson's albums).

His mother Elizabeth Nilsson ( Martin) was known as "Bette" to the family. She was born in 1920 in New York to Charles Augustus Martin and Florence Madeline ( Stotz) Martin. Bette had a brother, John, and a sister, Mary. Her parents were the cornerstone of her son's young life. While his maternal grandmother played piano, his maternal grandfather Charlie Martin supported the family in a tiny railroad apartment on Jefferson Avenue in Brooklyn.Shipton, Alyn, ''Harry Nilsson: Life and Times of a Singer-Songwriter'', Oxford: Oxford University Press, 2015. His father, Harry Edward Nilsson Jr., abandoned the family when Harry was three years old. An autobiographical reference to this is found in the opening to Nilsson's song "1941":

Nilsson's " Daddy's Song" also refers to this period in Nilsson's childhood. He grew up with his mother and a younger half-sister. His younger brother, Drake Nilsson, was left with family or friends during their moves between Southern California and New York, sometimes living with a succession of relatives and stepfathers. His uncle, a mechanic in San Bernardino, California, helped Nilsson improve his vocal and musical abilities. In addition to his half-brother and a half-sister through his mother, he also had three half-sisters and one half-brother through his father.

Due to his family's poor financial situation, Nilsson worked from an early age, including a job at the Paramount Theatre in Los Angeles. When the theatre closed in 1960, he applied for a job at a bank, falsely claiming he was a high school graduate on his application (he completed only ninth grade). He had an aptitude for computers, which were starting to be used at banks at the time. He later performed so well in his role; the bank retained him even after they discovered he had lied about his education. He worked on bank computers at night, and in the daytime pursued his songwriting and singing career.

Career

1962–1966: Musicianship beginnings

By 1958, Nilsson was intrigued by emerging forms of popular music, especially rhythm and blues artists like Ray Charles. He had made early attempts at performing while he was working at the Paramount, forming a vocal duo with his friend Jerry Smith and singing close harmonies in the style of the Everly Brothers. The manager of a hangout Nilsson frequented gave him a plastic ukulele, which he learned to play, and he later learned to play the guitar and piano. In the 2006 documentary ''Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him)?'', Nilsson recalled that when he could not remember lyrics or parts of the melodies to popular songs, he created his own, which led to writing original songs.

His uncle's singing lessons, along with Nilsson's natural talent, helped when he got a job singing demos for songwriter Scott Turner in 1962. Turner paid Nilsson five dollars for each track they recorded. (When Nilsson became famous, Turner decided to release these early recordings, and contacted Nilsson to work out a fair payment. Nilsson replied that he had already been paid – five dollars a track.)

In 1963, Nilsson began to have some early success as a songwriter, working with John Marascalco on a song for Little Richard. Upon hearing Nilsson sing, Little Richard reportedly remarked: "My! You sing ''good'' for a white boy!" Marascalco also financed some independent singles by Nilsson. One, "Baa Baa Blacksheep", was released under the pseudonym "Bo Pete" to some small local airplay. Another recording, "Donna, I Understand", convinced Mercury Records to offer Nilsson a contract, and release recordings by him under the name "Johnny Niles".

By 1964, Nilsson worked with Phil Spector, writing three songs with him. He also established a relationship with songwriter and publisher Perry Botkin, Jr., who began to find a market for Nilsson's songs. Botkin also gave Nilsson a key to his office, providing another place to write after hours.

Through his association with Botkin, Nilsson met and became friends with musician, composer and arranger George Tipton, who at the time was working for Botkin as a music copyist. In 1964, Tipton invested his life savings – $2,500 – to finance the recording of four Nilsson songs, which he also arranged. They were able to sell the completed recordings to Tower label, a recently established subsidiary of Capitol Records, and the tracks were subsequently included on Nilsson's debut album. The fruitful association between Nilsson and Tipton continued after Nilsson signed with RCA Victor. Tipton went on to create the arrangements for nearly all of Nilsson's RCA recordings between 1967 and 1971, but their association ended in the 1970s when the two fell out for unknown reasons.

Nilsson's recording contract was picked up by Tower Records, which in 1966 released the first singles actually credited to him by name, as well as the debut album '' Spotlight on Nilsson''. None of Nilsson's Tower releases charted or gained much critical attention, although his songs were being recorded by Glen Campbell, Fred Astaire, The Shangri-Las, The Yardbirds, and others. Despite his growing success, Nilsson remained on the night shift at the bank.

1967–1968: Signing with RCA Victor

Nilsson signed with RCA Victor in 1966 and released an album the following year, ''Pandemonium Shadow Show'', which was a critical (if not commercial) success. Music industry insiders were impressed both with the songwriting and with Nilsson's pure-toned, multi-octave vocals. One such insider was Beatles press officer Derek Taylor, who bought an entire box of copies of the album to share this new sound with others. With a major-label release, and continued songwriting success (most notably with The Monkees, who recorded Nilsson's "Cuddly Toy" after meeting him through their producer Chip Douglas), Nilsson finally felt secure enough in the music business to quit his job with the bank. Monkees member Micky Dolenz maintained a close friendship until Nilsson's death in 1994.

Some of the albums from Derek Taylor's box eventually ended up with the Beatles themselves, who quickly became Nilsson fans. This may have been helped by the track " You Can't Do That", in which Nilsson covered the John Lennon penned tune – and also worked references to 17 other Beatles tunes in the mix, usually by quoting snippets of Beatles lyrics in the multi-layered backing vocals. When John Lennon and Paul McCartney held a press conference in 1968 to announce the formation of the Apple Corps, Lennon was asked to name his favorite American artist. He replied, "Nilsson". McCartney was then asked to name his favorite American group. He replied, "Nilsson".

" You Can't Do That" was Nilsson's first hit as a performer; though it stalled at No. 122 on the US charts, it hit the top 10 in Canada.

When RCA had asked if there was anything special, he wanted as a signing premium, Nilsson asked for his own office at RCA, being used to working out of one. In the weeks after the Beatles' Apple press conference, Nilsson's office phone began ringing constantly, with offers and requests for interviews and inquiries about his performing schedule. Nilsson usually answered the calls himself, surprising the callers, and answered questions candidly. (He recalled years later the flow of a typical conversation: "When did you play last?" "I didn't." "Where have you played before?" "I haven't." "When will you be playing next?" "I don't.") Nilsson acquired a manager, who steered him into a handful of TV guest appearances, and a brief run of stage performances in Europe set up by RCA. He disliked the experiences he had, though, and decided to stick to the recording studio. He later admitted this was a huge mistake on his part.

John Lennon called and praised ''Pandemonium Shadow Show'', which he had listened to in a 36-hour marathon. Paul McCartney called the following day, also expressing his admiration. Eventually a message came, inviting him to London to meet the Beatles, watch them at work, and possibly sign with Apple.

''Pandemonium Shadow Show'' was followed in 1968 by '' Aerial Ballet'', an album that included Nilsson's rendition of Fred Neil's song " Everybody's Talkin'". A minor US hit at the time of release (and a top 40 hit in Canada), the song would become more popular a year later when it was featured in the film ''Midnight Cowboy'', and it would earn Nilsson his first Grammy Award. The song would also become Nilsson's first US top 10 hit, reaching No. 6, and his first Canadian #1.

''Aerial Ballet'' also contained Nilsson's version of his composition "One", which was later taken to the top 5 of the US charts by Three Dog Night and also successfully covered in Australia by John Farnham. Nilsson was commissioned at this time to write and perform the theme song for the ABC television series ''The Courtship of Eddie's Father''. The result, "Best Friend", was very popular, but Nilsson never released the song on record; the original version of the song (titled "Girlfriend") was recorded during the making of ''Aerial Ballet'' but not included on that LP, and it eventually appeared on the 1995 ''Personal Best'' anthology, and as a bonus track on a later release of ''Aerial Ballet''. Late in 1968, The Monkees' notorious experimental film ''Head'' premiered, featuring a memorable song-and-dance sequence with Davy Jones and Toni Basil performing Nilsson's composition "Daddy's Song". (This is followed by Frank Zappa's cameo as "The Critic", who dismisses the 1920s-style tune as "pretty white".)

With the success of Nilsson's RCA recordings, Tower re-issued or re-packaged many of their early Nilsson recordings in various formats. All of these reissues failed to chart, including a 1969 single "Good Times". This track, however, was resurrected as a duet with Micky Dolenz for the 2016 Monkees' album of the same name by adding additional parts to an unused Monkees backing track recorded in 1968.

1969–1972: Chart success

Nilsson's next album, '' Harry'' (1969), was his first to hit the charts, and also provided a Top 40 single with "I Guess the Lord Must Be in New York City" (written as a contender for the theme to ''Midnight Cowboy''), used in the Sophia Loren movie '' La Mortadella'' (1971) (US title: ''Lady Liberty''). While the album still presented Nilsson as primarily a songwriter, his astute choice of cover material included, this time, a song by then-little-known composer Randy Newman, "Simon Smith and the Amazing Dancing Bear". Nilsson was so impressed with Newman's talent that he devoted his entire next album to Newman compositions, with Newman himself playing piano behind Nilsson's multi-tracked vocals. The result, ''Nilsson Sings Newman'' (1970), was commercially disappointing but was named Record of the Year by '' Stereo Review'' magazine and provided momentum to Newman's career. The self-produced ''Nilsson Sings Newman'' also marked the end of his collaboration with RCA staff producer Rick Jarrard, who recounted in the Nilsson documentary that the partnership was terminated by a telegram from Nilsson, who abruptly informed Jarrard that he wanted to work with other producers, and the two never met or spoke again.

Nilsson's next project was an animated film, '' The Point!'', created with animation director Fred Wolf, and broadcast on ABC television on February 2, 1971, as an " ABC Movie of the Week". Nilsson's self-produced album of songs from ''The Point!'' was well received and it spawned a top 40 single, " Me and My Arrow".

Later that year, Nilsson went to England with producer Richard Perry to record what became the most successful album of his career. ''Nilsson Schmilsson'' yielded three stylistically different hit singles. The first was a cover of Badfinger's song " Without You" (by Welsh songwriters Pete Ham and Tom Evans), featuring a highly emotional arrangement and soaring vocals to match – recorded, according to Perry, in a single take. The performance earned him his second Grammy Award. The second single was "Coconut", a novelty calypso number featuring four characters (the narrator, the brother, the sister, and the doctor) all sung (at Perry's suggestion) in different voices by Nilsson. The song is best remembered for its chorus lyric ("Put de lime in de coconut, and drink 'em both up"). Also notable is that the entire song is played using one chord, C7. The third single, " Jump into the Fire", was raucous rock and roll, including a drum solo by Derek and the Dominos' Jim Gordon and a detuned bass part by Herbie Flowers.

Nilsson followed quickly with ''Son of Schmilsson'' (1972), released while its predecessor was still on the charts. Besides the problem of competing with himself, Nilsson was by then ignoring most of Perry's production advice, and his decision to give free rein to his bawdiness and bluntness on this release alienated some of his earlier, more conservative fan base. With lyrics like "I sang my balls off for you, baby", "Roll the world over / And give her a kiss and a feel", and the notorious " You're breakin' my heart / You're tearin' it apart / So fuck you" (a reference to his ongoing divorce), Nilsson had traveled far afield from his earlier work. The album nevertheless reached No. 12 on the ''Billboard'' 200, and the single "Spaceman" was a Top 40 hit in October 1972. The follow-up single "Remember (Christmas)", however, stalled at No. 53. A third single, the tongue-in-cheek C&W send up "Joy", was issued on RCA's country imprint Green and credited to Buck Earle, but it failed to chart.

1973–1979: Maverick

Nilsson's disregard for commercialism in favor of artistic satisfaction was on display in his next release, ''A Little Touch of Schmilsson in the Night'' (1973). Performing a selection of pop standards by the likes of Berlin, Kalmar, and Ruby, Nilsson sang in front of an orchestra arranged and conducted by veteran Gordon Jenkins in sessions produced by Derek Taylor. This musical endeavor did not do well commercially. The session was filmed, and broadcast as a television special by the BBC in the UK.

1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship. Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight. However, their time together in California became known much more for heavy drinking than it did for musical collaboration. In a widely publicized incident, the two with Ringo Starr were ejected from the Troubadour nightclub in West Hollywood for drunken heckling of the Smothers Brothers.

To make matters worse, at a late night party and jam session during the recording of the album, attended by Lennon, McCartney, Starr, Danny Kortchmar, and other musicians, Nilsson ruptured a vocal cord, but he hid the injury for fear that Lennon would call a halt to the production. The resulting album was '' Pussy Cats''. In an effort to clean up, Lennon, Nilsson and Ringo Starr first rented a house together, then Lennon, Nilsson and Starr left for New York. After the relative failure of his latest two albums, RCA Records considered dropping Nilsson's contract. In a show of friendship, Lennon and Starr accompanied Nilsson to negotiations, and both intimated to RCA that Lennon and Starr might want to sign with them, once their Apple Records contracts with EMI expired in 1975, but would not be interested if Nilsson were no longer with the label. RCA took the hint and re-signed Nilsson (adding a bonus clause, to apply to each new album completed), but neither Lennon nor Starr signed with RCA.

In 1973 Nilsson performed in a film with Ringo called "Son of Dracula", a musical featuring many of his songs and a new cut, "Daybreak". The subsequent soundtrack produced by Richard Perry was released in 1974.

Nilsson's voice had mostly recovered by his next release, '' Duit on Mon Dei'' (1975), but neither it nor its follow-ups, '' Sandman'' and '' ...That's the Way It Is'' (both 1976), were met with chart success. Finally, Nilsson recorded what he later considered to be his favorite album '' Knnillssonn'' (1977). With his voice strong again, and his songs exploring musical territory reminiscent of ''Harry'' or ''The Point!'', Nilsson anticipated ''Knnillssonn'' to be a comeback album. RCA seemed to agree, and promised Nilsson a substantial marketing campaign for the album. However, the death of Elvis Presley caused RCA to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened. This, combined with RCA releasing a ''Nilsson Greatest Hits'' collection without consulting him, prompted Nilsson to leave the label.

Nilsson's London apartment

Nilsson's 1970s London residence, at Flat 12, 9 Curzon Place on the edge of Mayfair, was a two-bedroom apartment decorated by the ROR ("Ringo or Robin") design company owned by Starr and interior designer Robin Cruikshank. Nilsson cumulatively spent several years at the apartment, which was located near Apple Records, the Playboy Club, the Tramp nightclub, and the homes of friends and business associates. Nilsson's work and interests took him to the US for extended periods, and while he was away, he lent his place to numerous musician friends. During one of his absences, singer Cass Elliot, formerly of The Mamas & the Papas, and a few members of her tour group stayed at the apartment while she performed solo at the London Palladium, headlining with her torch songs and " Don't Call Me Mama Anymore". Following a strenuous performance with encores on July 29, 1974, Elliot was discovered in one of the bedrooms, dead of heart failure at age 32.

On September 7, 1978, the Who drummer Keith Moon returned to the same room in the apartment after a night out, and died at 32 from an overdose of Clomethiazole, a prescribed anti-alcohol drug. Nilsson, distraught over another friend's death in his apartment, and having little need for the property, sold it to Moon's bandmate Pete Townshend and consolidated his life in Los Angeles.

1980–1992: Winding down

Nilsson's musical output after leaving RCA Victor was sporadic. He wrote a musical, ''Zapata'', with Perry Botkin Jr. and libretto by Allan Katz, which was produced and directed by longtime friend Bert Convy. The show was mounted at the Goodspeed Opera House in East Haddam, Connecticut, but never had another production. He wrote all the songs for Robert Altman's movie-musical ''Popeye