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DISCID=72084c0a
DTITLE=Harry Nilsson / Nilsson Schmilsson (Japanese Pressing)
DYEAR=1971
DGENRE=Rock
TTITLE0=Gotta Get Up
TTITLE1=Driving Along
TTITLE2=Early In The Morning
TTITLE3=The Moonbeam Song
TTITLE4=Down
TTITLE5=Without You
TTITLE6=Coconut
TTITLE7=Let The Good Times Roll
TTITLE8=Jump Into The Fire
TTITLE9=I'll Never Leave You
EXTD=Originally Released November 1971\nStandard CD Edition Released O
EXTD=ctober 1990\nRCA Records Gold CD Edition Released June 1995\nRema
EXTD=stered + Expanded CD Edition Released January 13, 2004\n\nAMG EXP
EXTD=ERT REVIEW: Nilsson had a hit, a Grammy, and critical success, ye
EXTD=t he still didn't have a genuine blockbuster to his name when it 
EXTD=came time to finally deliver a full-fledged follow-up to Nilsson 
EXTD=Sings Newman, so he decided it was time to make that unabashed, m
EXTD=ainstream pop/rock album. Hiring Streisand's producer, Richard Pe
EXTD=rry, as a collaborator, Nilsson made a streamlined, slightly dome
EXTD=sticated, unashamed set of mature pop/rock, with a slight twist. 
EXTD=This is an album, after all, that begins by pining for the reckle
EXTD=ss days of youth, then segues into a snapshot of suburban disconn
EXTD=ectedness before winding through a salute to and covers of old R&
EXTD=B tunes ("Early in the Morning" and "Let the Good Times Roll," re
EXTD=spectively), druggie humor ("Coconut"), and surging hard rock ("J
EXTD=ump into the Fire"). There are certainly hints of the Nilsson of 
EXTD=old, particularly in his fondness for Tin Pan Alley and McCartney
EXTD= melodicism -- as well as his impish wit -- yet he hadn't made a 
EXTD=record as cohesive as this since his first time out, nor had he e
EXTD=ver made something as shiny and appealing as this. It may be more
EXTD= accessible than before, yet it's anchored by his mischievous hum
EXTD=or and wonderful idiosyncracies. Chances are that those lured in 
EXTD=by the grandly melodramatic "Without You" will not be prepared fo
EXTD=r either the subtle charms of "The Moonbeam Song" or the off-kilt
EXTD=er sensibility that makes even his breeziest pop slightly strange
EXTD=. In short, it's a near-perfect summary of everything Nilsson cou
EXTD=ld do; he could be craftier and stranger, but never did he achiev
EXTD=e the perfect balance as he did here. [RCA/BMG Heritage reissued 
EXTD=Nilsson Schmilsson in 2004 with six bonus tracks. Three of these 
EXTD=-- demos of "The Moonbeam Song," "Gotta Get Up," and "Old Forgott
EXTD=en Soldier" -- were included on Britain's RCA Camden 2000 reissue
EXTD=, but the other three are not. There's the Spanish version of "Wi
EXTD=thout You," plus two songs not on the album: "How Can I Be Sure o
EXTD=f You" and "Lamaze." None of these are essential (though "Lamaze"
EXTD= is pretty funny), but they're all nice to hear. What is frustrat
EXTD=ing is that the Camden reissue has five bonus tracks not on this 
EXTD=disc, meaning that Nilsson nuts need to own both reissues, which 
EXTD=is a bit of a pain.] ~ Stephen Thomas Erlewine\n\nHalf.com Album 
EXTD=Credits\nChris Spedding, Contributing Artist\nGary Wright, Contri
EXTD=buting Artist\nJim Keltner, Contributing Artist\nJimmy Webb, Cont
EXTD=ributing Artist\nRobin Geoffrey Cable, Engineer\nRichard Perry, P
EXTD=roducer\n\nAlbum Notes\nIncludes six previously unreleased bonus 
EXTD=tracks.\n\nPersonnel includes: Harry Nilsson (vocals, harmonica, 
EXTD=piano, electric piano, organ, Mellotron); Klaus Voorman (acoustic
EXTD= & electric guitars, bass); John Uribe (acoustic & electric guita
EXTD=rs); Ian Duck (acoustic guitar); Caleb Quaye, Chris Spedding (gui
EXTD=tar); Bobby Keys (saxophone); Jim Price (trumpet, trombone); Gary
EXTD= Wright, Jimmy Webb (piano); Roger Collan (organ); Richard Perry 
EXTD=(Mellotron); Herbie Flowers (acoustic & electric basses); Jim Gor
EXTD=don (drums, percussion) Jim Keltner, Roger Pope (drums).\n\nPrinc
EXTD=ipally recorded at Trident Studios, London, England in June 1971.
EXTD= \n\nOriginally released on RCA (4515).This is the album that bro
EXTD=ught about Harry Nilsson's commercial breakthrough in 1971. Produ
EXTD=ced by Richard Perry, it retains all of Nilsson's wonderful songw
EXTD=riting and warm singing, but presents them in a decidedly rock-ba
EXTD=sed setting. As it turned out, the guy who represented a sort of 
EXTD=Tin Pan Alley update could rock with the best of them! \n\nNILSSO
EXTD=N SCHMILSSON received the contributions of a stellar cast of Brit
EXTD=ish and American studio regulars, and was recorded in London. Fro
EXTD=m the opening notes of "Gotta Get Up," Nilsson is in complete con
EXTD=trol, fronting the proceedings with grace and ease. The album yie
EXTD=lded a number of hits for him; "Coconut" (as in "put the lime in 
EXTD=the coconut") and "Jump Into the Fire" were two, but his highest 
EXTD=chart placement came with a song he didn't write, "Without You," 
EXTD=a song penned by the English band Badfinger. The song seems like 
EXTD=such a natural selection for Nilsson that it's often assumed that
EXTD= Badfinger had covered Nilsson. This album ranks as one of his fi
EXTD=nest, along with HARRY and NILSSON SINGS NEWMAN.\n\nRolling Stone
EXTD= (02/17/1972)\n...the cutting edge of NILSSON SCHMILSSON is still
EXTD= Harry's singing. One gets the feeling that he could make somethi
EXTD=ng significant out of even the most banal or lackluster songs...\n
EXTD=\nMojo (9/00, p.88) - ...His most successful album....sporadicall
EXTD=y excellent....represents a creative flowering that extended to s
EXTD=everal unissued classics...\n\nNME (9/23/00, p.35) - 6 out of 10 
EXTD=- ...[The album] spawned a massive hit with his cover of Badfinge
EXTD=r's 'Without You'...as well as a clutch of decent rockers, even i
EXTD=f it's a tad too zany.\n\nAmazon.com essential recording\nThe lat
EXTD=e Harry Nilsson's creative and commercial peak, this LP showcases
EXTD= the singer/songwriter's lighthearted worldview to best advantage
EXTD=. It remains one of the best, most consistent, and least dated al
EXTD=bums from an early-'70s era not known for underplayed, unpretenti
EXTD=ous subtlety. Here you get strong interpretive singing (how ironi
EXTD=c that this tunesmith's biggest hits were covers, such as Badfing
EXTD=er's "Without You"), inventive arranging (the hilarious, marble-m
EXTD=outhed "Coconut"), and distinctive melodicism (check out that lov
EXTD=ely paean to the stars, "The Moonbeam Song"). In keeping with the
EXTD= domesticated figure on the cover--complete with housecoat, cigar
EXTD=ette, and waiting refrigerator--the mood is laidback and homey, N
EXTD=ilsson's multi-octave voice was never so full of life, and there'
EXTD=s a palpable feeling of comfort in both the production and the ma
EXTD=terial. Other LPs (like the John Lennon-produced Pussy Cats and t
EXTD=he essential Nilsson Sings Newman) have their moments, but this i
EXTD=s where to begin any Nilsson collection. --Don Harrison \n\nAmazo
EXTD=n.com Customer Review\nStart your Nilsson journey here., December
EXTD= 14, 2002 \nReviewer: Jamie Tate from Nashville, TN  \nAs a recen
EXTD=t discoverer of Harry Nilsson I am hurridly finding and buying ev
EXTD=ery CD I see. I wish I could buy this album again and experience 
EXTD=it for the first time once more. From the opening piano of 'Gotta
EXTD= Get Up' to the beautiful last chords of 'I'll Never Leave You' t
EXTD=here isn't much not to like about this classic record. I'm proud 
EXTD=to introduce this album on anyone who will listen. It's a definat
EXTD=e must have for a true music lover's CD collection.\n\nBy the way
EXTD=, the Camden import sounds awful. It says it's remastered. If tha
EXTD=t's true the mastering engineer must have, for medical purposes I
EXTD='m sure, downed a gallon of whiskey before he started. Notice his
EXTD= name isn't included in the liner notes. Hmmm! The bonus tracks s
EXTD=ound good but the bulk of the album was sourced from bad, high ge
EXTD=neration tapes. I have a copy of the Mobile Fidelity Sound Labs C
EXTD=D and it's wonderful. \n\nAmazon.com Customer Review\nRomantic Se
EXTD=ntimentality with a RocknRoll Veneer, July 15, 2000 \nReviewer:
EXTD= dev1 from Baltimore  \nNilsson Schmilsson is quite a departure f
EXTD=or Harry Nilsson. Harry turns out some pretty hot rockers, and le
EXTD=t's his normally subdued "soul" soar. The rock'n'roll veneer may 
EXTD=be the result of a conscious change in style, or the association 
EXTD=with musicians such as bassist Klaus Voorman and guitarist Chris 
EXTD=Spedding. Klaus was a member of John Lennon's Plastic Ono Band, a
EXTD=nd Chris has played with everyone from John Cale to Elton John. D
EXTD=rummers Jim Keltner and Jim Gordon are stylist mentors. Also, Ric
EXTD=hard Perry is an often sought producer responsible for the work o
EXTD=f dozens of popular music artists. Nilsson was so pleased with th
EXTD=e results of Nilsson Shmilsson, that he asked Perry to produce th
EXTD=ree more albums. Written while Nilsson was in Africa, the CD is a
EXTD=bundant with forceful rhythms.\n\nQuick, who wrote 'Without You'?
EXTD= Although the song was written by Badfinger, Nilsson's rendition 
EXTD=is the definitive version. It's also the emotional core of Nilsso
EXTD=n Schmilsson. Nilsson's pained and lonesome delivery and soaring 
EXTD=vocals are unforgettable. In contrast to 'Without You,' the most 
EXTD=vigorous rocker is 'Jump In The Fire.' Klaus Voorman's out-of tun
EXTD=e bass lines thunder through Nilsson's impassioned singing. 'Earl
EXTD=y In The Morning' is such a convincing blues number, it's easy to
EXTD= forget that Nilsson is singing. 'Down' is a majestic acoustic ba
EXTD=llad reminiscent of Nilsson's light and whimsical material. Nilss
EXTD=on's love and respect for Randy Newman is clear on the piano-base
EXTD=d 'I'll Never Leave You.' The vocal harmonies are tearful.\n\nHar
EXTD=ry Nilsson was one of several singer/songwriters of the early nin
EXTD=eteen-seventies who defied the trend toward hard rock, and instea
EXTD=d centered his vision on romantic sentimentality. Despite the pas
EXTD=sing of the gifted artist who gave us 'Without You,' we don't hav
EXTD=e to live without Harry Nilsson: his music will continue to charm
EXTD= undying romantics for decades to come. Thanks Harry.\n\nAmazon.c
EXTD=om Customer Review\nSound Engineer misses boat, sounds as if reco
EXTD=rded in garage, November 17, 1999 \nReviewer: A music fan from US
EXTD=A  \nThere are few musical dynamics brought froward by the Triden
EXTD=t Studio where this was recorded by Robin Geoffrey Cable (Sound E
EXTD=ngineer). The Analog to Digital is not good, Nilsson sounds as if
EXTD= he is at the back of the sound stage and the engineer is using c
EXTD=ompression technology to drown-out all dynamics, be prepared to t
EXTD=urn up the volume on this one. I was real disappointed! \n\nAmazo
EXTD=n.com Customer Review\nClassic time-capsule hits of mellow soul f
EXTD=rom the early 70s., August 19, 1998 \nReviewer: blue_torpedo@hotm
EXTD=ail.com from San Francisco  \nI remember playing this great relea
EXTD=se when I was taking sculpture in art school and the ole' 8-track
EXTD= rolled over all the songs at least twice ever time we played it.
EXTD= It is soft and mellow. Harry's classic soulful voice shines beat
EXTD=ing out the rhythms with gusto. "Early in the Morning" is a perso
EXTD=nal favorite combining "white-boy" blues with a quirky falsetto t
EXTD=elling the story of love on the rocks while sitting bitterly in a
EXTD= roadside diner. Check your local used record store first; otherw
EXTD=ise, it's worth the $13. \n\nAmazon.com Customer Review\nFinally,
EXTD= a definitive version!, September 1, 2004 \nReviewer: Jamie Tate 
EXTD=(Hermitage, TN United States)\nThis beautiful album has not recie
EXTD=ved the love and affection it deserves throughout the years. Ther
EXTD=e have been numerous CD releases and all (except for the $30 Mobi
EXTD=le Fidelity gold CD) have woefully inadequate fidelity due to inc
EXTD=ompetent mastering jobs and/or poor source material. \n\nThe Camd
EXTD=en import CD series were taken from cassette quality tape dubs an
EXTD=d mastered for that "You aren't there" sound. The recent Japan re
EXTD=masters sound fine but have that very annoying digital hiss remov
EXTD=al which destroyed the transients and makes things sound like MP3
EXTD='s. Grrrrr! \n\nThis CD version was mastered from the original ta
EXTD=pes by Vic Anesini. Vic's name is usually the mark of quality. Yo
EXTD=u can buy with confindence when you see his name. He's made this 
EXTD=album sound right... finally. It's not as top ended as the MFSL g
EXTD=old CD but that disc was sourced from Richard Perry's personal ta
EXTD=pes and not the original masters. Vic has made some wise EQ choic
EXTD=es and things sound smooth, natural and pleasing. \n\nThe bonus t
EXTD=racks are nice although all have been released before on various 
EXTD=discs. \n\nAgain, buy with confidence. This is a wonderful album 
EXTD=needing a place in everyone's music library. \n\nROLLING STONE RE
EXTD=VIEW\nEven before Harry Nilsson scored a hit, John Lennon and Pau
EXTD=l McCartney, in 1968, proclaimed the Brooklyn-born, L.A.-based so
EXTD=ngwriter as their favorite American singer. This was shortly afte
EXTD=r the Monkees recorded his cute and cleverly nasty "Cuddly Toy" b
EXTD=ut before Three Dog Night reached the Top Ten in 1969 with a cove
EXTD=r of his lyrically despairing "One," which Aimee Mann and others 
EXTD=have subsequently rendered evergreen. As a singer, Nilsson got lu
EXTD=cky when his wistful rendition of Fred Neil's "Everybody's Talkin
EXTD=' " became the theme for Midnight Cowboy. \nBlessed with a tenor 
EXTD=that could make angels weep and the smarts to know how to use it,
EXTD= Nilsson nevertheless failed to ignite the album charts until 197
EXTD=1's Nilsson Schmilsson. The hit single was Nilsson's powerful cov
EXTD=er of "Without You," a previously overlooked cut written and firs
EXTD=t recorded by Badfinger. The rest of the album established Nilsso
EXTD=n as a talent of unusual depth and scope: Years before public esc
EXTD=apades with future drinking buddy Lennon confirmed Nilsson's pers
EXTD=onal excesses, Schmilsson plays like a study in bipolar disorder.
EXTD= Beginning with the manic "Gotta Get Up" and continuing with the 
EXTD=equally breezy and busy "Driving Along," the mood takes a dip wit
EXTD=h the skeletal and enchanted "Early in the Morning" before plumme
EXTD=ting with the bluesy "Down." Side Two starts out with the Caribbe
EXTD=an giddiness of "Coconut," then goes bonkers with "Jump Into the 
EXTD=Fire," a wailing seven-minute bass-and-drum tantrum recently cove
EXTD=red live by dance rock's LCD Soundsystem. On the albums that foll
EXTD=owed, Nilsson ventured into standards and ragged rock, but he wou
EXTD=ld never again be this consistent or popular.  --  BARRY WALTERS 
EXTD= Posted: Oct 20, 2005
EXTT0=H. Nilsson
EXTT1=H. Nilsson
EXTT2=Hickman, Jordan, Bartley
EXTT3=H. Nilsson
EXTT4=H. Nilsson
EXTT5=Ham, Evans [#1]
EXTT6=H. Nilsson [#8]
EXTT7=A. Lee
EXTT8=H. Nilsson [#27]
EXTT9=H. Nilsson
PLAYORDER=
