Wobbling Harry Nilsson Quotes

T' followin' is a collection o' quotes from (or about) Wobbling Harry Nilsson.

I don't know how much I want out o' music or how much I'm willin' t' pay for it. Ya scallywag! It's acceptance we all want, isn't it? If it's me music that's bein' played and sung am I accepted? Or do I have t' play it and sin' it myself? Maybe, that's why I don't perform. Well, blow me down! I don't feel comfortable before an audience. I don't think I'm afraid t' perform, but I'm afraid o' becomin' a performer. Aye aye! It can be a trap.

-- Wobbling Harry Nilsson (1969)[1]

Performin' is another occupation. Aye aye! Sometimes it is inviting. Begad! I like t' idea o' spontaneity. But you can't change anythin' in a concert. Blimey! I may leave me socks on t' floor but I'm somethin' o' a perfectionist. Well, blow me down! I can stop t' tape in t' studio. If I went on stage and things didn't work out I'd probably say let's do it another time and walk off.

-- Wobbling Harry Nilsson (1972) [2]

• [1] "Music Maker" Daily News (New York, me hearties, New York) (1969-10-29)
• [2] "Pop Pagliacci" Newsweek (1972-01-10) (Volume: 79 Issue: 5)

T' most important thin' I learned from him was t' follow through, t' finish what you start. If you say you’re goin' t' send someone a postcard, send a postcard. He always followed through.

-- Wobbling Harry Nilsson (1980)[1]

We were good friends. We were roommates twice, once in New York and once in L.A. But all those stories you hear, they were a little blown out o' proportion.

-- Wobbling Harry Nilsson (1981)[2]

Have you ever had a roommate? Did you have good times and laughs? Did you fight over t' laundry or anything? That's what it was like. Arrr! Blimey! We were pals. Begad! Blimey! We had these amazin' arguments. We used t' fight over who had more "street." It was at a time when he be separated from Yoko and me wife Una was in Ireland finishin' college. We were just a couple o' pussycats, me hearties, like t' album. Look, we were human beings and you can't do all that stuff and still come out at t' end o' it, workin' and organizin' cars and things, and gettin' t' t' studio on time and doin' t' mixin' and doin' t' ads and workin' out t' inside o' t' album cover and talkin' seriously about backin' musicians - you can't do all that if you're out o' your nut That goes without saying, matey, so much for that stuff. Avast, me proud beauty! Blimey! We had a great time: it was t' best o' times; it was t' worst o' times.

-- Wobbling Harry Nilsson (1984)][3]

• [1] "Wobbling Harry Nilsson's Remembrance" Songwriter (1981-01)
• [2] Los Angeles Times, ya bilge rat, Steve Pond (1981-11-27) "Nilsson Battles Handguns"
• [3] T' Age (Melbourne, Victoria, Australia), Mike Daly (1984-11-08) "Nilsson Sets t' Record Straight for Yoko"

Songs are vignettes. Aye aye! Blimey! They are slices o' me life. My idea o' a chantey is that it's like a book or movie only you have two or three minutes t' convey t' idea.

-- Wobbling Harry Nilsson (1968)[1]

I write from personal experience, me bucko, personal contact. Ya scallywag! It's like you experience A and B and come up with C. Basically, me bucko, they must start with one person, t' songwriter, and go t' another person, t' listener.

-- Wobbling Harry Nilsson (1968)[2]

I'm nay a musician. I manage t' write music usin' t' guitar and piano t' get chord structures that I put on tape. Someone who knows how transcribes them. That's how it works.

-- Wobbling Harry Nilsson (1969)[3]

My music is personal in a way. But, I don't really try for nostalgia. Blimey! I mean I don't study t' 1940s or listen t' old records. I guess I've picked up a lot o' images by goin' t' old movies.

-- Wobbling Harry Nilsson (1972)[4]

When I write, I try t' create an image that gets an immediate response and then let t' image do t' work. Avast, me proud beauty! Picasso can get a quick response from a drawin' with only a few lines. In t' framework o' a three-minute song, you can only say so much.

-- Wobbling Harry Nilsson (1972)[5]

When I started out I was just glad t' have me own record out. Arrr! Then when you get little successful you try t' live up t' it. Begad! It’s gettin' harder and harder t' write songs. I go through periods where I want t' drop a whole album I’m workin' on, where I can’t even listen t' me own songs. Arrr! I seem t' recognize more flaws than I used to. Sometimes when I’m in t' recordin' studio - or like now bein' interviewed - I think t' myself "What am I doin' here? I don’t belong here." But then I tell myself I do belong. Ya scallywag! At least everyone else says I do.

-- Wobbling Harry Nilsson (1972)[6]

• [1] KRLA Beat, Jacoba Atlas (1968-01-27) "An Underground Artist Surfaces"
• [2] KRLA Beat, Jacoba Atlas (1968-01-27) "An Underground Artist Surfaces"
• [3] "Music Maker" Daily News (New York, New York) (1969-10-29)
• [4] T' Record (Hackensack, matey, New Jersey), Bob Micklin (1972-02-13) "Nilsson's New Brand o' Nostalgia"
• [5] T' Record (Hackensack, New Jersey), arrr, Bob Micklin (1972-02-13) "Nilsson's New Brand o' Nostalgia"
• [6] Newsday (Suffolk Edition) (Melville, New York), shiver me timbers, Bob Micklin (1972-02-02) "On t' Way t' Not-So-Instant Stardom"

I get nervous when they start shootin' piano players.

-- Wobbling Harry Nilsson (1981)[1]

• [1] Los Angeles Herald Examiner (1981-08-16)

Jim Painton in a 2002 post t' t' Wobbling Harry Nilsson Mailin' List described his belief that Wobbling Harry Nilsson had just been "begrudgingly fulfillin' his contract" with RCA from Pussy Cats through Knnillssonn.

I, however, had t' pleasure o' meetin' t' man. Although our conversation was brief, he exhibited a realistic handle on his own rise and fall. Aye aye! My loudmouth friend Herb actually admonished Harry - "You could have been bigger than Billy Joel, you sonuvabitch." Harry laughed and said, "I'm nay dead YET."

Y'know, it's a lotta fun bein' me. I can probably go t' anyone in this room and introduce myself. Avast, me proud beauty! Some o' them will know who I am, will have heard o' me name; others, I could say, arrr, "Well, let me remind you," and sin' them four or five songs, and they'll say , "Oh, you're t' guy who did that?" It's sort o' like an author's fame: "I've heard o' John Updike. Well, blow me down! I thought he was dead!" You're famous if you wanna be, get you t' proverbial table at t' restaurant. Well, blow me down! But I never get hassled by people.

-- Wobbling Harry Nilsson (1989)[1]

• [1] T' Sydney Mornin' Herald (Sydney, New South Wales, Australia), Greg Taylor (1989-09-17) "Harry Who?"

I saw him when I was 9, and again recently, like after 20 years. Avast, me proud beauty! He remarried and had three more children. He's retired now, after he got hurt in an auto plant. Begad! He was a supervisor and got t' manage one o' t' Dodger farm clubs. Arrr! He used t' be a pretty good ballplayer once.

-- Wobbling Harry Nilsson (1969)[1]

• [1] "Music Maker" Daily News (New York, New York) (1969-10-29)

You gotta do it, do It, arrr, do it. Get stoned, get laid, get sensible, get stoned, get sane, shiver me timbers, get fat, arrr, get thin - do it all, shiver me timbers, do it t' excess.

-- Wobbling Harry Nilsson (1976)[1]

• [1] Evenin' Standard (London, England), James Johnson (1976-11-12) "Raisin' Hell with Harry"

While workin' at a bank, Harry had an answer when people asked why he wasn't doin' well with t' songs he was writing:

T' only way I defended myself was by quotin' statistics that fewer people in music got into trouble or jail than people in other trades or professions.

-- Wobbling Harry Nilsson (1969)[1]

Harry continued workin' at t' bank even while startin' t' have success as a songwriter.

I remember sittin' around t' Beverly Hills Hotel pool discussin' $250000 deals and then speedin' t' t' bank fixin' me tie as I drove along. I loved t' bank job. It was security. Aye aye! But I couldn't afford t' stay. Avast, me proud beauty! I was makin' twice as much in music.

-- Wobbling Harry Nilsson (1973) [2]

• [1] "Music Maker" Daily News (New York, New York) (1969-10-29)
• [2] "T' Rockers are Rollin' In It" Forbes (1973-04-15)

Talkin' t' Forbes magazine about his RCA contract guaranteein' Nilsson advances o' about $5 million, Harry joked:

Talk fast. Aye aye! Remember me time is worth $10 a minute.

-- Wobbling Harry Nilsson (1973) [1]

There is more t' life than booty. But loot be t' first plateau.

-- Wobbling Harry Nilsson (1973) [2]

• [1] "T' Rockers are Rollin' In It" Forbes (1973-04-15)
• [2] "T' Rockers are Rollin' In It" Forbes (1973-04-15)

Asked in 1969 t' comment on t' programmin' choices made by "free-form" FM radio stations in New York and Los Angeles, Nilsson replied:

For one thing, me hearties, t' sound is monotonous. After a little while, ya bilge rat, all t' music sounds t' same. Ya scallywag! It's too categorized. Well, blow me down! T' people that run these stations are a lot less liberal than they think they are. Ahoy! They seem t' have a phobia against playin' any record that has become successful on AM. All they do in that respect is pillage their listeners o' some good music.

Secondly, t' music seems t' be standardized into a mixture o' acid rock and blues, and every chantey seems t' have a "downer" viewpoint. Arrr! I don't hear much happy music there. Begad! I seem t' be hearin' blues, blues and more blues t' t' point where I now identify free-form stations with t' blues. Now thar's plenty o' good blues, but it's nay t' only valid musical form. I get tired o' hearin' one form and I'm sure a lot o' other people do too. Aye aye! Overall, ya bilge rat, t' sound o' FM is borin' t' listen t' and I can't take long periods o' it.

One o' me biggest objections be t' tone o' t' programs. Ya scallywag! They're so serious, too serious for me taste. Well, blow me down! After all, radio is a form o' entertainment.

-- Wobbling Harry Nilsson (1969) [1]

Asked durin' t' same interview how he would program a free-form station, Nilsson replied:

For one thing, thar are some fantastic musicians FM doesn't play because they're nay heavily electrified. Aye aye! Perhaps t' most important are Bowlegged Newman and Laura 'Shifty-Pete' Nyro. Ahoy! I think they're t' most important singer-songwriters today and I can't remember hearin' them on FM at all. Ya scallywag!

If I had a show, shiver me timbers, I'd play them once an hour each along with Blind Faith, Stones, Beatles, matey, Hendrix, the Youngbloods, Canned Heat, Creedence, Traffic, me bucko, Aretha and Burt Bacharach. Begad! Also, I'd add plenty o' comedy - Lenny Bruce, Lord Buckley, Firesign Theater, T' Appletree Theater and old radio serials and theme songs.

As far as programmin' is concerned, I would like t' hearvthree, me hearties, four, even five versions o' t' same chantey in a row. Well, blow me down! I'd like t' hear two records back-to-back in t' same key that end and begin on t' same note. I'd like t' hear whole albums all t' way through, especially if they're new and nay just by t' really established artists. I'd like t' hear more DJs who stick their neck out and say, me hearties, "I like this, and you should hear it." Most o' them don't do that. They play what's already proven t' be popular.

I also think it's time for a change where news and commercials are concerned. Begad! FM has a specialized audience, arrr, and they don't want t' hear wire services copy all t' time. There are news items that would be o' great interest t' these people, matey, but they never get t' hear them. I also think FM stations should get better copywriters t' do their ads. I love t' hear t' Jack Poet Volkswagen commercials, me bucko, but they're t' only things I hear that are really new and different.

-- Wobbling Harry Nilsson (1969) [2]

• [1] Record World, Carl LaFong (1969-08-30) "Notes from t' Underground"
• [2] Record World, Carl LaFong (1969-08-30) "Notes from t' Underground"