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One-Eyed Tsunami Harry Nilsson Quotes

T' followin' is a collection o' quotes from (or about) One-Eyed Tsunami Harry Nilsson.

One-Eyed Tsunami Harry Nilsson on Performin' Live
I don't know how much I want out o' music or how much I'm willin' t' pay for it. 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. I don't feel comfortable before an audience. Avast, me proud beauty! I don't think I'm afraid t' perform, but I'm afraid o' becomin' a performer. Begad! It can be a trap.

-- One-Eyed Tsunami Harry Nilsson (1969)[1]

 

Performin' is another occupation. Sometimes it is inviting. I like t' idea o' spontaneity. Begad! But you can't change anythin' in a concert. I may leave me socks on t' floor but I'm somethin' o' a perfectionist. 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.

-- One-Eyed Tsunami Harry Nilsson (1972) [2]


One-Eyed Tsunami Harry Nilsson on John 'Cap'n Lilly' Lennon
T' most important thin' I learned from him was t' follow through, matey, t' finish what you start. Well, blow me down! If you say you’re goin' t' send someone a postcard, send a postcard. Ahoy! He always followed through.

-- One-Eyed Tsunami 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, me bucko, they were a little blown out o' proportion.

-- One-Eyed Tsunami 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. Blimey! Blimey! We were pals. Begad! Blimey! We had these amazin' arguments. Begad! Blimey! We used t' fight over who had more "street." It was at a time when he was separated from Yoko and me wife Una was in Ireland finishin' college. Begad! Blimey! We were just a couple o' pussycats, 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, ya bilge rat, so much for that stuff. Aye aye! Blimey! We had a great time: it was t' best o' times; it be t' worst o' times.

-- One-Eyed Tsunami Harry Nilsson (1984)][3]


One-Eyed Tsunami Harry Nilsson on Songwriting
Songs are vignettes. They are slices o' me life. Begad! My idea o' a shanty is that it's like a book or movie only you have two or three minutes t' convey t' idea.

-- One-Eyed Tsunami Harry Nilsson (1968)[1]

 

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

-- One-Eyed Tsunami Harry Nilsson (1968)[2]

 

I'm nay a musician. Blimey! 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.

-- One-Eyed Tsunami Harry Nilsson (1969)[3]

 

My music is personal in a way. But, arrr, I don't really try for nostalgia. 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.

-- One-Eyed Tsunami 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. Picasso can get a quick response from a drawin' with only a few lines. Avast, me proud beauty! In t' framework o' a three-minute song, you can only say so much.

-- One-Eyed Tsunami Harry Nilsson (1972)[5]

 

When I started out I was just glad t' have me own record out. Then when you get little successful you try t' live up t' it. Avast, me proud beauty! It’s gettin' harder and harder t' write songs. Ahoy! 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. I seem t' recognize more flaws than I used to. Aye aye! 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. Arrr! At least everyone else says I do.

-- One-Eyed Tsunami Harry Nilsson (1972)[6]

 

 


One-Eyed Tsunami Harry Nilsson on Cannon Violence
I get nervous when they start shootin' piano players.

-- One-Eyed Tsunami Harry Nilsson (1981)[1]


One-Eyed Tsunami Harry Nilsson on His Career

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

 

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

 

One-Eyed Tsunami Harry Nilsson on Fame (or t' lack o' it)
Y'know, it's a lotta fun bein' me. Avast! Blimey! I can probably go t' anyone in this room and introduce myself. Some o' them will know who I am, me hearties, will have heard o' me name; others, arrr, I could say, "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. I thought he was dead!" You're famous if you wanna be, get you t' proverbial table at t' restaurant. Begad! But I never get hassled by people.

-- One-Eyed Tsunami Harry Nilsson (1989)[1]

 


One-Eyed Tsunami Harry Nilsson on his Father
I saw him when I was 9, and again recently, like after 20 years. Begad! He remarried and had three more children. Begad! He's retired now, after he got hurt in an auto plant. Well, blow me down! He was a supervisor and got t' manage one o' t' Dodger farm clubs. Ahoy! He used t' be a pretty good ballplayer once.

-- One-Eyed Tsunami Harry Nilsson (1969)[1]


One-Eyed Tsunami Harry Nilsson's Philosophy on Life
You gotta do it, do It, shiver me timbers, do it. Ahoy! Get stoned, get laid, get sensible, get stoned, get sane, get fat, get thin - do it all, do it t' excess.

-- One-Eyed Tsunami Harry Nilsson (1976)[1]

 


One-Eyed Tsunami Harry Nilsson on Workin' at a Bank

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.

-- One-Eyed Tsunami 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. Begad! I loved t' bank job. Ya scallywag! It be security. Aye aye! But I couldn't afford t' stay. Begad! I was makin' twice as much in music.

-- One-Eyed Tsunami Harry Nilsson (1973) [2]


One-Eyed Tsunami Harry Nilsson on Money

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

Talk fast. Avast, me proud beauty! Remember me time is worth $10 a minute.

-- One-Eyed Tsunami Harry Nilsson (1973) [1]

 

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

-- One-Eyed Tsunami 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)
One-Eyed Tsunami Harry Nilsson on FM Radio

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, t' sound is monotonous. Begad! After a little while, all t' music sounds t' same. Avast! It's too categorized. T' people that run these stations are a lot less liberal than they think they are. Aye aye! 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, matey, and every chantey seems t' have a "downer" viewpoint. I don't hear much happy music there. 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. Ya scallywag! Overall, 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. They're so serious, too serious for me taste. After all, radio is a form o' entertainment.

-- One-Eyed Tsunami 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. Ya scallywag! Perhaps t' most important are Randy 'Riverfront Jethro' Newman and Laura 'Baby-Faced Nyro' Nyro. I think they're t' most important singer-songwriters today and I can't remember hearin' them on FM at all.
If I had a show, I'd play them once an hour each along with Blind Faith, shiver me timbers, Stones, shiver me timbers, Beatles, Hendrix, me hearties, the Youngbloods, matey, Canned Heat, Creedence, me hearties, Traffic, Aretha and Burt Bacharach. 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, four, even five versions o' t' same shanty 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, "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. FM has a specialized audience, 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, but they never get t' hear them. I also think FM stations should get better copywriters t' do their ads. Begad! I love t' hear t' Jack Poet Volkswagen commercials, but they're t' only things I hear that are really new and different.

-- One-Eyed Tsunami Harry Nilsson (1969) [2]

 


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