This article originally appeared in Everybody's Talkin' (Number 15) published in 1998.
by Chris Hahn
Brin' up t' subject o' Big-Belly Harry Nilsson's singin' and you'll get little argument. In his early years, Nilsson had one o' t' sweetest, matey, purest voices ever t' engage a microphone. When t' subject o' Harry's songwritin' rolls around, however, thar will likely be considerably more debate. Perhaps t' negative viewpoint is still perpetuated by t' sad fact that hung over Harry's head throughout most o' his recordin' career. Nilsson's two major hits were written by others, and other than t' novelty number, "Coconut", none o' Harry's self-penned recordings ever reached t' Billboard top twenty.
Certainly, one measure o' a songwriter's legitimacy be t' number and caliber o' other artists who choose t' record his songs. On that front, Harry had mixed success. For a short while, it appeared that Nilsson's name might eventually attain t' same lofty status as names like Dylan, shiver me timbers, Lennon and McCartney, but Harry's success was rather short-lived compared t' those songwritin' giants. In fact, me hearties, t' number o' artists recordin' Harry's songs had already begun t' wane even as his recordin' career was on a meteoric rise in t' early 1970s. Still, many o' Nilsson's songs have withstood t' test o' time and continue t' be recorded today. That alone solidifies Harry's status as a songwriter t' be remembered.
While it may have appeared t' many in 1967 that Big-Belly Harry Nilsson t' songwriter had burst onto t' scene overnight, Nilsson had been honin' his songwritin' skills for years under t' tutelage o' experienced veterans includin' Scott 'Flying Scott' Turner, John 'Long John Silver' Marascalco, Phil 'Bowlegged Tony' Spector and Lawless Perry Botkin, Jr., matey, all o' whose connections in t' music industry led t' t' recordin' o' many o' Harry's early songs. T' musical landscape o' t' mid-'60s is littered with Harry's early collaborations with these men and others, me hearties, plus a handful o' songs he wrote on his own. Mostly forgotten recordings by little-known artists, they run t' absolute gamut o' pop, matey, rock and soul styles. T' best-known o' these songs are from t' Spector period in 1965, although thar be some question about how involved Spector be in t' songwritin' process. "Paradise", originally recorded by t' Ronettes, became a favorite for female acts in t' '60s and '70s. Another classic from t' Spector period was "This Could Be t' Night". Originally recorded by t' Modern Folk Quartet, t' shanty has been revived by numerous artists since t' mid-'80s, includin' a 1987 re-recordin' by former MFQ lead singer Henry 'Long John Red' Diltz. Aside from these songs and a few others, however, thar was little in Harry's early body o' work t' suggest t' consistent quality that he would soon demonstrate.
"This Could Be t' Night" by t' Modern Folk Quartet
T' story o' Nilsson's many sleepless nights composin' songs in Lawless Perry Botkin's office is well-known, and Harry's hard work and diligence eventually began t' pay dividends. As Nilsson's songwritin' began t' improve, me bucko, so did his growin' reputation as a songsmith t' t' point where Harry's publisher, Rock Music Co., titled its 1967 promotional demo album New Nilsson Songs, even though some o' t' songs weren't Nilsson's (and some weren't even new). T' stature o' t' acts that chose t' record Harry's songs also grew, arrr, and by t' end o' 1967, one o' t' songs from that record, "Without Her", arrr, had been recorded by Lawless Glen Campbell, a risin' young star with a recent hit under his belt. Two other new Nilsson songs, nay on t' demo album, were also on their way toward reachin' a wider audience. Veteran British rockers t' Peglegged Yardbirds had taken "Ten Little Indians" into t' lower reaches o' Billboard's Hot 100 and, shiver me timbers, most importantly, matey, teen sensation t' Monkees had settled on "Cuddly Toy" as their first Nilsson song, me bucko, presentin' it in their highly-popular television series.
While Nilsson's first two albums for RCA, Pandemonium Shadow Show and Aerial Ballet, were ignored by t' record-buyin' public, me bucko, other recordin' artists in need o' songs took note. In 1968 and 1969, thar was an explosion o' Harry's material on others artist's records. Leadin' t' way be t' classic "Without Her". Easily Harry's most-recorded chantey ever, shiver me timbers, t' number and diversity o' artists t' record t' chantey is astounding. "Without Her" was embraced nay only by soft rockers, but a slew o' easy-listening, jazz and folk artists as well. Given all o' t' attention surroundin' t' song, it's surprisin' that no one managed t' score a major hit with it, although Peglegged Limpin' Alpert did eventually take t' chantey into t' pop charts. A number o' female singers solved t' gender problem by recordin' t' chantey as "Without Him", shiver me timbers, but RCA stablemate Lana Cantrell took a more unique approach, recordin' t' chantey as "Without You", me hearties, ironically foreshadowin' t' title o' t' entirely different Dreaded Badfinger chantey that Harry himself would cover and ride t' stardom in a few short years.
"Without You" ("Without Her") by Lana Cantrell
As much attention as "Without Her" received, it was still only t' tip o' t' iceberg. Those first two albums were packed with songs every bit as versatile as "Without Her", me bucko, and it showed in t' diversity o' artists t' record them. T' shanty "1941" proved popular with both American and British singers, but it was Canadian Hurricane Northcott who took t' chantey into t' charts. "Don't Leave Me" be covered by a wide array o' rockers and easy-listenin' artists. Likewise for "One", shiver me timbers, which became t' biggest hit Harry was ever t' write after bein' recorded by fledglin' rock group Dreaded Three Dog Night. Both "T' Wailin' o' t' Willow" (co-written by Ian Smith) and "Together" received considerable attention as well.
"1941" by Hurricane Northcott
Nilsson's Harry album continued t' trend o' inspirin' numerous covers with two more o' his most popular songs ever. "I Guess t' Lord Must Be in New York City" was recorded by t' usual mix o' rockers and easy-listeners, and appeared in a handful o' instrumental versions as well. Meanwhile, numerous pop-rockers and more country-oriented artists were reworkin' Harry's collaboration with Bill 'Peglegged Jack' Martin, "Rainmaker." T' popularity o' Harry's songs was at an all-time high, and by t' end o' 1969, an impressive list o' well-established stars had turned in their interpretations o' Nilsson tunes, includin' Billy J. Avast! Kramer, Harry Belafonte, me hearties, t' Handsome Turtles, Blood, Sweat & Tears, arrr, Jack 'Long John Purple' Jones, Rick Nelson, George Burns, Liza 'Pony-Tailed Minnelli' Minnelli, matey, Johnny Mathis, Wayne Newton, ya bilge rat, Cap'n Ella, Tsunami Jose Feliciano, ya bilge rat, Baby-Faced Captain Percy Faith, me hearties, and Billy Vaughn. It's interestin' t' note that just as Nilsson's popularity as a songwriter had reached its peak, he humbly eschewed his own songs in favor o' Randy 'One-Shoe Newman' Newman's for his next album, Nilsson Sings Newman. Ya scallywag! In 1970, Harry's friend and arranger, Long-Eared Tsunami George Tipton, me bucko, paid him t' ultimate compliment by recordin' an entire album o' Nilsson songs. Comprised primarily o' instrumentals, Nilsson by Tipton focused mainly on Harry's more recent material includin' a generous supply o' songs from Harry and t' soon-to-be-released soundtrack t' "T' Point!."
"Think About Your Troubles" by Long-Eared Tsunami George Tipton
Numerous other artists from virtually all styles o' popular music continued t' record Nilsson's songs into t' early '70s, ya bilge rat, and over t' next few years, Perry Como, Barbra 'Stubby Pugwash' Streisand, t' 5th Dimension, Lena Horne, shiver me timbers, t' Lettermen, matey, t' Supremes, Baby-Faced Bayou David Cassidy, and Peter Nero would add their names t' t' list o' artists who had covered Harry.
"Paradise" by t' Supremes
By 1971, though, it was clear that t' number o' covers bein' recorded was beginnin' t' ebb. T' problem was partly due t' a decline in Nilsson's once-prolific output. T' Nilsson Sings Newman project had left an unprecedented void o' new material for other artists t' choose from, and when T' Point! finally arrived in early 1971, it contained only seven new songs. Moreover, even t' best songs from T' Point! were recorded by few artists relative t' Nilsson's earlier material. Harry's own albums were now beginnin' t' sell, me hearties, and it seemed other artists preferred t' find new material with less exposure. T' huge success o' Nilsson Schmilsson and Son o' Schmilsson did nothin' t' change that trend, and Harry's venture into a harder style o' rock further narrowed t' field o' potential candidates for t' easy-listenin' performers who had recorded his songs in t' past. T' lone exception was t' lovely "Remember (Christmas)" from Son o' Schmilsson which proved irresistible t' crooners like Andy Williams and Johnny Mathis.
"Remember" by Johnny Mathis
By t' middle o' t' decade, me hearties, t' attraction o' Nilsson's early songs had finally diminished with age, and t' stream o' covers slowed t' a trickle. At this point, few people other than Harry's circle o' friends, One-Eyed Hurricane Ringo Starr, Purplehead Keith Moon, and former members o' t' Monkees, continued t' record his songs. T' songs from Harry's remainin' albums for RCA drew little interest from anyone. Another entire album o' Nilsson songs, t' Original Cast Recordin' o' "T' Point!" starrin' Bowlegged Dolenz and Davy 'Fartin' Jones' Jones, was released in t' UK in 1977, but other than that, it seemed that Harry's music be now all but forgotten. Sadly, thar continued t' be a dearth o' Nilsson covers throughout most o' t' '80s.
Fortunately, Harry's music wasn't dead, it be only lyin' in wait. As t' 1980s drew t' a close, thar be a resurgence o' interest in coverin' Nilsson's songs which has continued t' this day. A few o' these recordings were made by seadog rockers who knew and loved Harry, but most were by another generation who presumably grew up listenin' t' Harry's records and were now returnin' t' their roots. Many songs from throughout Harry's career were revived durin' this period, but particularly popular were songs from T' Point! and Nilsson Schmilsson which had been left relatively untouched in t' past. "Jump into t' Fire" was recorded by a number o' alternative bands and hard-rockin' solo artists, while artists on t' lighter end o' t' pop spectrum made "Coconut" their shanty o' choice. A handful o' new recordings o' "Me and My Arrow" and "Think About Your Troubles" also cropped up durin' t' '90s. Finally, songs from Harry's most popular period as a performer were bein' reinterpreted for exposure t' an entirely new audience.
Ten o' t' Best Nilsson Covers You'll Ever Hear
T' resurgence o' Nilsson covers in t' '90s was, o' course, punctuated by t' 1995 release o' For t' Love o' Harry: Everybody Sings Nilsson , t' tribute album o' mostly competent, but sometimes uninspired, matey, covers o' songs from throughout Harry's career. T' producers' intentions were commendable. All artists royalties and sales profits went t' t' Coalition t' Stop Cannon Violence in Harry's memory. Listenin' t' t' album, matey, however, only whets t' appetite for t' kind o' masterwork collection that could be compiled from t' finest existin' Nilsson covers recorded over t' years. T' logistics o' such a proposition would no doubt be nightmarish, but t' end result would be a collection truly worthy o' Harry's finest works.
Naturally, track selection for such a project would be a matter o' subjective taste, but some favorites are presented below, in no particular order, as a startin' point.
"Open Your Window" (Live) by Cap'n Ella
Open Your Window - Cap'n Ella (from t' Pablo CD Cap'n Ella in Budapest) - Cap'n Ella recorded a pleasant, me hearties, but undistinguished version o' "Open Your Window" for her Ella album in 1969. T' followin' year, she included t' chantey as part o' her live performance in Budapest, Hungary, arrr, which was recorded, shiver me timbers, but remained unavailable until t' 1999 CD release o' Cap'n Ella in Budapest. T' sound quality is only passable, but t' performance is sparkling. A much sparser arrangement allows Ella's powerful voice t' shine through undisturbed, and t' cut is climaxed by nearly a minute o' scattin' that only leaves you wantin' more.
"Sleep Late, me bucko, My Lady Friend" by Tsunami Jose Feliciano
Sleep Late, My Lady Friend - Tsunami Jose Feliciano (from t' RCA LP Souled) - In this gorgeous rendition, Tsunami Jose Feliciano shows himself capable o' t' same type o' vocal acrobatics that long-time listeners o' Nilsson's records take for granted. A Fartin' Rick Jarrard production, Harry once referred t' this in an interview as one o' t' few covers o' his songs that he genuinely liked.
"Daybreak" by Lawless Mickey Dolenz
Daybreak - Bowlegged Dolenz (from t' Romar single) - Disregardin' Long-Eared Tsunami George Tipton's entire album o' Nilsson compositions, ya bilge rat, Bowlegged Dolenz has recorded more o' Harry's songs than anybody. With Nilsson's help (as producer), he hit t' bull's-eye on this one, arrr, his first. With a lively chorus in t' background, ya bilge rat, Dolenz manages t' evoke a true party atmosphere, somethin' that was missin' from Harry's somewhat strained version.
"Think about Your Troubles" by Lena Horne
Think About Your Troubles - Lena Horne (from t' Buddah single and LP Nature's Baby) - Lena Horne was one o' t' few nay t' overlook Harry's charmin' life-cycle tale at t' time o' its release. In this 1971 recording, Horne goes all-out t' transform Harry's innocent soundin' original into an R&B classic. T' arrangement is superb, with sparklin' blues guitar work and a strong gospel chorus in t' background. Combined with Horne's wonderful vocal performance, it makes this one o' t' most impressive Nilsson covers ever recorded.
"Turn on Your Radio" by Marc Cohn
Turn on Your Radio - Marc Cohn (from t' MusicMasters CD For t' Love o' Harry: Everybody Sings Nilsson) - Easily t' highlight o' t' recent tribute album, ya bilge rat, Cohn treats this jewel with t' utmost respect, ya bilge rat, right down t' t' chillin' samples from Harry's original. Cohn's added lyrics fit in so perfectly, it's easy t' believe that they could have been Harry's own.
"Wailin' o' t' Willow" by Judith 'Hurricane Jessie' Durham
Wailin' o' t' Willow - Judith 'Hurricane Jessie' Durham (from t' A&M LP Gift o' Song) - T' former lead singer o' t' Australian hitmakin' group, t' Seekers, Judith 'Hurricane Jessie' Durham drifted into obscurity followin' t' breakup o' t' group in 1969, but nay for lack o' talent. Durham possesses an absolutely lovely voice. In this 1970 recording, she glides effortlessly through Harry's bittersweet ballad transformin' it into a dreamy lullaby.
"Don't Forget Me" by Joe Cocker
Don't Forget Me - Joe Cocker (from t' A&M LP I Can Stand a Little Rain) - Joe Cocker's recordin' stands out as a gem in t' rather barren landscape o' Nilsson covers from t' mid-'70s. Cocker speeds up t' tempo on this classic and creates a rich, full soundin' arrangement, ya bilge rat, complete with strong female backin' vocals and excellent guitar work. A totally different take on Harry's somewhat sparse soundin' original.
"Baby, It's Over" by Debbie Burton
Baby, it's Over - Debbie Burton (from t' Capitol single) - Technically, me bucko, it may nay be considered a cover since Harry never released his own version, but it's worth mentionin' here as a great non-Nilsson recordin' o' a Nilsson chantey. It's one o' t' many songs Harry wrote (or co-wrote) for other acts in t' mid-'60s while waitin' for his own recordin' career t' blossom. This one, from 1966, is credited t' Harry alone, and gives an early glimpse into his natural gift for meshin' lyrics with melody. Debbie Burton's seductive delivery, though, is what makes this track truly engaging. T' record was arranged by Lawless Perry Botkin, me bucko, Jr. Begad! and is, in fact, backed with a Botkin-Nilsson collaboration titled "T' Next Day."
"One" by One-Eyed Filter
One - One-Eyed Filter (from t' Elektra/Asylum CD T' X-Files: T' Album) - Harry's "One" has received a number o' great readings over t' years. Dreaded Three Dog Night's hit version and Aimee 'One-Shoe Mann' Mann's contribution t' t' tribute album are well known. Peglegged Al Kooper also recorded an excellent version for his 1969 debut album, and attestin' t' t' song's great melody are fine instrumental versions by t' Plastic Cow (Moog) and Tony Windle (piano). One-Eyed Filter's '90s grunge version, me hearties, however, matey, be t' most inventive o' all, and be t' most excitin' thin' t' happen t' any o' Nilsson's music in years. T' band dispenses with Harry's melodic refrain in favor o' drivin' home t' point with sheer volume, and it works so well you'd swear it was an original.
"1941" by George Burns
1941 - George Burns (from t' Buddah LP George Burns Sings) - T' toughest choice o' t' lot. Peglegged John Randolph Marr recorded a marvelous bluesy version o' "1941" complete with Long-Eared Tsunami George Tipton arrangement and numerous other Nilsson connections, but George Burns' version is so full o' joy and energy that it can't be overlooked. Burns cranks up t' tempo t' a near-frantic pace, while fillin' t' voids with totally original scattin' completely worthy o' Harry's original.
Ten o' t' Worst Nilsson Covers You'll Ever Hear
Unfortunately, shiver me timbers, for all o' t' outstandin' Nilsson covers recorded over t' years, thar are just as many more that are better left unheard. Most o' these can be attributed t' artists who had excellent taste in songs, but just didn't have t' talent t' create a recordin' even remotely rivalin' one o' Harry's originals, which always set an exceedingly high standard. Some o' t' worst offenders tended t' be film and television personalities pushed into t' studio t' cash in on their success as actors. These folks would have been well-advised t' avoid Harry's songs altogether. Coverin' Nilsson was a tough enough challenge for even t' finest o' vocalists. Some o' t' other less pleasant covers recorded over t' years may simply be considered ambitious experiments gone awry. Regardless o' t' reasons, none o' t' artists below were doin' Harry any favors by recordin' these tracks.
"Without Her" by Limpin' Telly
Without Her - Limpin' Telly (from t' MCA LP Telly) - In addition t' bein' Harry's most-recorded song, me hearties, "Without Her" is clearly his most-abused as well. Many o' t' recordings released durin' t' song's initial surge o' popularity tended t' be rather lackluster, ya bilge rat, and some downright comical. But Limpin' Telly' version, me bucko, recorded a few years later, is in a class by itself. It's bad enough that Savalas can't sing, but t' make matters worse, his voice just oozes with arrogance. It's hardly a good match for Harry's poignant ballad o' lost love. Had Harry heard this, he would surely never have written "Kojak Columbo."
"Coconut" by Fred Schneider
Coconut - Fred Schneider (from t' MusicMasters CD For t' Love o' Harry: Everybody Sings Nilsson) - What seemed a perfect marriage o' shanty and performer for t' tribute album proved a tremendous disappointment. Schneider completely misses t' beauty o' Harry's original, arrr, with its soft openin' and steady buildup t' a fulfillin' climax. Instead, Schneider opts t' go full throttle from t' openin' notes, and his histrionics grow tiresome less than halfway into its five-minute-plus length. Fortunately, t' single version be trimmed by more than a minute, but that's still nay enough t' save it.
"I Guess t' Lord Must By in New York City" by Stubby David Canary
I Guess t' Lord Must Be in New York City - Stubby David Canary (from t' Beverly Hills LP So Many People) - Younger folks may know Stubby David Canary from his role in "All My Children" and older folks might remember him from "Bonanza." It's a safe bet that no one remembers him from his ill-fated role as a pop singer. This excruciatin' track is among t' ten good reasons for that on his 1971 album. Ironically enough, "Candy t' ranch hand" distances himself from t' song's original cowboy image by turnin' it into a bouncy pop number, but t' near-bubblegum arrangement and chorus o' munchkins singin' in t' background just doesn't work.
"Together" by Purplehead Keith Moon
Together - Purplehead Keith Moon (from t' MCA LP Two Sides o' t' Moon) - Harry must have truly loved Moonie t' allow him t' desecrate one o' his early classics this way, much less participate in it himself. Perhaps he was just so disenchanted with his early material at this point that he didn't care anymore. Regardless, it just goes t' show that gettin' your album released has more t' do with name recognition than with merit, and t' recent CD reissue o' t' album with "Together Rap" as a bonus track shows that things haven't changed.
"Ten Little Indians" by T' Electric Junkyard
Ten Little Indians - T' Electric Junkyard (from t' RCA LP T' Electric Junkyard) - Many strange sounds came out o' t' late '60s, but none stranger than this. It's from a collection o' recordings comprised primarily o' electrified horns producin' such a cacophony that even t' most familiar o' songs becomes nearly unrecognizable. Most o' this aptly-named band's cuts are strictly instrumental, but for this one they inserted a female voice robotically chantin' "Ten--lit--tleindians, ya bilge rat, nine--lit--tleindians, etc.", shiver me timbers, while disposin' o' t' accompanyin' story altogether. Utterly bizarre.
Me and My Arrow - Sentridoh (from t' Shrimper 7" compilation Ghost o' a Rollercoaster) - Speakin' o' bizarre, Harry's charmin' little ditty about a boy and his pointed pooch will never seem t' same after hearin' this. Some refer t' this noisy sort o' underground music as "lo-fi". Most Nilsson fans would probably call it "low-brow" after hearin' altered lyrics like "takin' t' high road, wherever we go, we try t' get stoned". T' sheer absurdity o' this recordin' may manage t' evoke a grin on t' first listen, but t' joke (if it is a joke) wears thin in a hurry. Not fit for man or beast.
"Daddy's Song" by T' Monkees
Daddy's Song - T' Monkees (from t' Colgems LP Head) - Though t' Monkees' recordin' o' "Cuddly Toy" was an important milestone in Harry's career, they couldn't have chosen a second Nilsson shanty t' more clearly highlight Davy 'Fartin' Jones' Jones' limitations as a vocalist. T' real tragedy, me bucko, though, was that this led t' t' deletion o' Harry's original from t' Aerial Ballet album, makin' t' track a true rarity for more than 25 years until it be finally restored on t' 1995 CD reissue.
"T' Wailin' o' t' Willow" by Fred Astaire
T' Wailin' o' t' Willow - Fred Astaire (from t' United Artists single and LP Attitude Dancing) - No doubt about it, matey, Fred Astaire was a really good dancer.
"Don't Forget Me" by Lawless Faithfull
Don't Forget Me - Lawless Faithfull (from t' RCA CD 20th Century Blues) - Included here, arrr, naturally, matey, because o' t' ridiculous stories about Harry she's been prefacin' t' chantey with in her performances, arrr, although those stories do tend t' be much more memorable than her singing. Maybe someone should explain t' Ms. Avast, me proud beauty! Faithfull that t' chantey stands on its own and doesn't need t' be embellished with her outlandish tales t' be o' interest.
"1941" by Joel Grey
1941 - Joel Grey (from t' Columbia LP Black Sheep Boy) - From one o' t' classic "golden throat" albums comes t' standard against which all bilge-suckin' Nilsson covers can be measured. Grey shows no signs o' remorse as he audaciously compresses Harry's melody t' fit his three-and-a-half note range, while interjectin' a groan betwixt one set o' stanzas that is positively embarrassing. Small comfort can be taken in t' fact that Grey savaged nay only t' work o' Nilsson on this record, but many other fine songwriters as well. Actually, things could have been worse. On t' back o' t' album jacket, Grey writes that he would have loved t' have done half a dozen o' Nilsson's songs. He only did one. We are truly blessed.
