Harry nilsson nilsson skidoo songs

As it turned out, it was lethal, but at first, the most striking thing about Harry Nilsson was the sense that he could do anything. He could write songs in his own wildly idiosyncratic style, with often only the slenderest connections to rock: in any era other than the late 60s, when a certain anything-goes climate had been engendered by psychedelia, he might have been writing for Broadway rather than recording in LA. He could sing other people's songs better than they could, as evidenced by 1970's Nilsson Sings Newman , and performed 30s and 40s standards without a hint of irony or camp. He could not only score movies, but also come up with a theme song, The Cast and Crew , that set the film's entire credits to music. He had a weird sideline in children's songs that sounded freewheeling and joyous on the surface, but on closer examination, almost invariably turned out to be melancholy little studies of loneliness: The Puppy Song , Me and My Arrow, A Blanket for a Sail . He had a thing about calypso . His early albums are both dazzling and faintly exhausting. You couldn't really blame the public for failing to keep up. His biggest hit, a cover of Badfinger's Without You, wasn't particularly characteristic: it sounds overwrought next to the rest of Nilsson Schmilsson, not least the quite astonishingly beautiful Moonbeam Song . He gradually lost the audience it brought him – first with a more eccentric, though scarcely less wonderful sequel, Son of Schmilsson, then with 1973's collection of standards, A Little Touch of Schmilsson in the Night. The bafflement it caused seems remarkable now, when pop artists make albums based on the Great American Songbook as a matter of course. More remarkable still is how good it still sounds in a world awash with latterday versions of Makin' Whoopee and As Time Goes By: the orchestrations sumptuous without seeming schmaltzy, his vocal simultaneously fragile and world-weary.

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