Originally Released November 1971
Standard CD Edition Released October 1990
RCA Records Gold CD Edition Released June 1995
Remastered + Expanded CD Edition Released January 13, 2004
AMG EXPERT REVIEW: Nilsson had a hit, a Grammy, and critical success, yet he still didn't have a genuine blockbuster to his name when it came time to finally deliver a full-fledged follow-up to Nilsson Sings Newman, so he decided it was time to make that unabashed, mainstream pop/rock album. Hiring Streisand's producer, Richard Perry, as a collaborator, Nilsson made a streamlined, slightly domesticated, unashamed set of mature pop/rock, with a slight twist. This is an album, after all, that begins by pining for the reckless days of youth, then segues into a snapshot of suburban disconnectedness before winding through a salute to and covers of old R&B tunes ("Early in the Morning" and "Let the Good Times Roll," respectively), druggie humor ("Coconut"), and surging hard rock ("Jump into the Fire"). There are certainly hints of the Nilsson of old, particularly in his fondness for Tin Pan Alley and McCartney melodicism -- as well as his impish wit -- yet he hadn't made a record as cohesive as this since his first time out, nor had he ever made something as shiny and appealing as this. It may be more accessible than before, yet it's anchored by his mischievous humor and wonderful idiosyncracies. Chances are that those lured in by the grandly melodramatic "Without You" will not be prepared for either the subtle charms of "The Moonbeam Song" or the off-kilter sensibility that makes even his breeziest pop slightly strange. In short, it's a near-perfect summary of everything Nilsson could do; he could be craftier and stranger, but never did he achieve the perfect balance as he did here. [RCA/BMG Heritage reissued Nilsson Schmilsson in 2004 with six bonus tracks. Three of these -- demos of "The Moonbeam Song," "Gotta Get Up," and "Old Forgotten Soldier" -- were included on Britain's RCA Camden 2000 reissue, but the other three are not. There's the Spanish version of "Without You," plus two songs not on the album: "How Can I Be Sure of You" and "Lamaze." None of these are essential (though "Lamaze" is pretty funny), but they're all nice to hear. What is frustrating is that the Camden reissue has five bonus tracks not on this disc, meaning that Nilsson nuts need to own both reissues, which is a bit of a pain.] ~ Stephen Thomas Erlewine
Half.com Album Credits
Chris Spedding, Contributing Artist
Gary Wright, Contributing Artist
Jim Keltner, Contributing Artist
Jimmy Webb, Contributing Artist
Robin Geoffrey Cable, Engineer
Richard Perry, Producer
Album Notes
Includes six previously unreleased bonus tracks.
Personnel includes: Harry Nilsson (vocals, harmonica, piano, electric piano, organ, Mellotron); Klaus Voorman (acoustic & electric guitars, bass); John Uribe (acoustic & electric guitars); Ian Duck (acoustic guitar); Caleb Quaye, Chris Spedding (guitar); Bobby Keys (saxophone); Jim Price (trumpet, trombone); Gary Wright, Jimmy Webb (piano); Roger Collan (organ); Richard Perry (Mellotron); Herbie Flowers (acoustic & electric basses); Jim Gordon (drums, percussion) Jim Keltner, Roger Pope (drums).
Principally recorded at Trident Studios, London, England in June 1971.
Originally released on RCA (4515).This is the album that brought about Harry Nilsson's commercial breakthrough in 1971. Produced by Richard Perry, it retains all of Nilsson's wonderful songwriting and warm singing, but presents them in a decidedly rock-based setting. As it turned out, the guy who represented a sort of Tin Pan Alley update could rock with the best of them!
NILSSON SCHMILSSON received the contributions of a stellar cast of British and American studio regulars, and was recorded in London. From the opening notes of "Gotta Get Up," Nilsson is in complete control, fronting the proceedings with grace and ease. The album yielded a number of hits for him; "Coconut" (as in "put the lime in the coconut") and "Jump Into the Fire" were two, but his highest chart placement came with a song he didn't write, "Without You," a song penned by the English band Badfinger. The song seems like such a natural selection for Nilsson that it's often assumed that Badfinger had covered Nilsson. This album ranks as one of his finest, along with HARRY and NILSSON SINGS NEWMAN.
Rolling Stone (02/17/1972)
...the cutting edge of NILSSON SCHMILSSON is still Harry's singing. One gets the feeling that he could make something significant out of even the most banal or lackluster songs...
Mojo (9/00, p.88) - ...His most successful album....sporadically excellent....represents a creative flowering that extended to several unissued classics...
NME (9/23/00, p.35) - 6 out of 10 - ...[The album] spawned a massive hit with his cover of Badfinger's 'Without You'...as well as a clutch of decent rockers, even if it's a tad too zany.
Amazon.com essential recording
The late Harry Nilsson's creative and commercial peak, this LP showcases the singer/songwriter's lighthearted worldview to best advantage. It remains one of the best, most consistent, and least dated albums from an early-'70s era not known for underplayed, unpretentious subtlety. Here you get strong interpretive singing (how ironic that this tunesmith's biggest hits were covers, such as Badfinger's "Without You"), inventive arranging (the hilarious, marble-mouthed "Coconut"), and distinctive melodicism (check out that lovely paean to the stars, "The Moonbeam Song"). In keeping with the domesticated figure on the cover--complete with housecoat, cigarette, and waiting refrigerator--the mood is laidback and homey, Nilsson's multi-octave voice was never so full of life, and there's a palpable feeling of comfort in both the production and the material. Other LPs (like the John Lennon-produced Pussy Cats and the essential Nilsson Sings Newman) have their moments, but this is where to begin any Nilsson collection. --Don Harrison
Amazon.com Customer Review
Start your Nilsson journey here., December 14, 2002
Reviewer: Jamie Tate from Nashville, TN
As a recent discoverer of Harry Nilsson I am hurridly finding and buying every CD I see. I wish I could buy this album again and experience it for the first time once more. From the opening piano of 'Gotta Get Up' to the beautiful last chords of 'I'll Never Leave You' there isn't much not to like about this classic record. I'm proud to introduce this album on anyone who will listen. It's a definate must have for a true music lover's CD collection.
By the way, the Camden import sounds awful. It says it's remastered. If that's true the mastering engineer must have, for medical purposes I'm sure, downed a gallon of whiskey before he started. Notice his name isn't included in the liner notes. Hmmm! The bonus tracks sound good but the bulk of the album was sourced from bad, high generation tapes. I have a copy of the Mobile Fidelity Sound Labs CD and it's wonderful.
Amazon.com Customer Review
Romantic Sentimentality with a Rock¿n¿Roll Veneer, July 15, 2000
Reviewer: dev1 from Baltimore
Nilsson Schmilsson is quite a departure for Harry Nilsson. Harry turns out some pretty hot rockers, and let's his normally subdued "soul" soar. The rock'n'roll veneer may be the result of a conscious change in style, or the association with musicians such as bassist Klaus Voorman and guitarist Chris Spedding. Klaus was a member of John Lennon's Plastic Ono Band, and Chris has played with everyone from John Cale to Elton John. Drummers Jim Keltner and Jim Gordon are stylist mentors. Also, Richard Perry is an often sought producer responsible for the work of dozens of popular music artists. Nilsson was so pleased with the results of Nilsson Shmilsson, that he asked Perry to produce three more albums. Written while Nilsson was in Africa, the CD is abundant with forceful rhythms.
Quick, who wrote 'Without You'? Although the song was written by Badfinger, Nilsson's rendition is the definitive version. It's also the emotional core of Nilsson Schmilsson. Nilsson's pained and lonesome delivery and soaring vocals are unforgettable. In contrast to 'Without You,' the most vigorous rocker is 'Jump In The Fire.' Klaus Voorman's out-of tune bass lines thunder through Nilsson's impassioned singing. 'Early In The Morning' is such a convincing blues number, it's easy to forget that Nilsson is singing. 'Down' is a majestic acoustic ballad reminiscent of Nilsson's light and whimsical material. Nilsson's love and respect for Randy Newman is clear on the piano-based 'I'll Never Leave You.' The vocal harmonies are tearful.
Harry Nilsson was one of several singer/songwriters of the early nineteen-seventies who defied the trend toward hard rock, and instead centered his vision on romantic sentimentality. Despite the passing of the gifted artist who gave us 'Without You,' we don't have to live without Harry Nilsson: his music will continue to charm undying romantics for decades to come. Thanks Harry.
Amazon.com Customer Review
Sound Engineer misses boat, sounds as if recorded in garage, November 17, 1999
Reviewer: A music fan from USA
There are few musical dynamics brought froward by the Trident Studio where this was recorded by Robin Geoffrey Cable (Sound Engineer). The Analog to Digital is not good, Nilsson sounds as if he is at the back of the sound stage and the engineer is using compression technology to drown-out all dynamics, be prepared to turn up the volume on this one. I was real disappointed!
Amazon.com Customer Review
Classic time-capsule hits of mellow soul from the early 70s., August 19, 1998
Reviewer: blue_torpedo@hotmail.com from San Francisco
I remember playing this great release when I was taking sculpture in art school and the ole' 8-track rolled over all the songs at least twice ever time we played it. It is soft and mellow. Harry's classic soulful voice shines beating out the rhythms with gusto. "Early in the Morning" is a personal favorite combining "white-boy" blues with a quirky falsetto telling the story of love on the rocks while sitting bitterly in a roadside diner. Check your local used record store first; otherwise, it's worth the $13.
Amazon.com Customer Review
Finally, a definitive version!, September 1, 2004
Reviewer: Jamie Tate (Hermitage, TN United States)
This beautiful album has not recieved the love and affection it deserves throughout the years. There have been numerous CD releases and all (except for the $30 Mobile Fidelity gold CD) have woefully inadequate fidelity due to incompetent mastering jobs and/or poor source material.
The Camden import CD series were taken from cassette quality tape dubs and mastered for that "You aren't there" sound. The recent Japan remasters sound fine but have that very annoying digital hiss removal which destroyed the transients and makes things sound like MP3's. Grrrrr!
This CD version was mastered from the original tapes by Vic Anesini. Vic's name is usually the mark of quality. You can buy with confindence when you see his name. He's made this album sound right... finally. It's not as top ended as the MFSL gold CD but that disc was sourced from Richard Perry's personal tapes and not the original masters. Vic has made some wise EQ choices and things sound smooth, natural and pleasing.
The bonus tracks are nice although all have been released before on various discs.
Again, buy with confidence. This is a wonderful album needing a place in everyone's music library.
ROLLING STONE REVIEW
Even before Harry Nilsson scored a hit, John Lennon and Paul McCartney, in 1968, proclaimed the Brooklyn-born, L.A.-based songwriter as their favorite American singer. This was shortly after the Monkees recorded his cute and cleverly nasty "Cuddly Toy" but before Three Dog Night reached the Top Ten in 1969 with a cover of his lyrically despairing "One," which Aimee Mann and others have subsequently rendered evergreen. As a singer, Nilsson got lucky when his wistful rendition of Fred Neil's "Everybody's Talkin' " became the theme for Midnight Cowboy.
Blessed with a tenor that could make angels weep and the smarts to know how to use it, Nilsson nevertheless failed to ignite the album charts until 1971's Nilsson Schmilsson. The hit single was Nilsson's powerful cover of "Without You," a previously overlooked cut written and first recorded by Badfinger. The rest of the album established Nilsson as a talent of unusual depth and scope: Years before public escapades with future drinking buddy Lennon confirmed Nilsson's personal excesses, Schmilsson plays like a study in bipolar disorder. Beginning with the manic "Gotta Get Up" and continuing with the equally breezy and busy "Driving Along," the mood takes a dip with the skeletal and enchanted "Early in the Morning" before plummeting with the bluesy "Down." Side Two starts out with the Caribbean giddiness of "Coconut," then goes bonkers with "Jump Into the Fire," a wailing seven-minute bass-and-drum tantrum recently covered live by dance rock's LCD Soundsystem. On the albums that followed, Nilsson ventured into standards and ragged rock, but he would never again be this consistent or popular. -- BARRY WALTERS Posted: Oct 20, 2005
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