Harry Nilsson - The Studio Album Collection «Exclusive for Lossless-Galaxy» (Hi-Res)

Исполнитель: Harry Nilsson
Альбом: The Studio Album Collection «Exclusive for Lossless-Galaxy» (Hi-Res)
Жанр: Rock, Pop
Год: 1967-1976
Страна: USA
Лейбл: RCA - Legacy
Формат: FLAC (tracks)
Official DR value: DR10,10,13,13,12,11,12,11,12,12,12,11,11,13
Разрядность: 24bit / 96kHz Stereo (Mono), 24bit / 192kHz Stereo
Размер: 687 MB, 348 MB, 607 MB, 298 MB, 690 MB, 470 MB, 719 MB, 640 MB, 1,14 GB, 771 MB, 743 MB, 743 MB, 678 MB, 646 MB
Залито на: XFile (3% восстановление)

Harry Nilsson - Pandemonium Shadow Show 1967 [24-96]



01. Ten Little Indians
02. 1941
03. Cuddly Toy
04. She Sang Hymns out of Tune
05. You Can't Do That
06. Sleep Late, My Lady Friend
07. She's Leaving Home
08. There Will Never Be
09. Without Her
10. Freckles
11. It's Been so Long
12. River Deep, Mountain High

Harry Nilsson's debut album, Pandemonium Shadow Show, was notoriously loved by the Beatles, and it's easy to see why. This is the only record of its time that feels akin to Sgt. Pepper, and in some ways, it's every bit as impressive. Nilsson works on a much smaller scale, leaning heavily on whimsy yet cutting it with sardonic humor and embellishing it with remarkable song and studiocraft; it's as if McCartney and Lennon were fused into the same body. Pandemonium can't help but feel like a cheeky show of strength by a remarkably gifted imp, spinning out psychedelic fantasias and jokes and trumping his idols by turning out a cover of "She's Leaving Home" (recorded ten days after Sgt. Pepper's release) that rivals the original. Beneath all the light playful melodies ("There Will Never Be" is swinging London, L.A. style) or glorious laments (he rarely equaled "Sleep Late, My Lady Friend"), there are serious strains: the lyrics of "Cuddly Toy" are as unsettling as the melody catchy, the circus-stomp "Ten Little Indians" is a darkly addictive retelling of the Ten Commandments, and "1941" is quietly heartbreaking beneath its jaunty cabaret. Throughout it all, Nilsson impresses with his humor, cleverness, and above all, how his songwriting blossoms under his shockingly inventive studiocraft. Psychedelic pop albums rarely came better than this, and it remains a thorough delight.
© Stephen Thomas Erlewine /TiVo

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Harry Nilsson - Pandemonium Shadow Show (Mono Version) 1967 [24-96]



01. Ten Little Indians (Mono)
02. 1941 (Mono)
03. Cuddly Toy (Mono)
04. She Sang Hymns out of Tune (Mono)
05. You Can't Do That (Mono)
06. Sleep Late, My Lady Friend (Mono)
07. She's Leaving Home (Mono)
08. There Will Never Be (Mono)
09. Without Her (Mono)
10. Freckles (Mono)
11. It's Been so Long (Mono)
12. River Deep, Mountain High (Mono)

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Harry Nilsson - Aerial Ballet 1968 [24-96]



01. Daddy's Song
02. Good Old Desk
03. Don't Leave Me
04. Mr. Richland's Favorite Song
05. Little Cowboy
06. Together
07. Everybody's Talkin' (From "Midnight Cowboy")
08. I Said Goodbye to Me
09. Little Cowboy
10. Mr. Tinker
11. One
12. The Wailing of the Willow
13. Bath

As "Good Old Desk" opens Aerial Ballet with a cheerful saunter, it's clear that Harry Nilsson decided to pick up where he left off with his debut, offering another round of effervescent, devilishly clever pop, equal parts lite psychedelia, pretty ballads, and music hall cabaret. It's not a carbon copy, however. In one sense, he entrenches himself a little bit, emphasizing his lighter edges and humor, writing songs so cheerfully lightweight -- a love song about his mom and dad, an ode to his favorite desk, an address or two to a "Little Cowboy" -- that it may be a little too cloying for some tastes, even for fans of Pandemonium Shadow Show. Those are balanced by a couple major steps forward, namely "Everybody's Talkin'" and "One." The former finds Nilsson adopting a rolling folk-pop backing for a Fred Neil song, making it into an instant, Grammy-winning classic. The latter was the greatest song he had written to date, a haunting tale of loneliness reminiscent of McCartney, yet with its own voice. These are the songs anchoring an album that may be a little lightweight, but it's engagingly, deliberately lightweight. If it's a bit dated, it wears its old charms well.
© Stephen Thomas Erlewine /TiVo

Dynamic Range Meter






Harry Nilsson - Aerial Ballet (Mono Version) 1968 [24-96]



01. Daddy's Song (Mono)
02. Good Old Desk (Mono)
03. Don't Leave Me (Mono)
04. Mr. Richland's Favorite Song (Mono)
05. Little Cowboy (Mono)
06. Together (Mono)
07. Everybody's Talkin' (From "Midnight Cowboy") (Mono)
08. I Said Goodbye to Me (Mono)
09. Little Cowboy (Reprise - Mono)
10. Mr. Tinker (Mono)
11. One (Mono)
12. The Wailing of the Willow (Mono)
13. Bath (Mono)

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Harry Nilsson - Harry 1969 [24-96]



01. The Puppy Song
02. Nobody Cares About The Railroads Anymore
03. Open Your Window
04. Mother Nature's Son
05. Fairfax Rag
06. City Life
07. Mournin' Glory Story
08. Maybe
09. Marchin' Down Broadway
10. I Guess The Lord Must Be In New York City
11. Rainmaker
12. Mr. Bojangles
13. Simon Smith And The Amazing Dancing Bear

Ironically, Harry is where Harry Nilsson began to become Nilsson, an immensely gifted singer/songwriter/musician with a warped sense of humor that tended to slightly overwhelm his skills, at least to those who aren't quite operating on the same level. This aspect of his personality surfaces partially because the record is a crazy quilt of originals, covers, bizarre Americana, quiet ballads, show tunes, and soft-shoe shuffles. It doesn't really hold together, per se, due to its lack of focus (which, if you're a cultist, is naturally the reason why it's charming). Due to the sheer number of shuffling nostalgia trips, it seems as if Nilsson is attempting to sell the entire album on personality and, to anyone who isn't converted to his unique perspective, these may the moments that make Harry a little difficult to take, even with songs as expertly constructed as the delightful "Nobody Cares About the Railroads Anymore," an attempt to ape Randy Newman's Tin Pan Alley style. Then, there are the songs that really work, such as the sardonically cute "The Puppy Song," the gentle "Mournin' Glory Story," and "I Guess the Lord Must Be in New York City," a thoroughly winning folk-rock song he wrote for Midnight Cowboy but which was rejected in favor of "Everybody's Talkin'." These are the moments that deliver on the promise of his first two records, while the rest suggests where he would go next, whether in the immediate future (a cover of Newman's "Simon Smith and the Amazing Dancing Bear") or several years later (the weird in-jokes and insularity of portions of the album, which would become his modus operandi as of Nilsson Schmilsson).
© Stephen Thomas Erlewine /TiVo

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Harry Nilsson - Nilsson Sings Newman 1970 [24-96]



1. Vine Street
2. Love Story (You and Me)
3. Yellow Man
4. Caroline
5. Cowboy
6. The Beehive State
7. I’ll Be Home
8. Living Without You
9. Dayton Ohio 1903
10. So Long Dad

Named Stereo Review's album of the year (and, really, can you ask for a better endorsement than that?) upon its release and generally regarded as the album that introduced Randy Newman the songwriter to a wide audience, Nilsson Sings Newman has gained a reputation of being an minor masterwork. This, in a way, is misguiding, since this isn't an obvious record, where the songs are delivered simply and directly. It's deliberately an album of subtle pleasures, crafted, as the liner notes state, line by line in the studio. As such, the preponderance of quiet piano-and-voice tracks (featuring Newman himself on piano, Nilsson on vocals) means the record can slip away upon the first few listens, especially for anyone expecting an undeniable masterpiece. Yet, a masterpiece is what this is, albeit a subtle, graceful masterpiece where the pleasure is in the grace notes, small gestures, and in-jokes. Not to say that this is devoid of emotion; it's just that the emotion is subdued, whether it's on a straightforward love song ("Caroline") or a tongue-in-cheek tale like "Love Story." For an album that introduced a songwriter as idiosyncratic as Newman, it's only appropriate that Nilsson's interpretations are every bit as original as the songs. His clear intonation and sweet, high voice are more palatable than Randy's slurred, bluesy growl, but the wild thing is, these versions demand that the listeners surrender to Nilsson's own terms. He's created gentle, intricate arrangements of tuneful yet clever songs, and as such, the album may be as much an acquired taste as Newman. Once you've acquired that taste, this is as sweet as honey.
© Stephen Thomas Erlewine /TiVo

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Harry Nilsson - Nilsson Schmilsson 1971 [24-96]



01. Gotta Get Up
02. Driving Along
03. Early In The Morning
04. The Moonbeam Song
05. Down
06. Without You
07. Coconut
08. Let The Good Times Roll
09. Jump Into The Fire
10. I'll Never Leave You

Harry 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 Barbra Streisand 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 idiosyncrasies. 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.
© Stephen Thomas Erlewine /TiVo

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Harry Nilsson - Aerial Pandemonium Ballet 1971 [24-96]



01. Introduction
02. 1941
03. Daddy's Song
04. Mr. Richland's Favorite Song
05. Good Old Desk
06. Everybody's Talkin'
07. Bath
08. River Deep - Mountain High
09. Sleep Late, My Lady Friend
10. Don't Leave Me
11. Without Her
12. Together
13. One
14. Closing

What is hubris? It is Aerial Pandemonium Ballet, a folly Harry Nilsson crafted after winning a Grammy for "Everybody's Talkin'." Riding upon the goodwill generated by the award, he decided to compress and edit his first two (quite brilliant) albums into one record. He remixed tracks, erased old vocals, over-sang some new ones, edited sections out of certain songs, and slowed others down. Apart from the intros and outros, there are no brand-new items, just old tunes presented in slightly new, slightly off-putting ways. If you're not familiar with the debut, this will be pretty enchanting since the two records weren't that far apart stylistically and, let's face it, he was working with pretty terrific source material. Still, it's no substitute for the originals, and if you have a chance (and you do, with Britain's RCA Camden reissue), pick up the originals.
© Stephen Thomas Erlewine /TiVo

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Harry Nilsson - The Point! 1971 [24-192]



01. Everything's Got 'Em
02. The Town (Narration)
03. Me And My Arrow
04. The Game (Narration)
05. Poli High
06. The Trial & Banishment (Narration)
07. Think About Your Troubles
08. The Pointed Man (Narration)
09. Life Line (2:21)
10. The Birds (Narration)
11. P.O.V. Waltz
12. The Clearing In The Woods (Narration)
13. Are You Sleeping?
14. Oblio's Return (Narration)

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Harry Nilsson - Son Of Schmilsson 1972 [24-96]



01. Take 54
02. Remember (Christmas)
03. Joy
04. Turn On Your Radio
05. You're Breakin' My Heart
06. Spaceman
07. The Lottery Song
08. At My Front Door
09. Ambush
10. I'd Rather Be Dead
11. The Most Beautiful World In The World

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Harry Nilsson - A Little Touch Of Schmilsson In The Night 1973 [24-96]



01. Lazy Moon
02. For Me And My Gal
03. It Had To Be You
04. Always
05. Makin' Whoopee!
06. You Made Me Love You
07. Lullaby In Ragtime
08. I Wonder Who's Kissing Her Now
09. What'll I Do
10. Nevertheless (I'm In Love With You)
11. This Is All I Ask
12. As Time Goes By

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Harry Nilsson - Pussy Cats 1974 [24-96]



1. Many Rivers to Cross
2. Subterranean Homesick Blues
3. Don't Forget Me
4. All My Life
5. Old Forgotten Soldier
6. Save the Last Dance for Me
7. Mucho Mungo - Mt. Elga
8. Loop De Loop
9. Black Sails
10. Rock Around the Clock

The relationship between Harry Nilsson and John Lennon is legendary. They were notorious booze hounds and carousers, getting kicked out of clubs for misbehavior and generally terrorizing L.A. during Lennon's "lost weekend" of 1974. They wanted to make an album together -- hell, anyone working at such a peak would -- and the result was Pussy Cats, a Nilsson album produced by Lennon. Almost immediately, Nilsson got sick, resulting in a ruptured vocal cord. Not wanting Lennon to stop the sessions, Nilsson never told his friend, stubbornly working his way through the sessions until he lost his voice entirely. These are the sessions that make up Pussy Cats, an utterly bewildering record that's more baffling than entertaining. Like many superstar projects of its time, this is studded with contributions from friends and studio musicians, all intent on having a good time in the studio -- which usually means hammering out rock & roll oldies. In this case, it meant both Dylan's "Subterranean Homesick Blues" and the children's song "Loop de Loop," which gives a good idea where Nilsson was at. Through its messiness, Pussy Cats winds up showing how he and Lennon violently careened between hedonism and self-loathing. Of the new songs, the inadvertently revealing "All My Life" is the strongest, followed by the sweet "Don't Forget Me," yet this is more about tone than substance. It's about hearing Nilsson's voice getting progressively harsher, as the backing remains appealingly professional and slick. It doesn't quite jibe, and it's certainly incoherent, but that's its charm. It may not be as wild as the lost weekend itself, but it couldn't have been recorded at any other time and remains a fascinating aural snapshot of the early days of 1974.
© Stephen Thomas Erlewine /TiVo

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Harry Nilsson - Duit On Mon Dei 1975 [24-96]



01. Jesus Christ You're Tall
02. It's A Jungle Out There
03. Down By The Sea
04. Kojak Columbo
05. Easier For Me
06. Turn Out The Light
07. Salmon Falls
08. Puget Sound
09. What's Your Sign?
10. Home
11. Good For God

More tongue-in-cheek wordplay from Harry Nilsson. The album was originally titled God's Greatest Hits, but powers that be persuaded Nilsson to change it. His voice as well as his talent for writing catchy tunes was wearing thin here, and as with previous efforts, nothing stands out like his earlier material. Duit On Mon Dei is an artist on the wane.
© James Chrispell /TiVo

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Harry Nilsson - That's The Way It Is 1976 [24-96]



01. That Is All
02. Just One Look / Baby I'm Yours
03. Moonshine Bandit
04. I Need You
05. A Thousand Miles Away
06. Sail Away
07. She Sits Down On Me
08. Daylight
09. Zombie Jamboree (Back To Back)
10. That Is All (Reprise)

Well, what do you expect from an artist who's reading Penthouse, surrounded by liquor bottles and cigarettes, on the cover of his album? Perfection? Accessibility? Sanity? Well, you ain't gonna get that from Nilsson, a man who left sanity behind shortly after he entered the mainstream with Nilsson Schmilsson. Instead, you get a record from an artist who's just at the fringe of popular culture, not really caring if he has a hit, but not really wanting to be so weird that he's just a cult. Realizing all of this, the artist also knows that he doesn't need to try so hard -- he can be as lazy as he looks on the cover. So, that means That's the Way It Is is essentially a covers record, with songs ranging from material penned by longtime favorite Randy Newman ("Sail Away") to longtime fan George Harrison ("That Is All") to oldies ("Just One Look/Baby I'm Yours") to obscurities ("She Sits Down on Me" and "Zombie Jamboree"). Only two original songs then: the faux-reggae "Moonshine Bandit" and "Daylight Has Caught Me," co-written with Dr. John. Everything's given a rather lush, but not particularly sleek treatment, placing it closer to soft rock than to the unabashed cult rock that Nilsson was producing at this point. So, this winds up being an album that's not as gleefully weird and funny as its predecessors and yet is stranger because of that. Because, for chrissake, who wants this album? It doesn't have enough perversity or indulgence for those who treasure his weirdness, but it's way too idiosyncratic and odd for anyone who might like the L.A.-style vibe. Not a bad record, really, but certainly not a very good one, even by latter-day Nilsson standards.
© Stephen Thomas Erlewine /TiVo

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