His name was Dodge & he seemed to me to be impossibly
old, maybe even 24 years old. He looked like James Taylor & he lived in
bohemian digs in Browne’s Addition, the closest thing Spokane had to a gay
neighborhood. Dodge’s sitting room, draped in Indian print bedspreads, was a
turret in a Queen Anne style mansion that had been broken up in to small
apartments. I never saw his bedroom, try
as I might.
Dodge was my pot dealer from 1969-1972, & I loved him
for his long limbed, gangly body & sweet hippy disposition & of course,
for the plant materials he provided for sale. During that epoch, Mary Jane was
sold by the “lid” & was measured by finger widths. I would buy a “3 finger
lid” for $15 from Dodge &then lounge around the turret room after the
transaction, listening to music, getting stoned & trying to seduce Dodge.
Dodge introduced me to the amazing music of Harry Nillson.
It was the album- Harry in 1969, then
Nilsson Schmilsson & The Point in 1971, & Son Of Schmilsson just 8 months later. Hard
to believe, musicians from that era sometimes released more than one album a
year. Nilsson’s songs would receive plenty of listening by me for the next 40+
years. His music spoke to me with the unique blend of 2 genres that I hold
dear; Tin Pan Alley & Rock n’ Roll.
In October of 1979, I declared my romantic inclinations
to a married, impossibly beautiful set designer, who would eventually become my
husband. I said the words: “I have fallen in love with you” as A Little Touch Of Schmilsson In The Night played on the
stereo in the background. Nilsson’s version of Irving Berlin’s What’ll I Do? would become “our song”.
30 years later I would weep while playing Nilsson’s Without You on repeat when I assumed that we were about to divorce.
Nilsson deserves to be grouped with Gershwin, Cole
Porter, Berlin, & Lennon/McCartney as one the great songwriters of 20th
century standards. He was considered a peer by all 4 members of the Beatles,
who all called him a 5th Beatle, & someone on the same wavelength as
themselves.
Nilsson refused to tour, so Baby Boomers don't remember him,
& those born after his apex are unaware of who he even was. This is tragic.
Everyone should have the opportunity to be exposed to this wonderful talent.
Nilsson spent the last 15 years of his relatively short
life with a vocation for self-destruction. He died at 52, overweight & dissipated,
of heart disease, after a decades long rampage of non-stop overindulgence in
alcohol, cigarettes, marijuana, cocaine, hard partying, & flagrant misuse
of his special vocal instrument.
Yet, he had perhaps the most gifted pop singing ability
of his generation; he was financially & artistically successful, was held
with industry acclaim, won a Grammy, an Oscar, an unusually good recording contract
with a top label, & recorded at least 2 perfect albums - Nilsson
Schmilsson, all originals, & A
Little Touch Of Schmilsson In The Night, all standards recorded with a live
studio orchestra.
Brooklyn born Nilsson’s bestselling song was his
rendition of Fred Neil's Everybody's
Talkin', featured in the film Midnight
Cowboy. His own submission for the
film’s title song, the rejected- I Guess
The Lord Must Be In New York City
is one of my favorite songs about my favorite city.
Nilsson's produced & wrote a charming & captivating
animated film- The Point!, broadcast on ABC in
February,1971, as an ABC Movie of the Week. Nilsson's self-produced album of
songs from The Point! includes the
enchanting single, Me & My Arrow,
my favorite song about dogs.
Nilsson chose producer Richard Perry to record his very
best album- Nilsson Schmilsson. It
yielded 3 very stylistically different hit singles. The first was a cover of
Badfinger's song Without You, featuring
a highly emotional arrangement & soaring vocals, recorded, according to
Perry, in a single take. This song still stirs my senses.
The second single is Coconut,
a favorite of my father, which makes me love it even more. Coconut is a novelty number with a calypso beat featuring 4
characters: a narrator, a brother, a sister, & the doctor, all sung in
different voices by Nilsson. The song is remembered for using just a single
chord- C7th & for the chorus lyric, "Put de lime in de coconut, &
drink 'em both up." The third single- Jump
Into The Fire, is raucous, ranting Rock n’ Roll.
Nilsson’s music has informed my life for the past 5
decades. I still discover tracks that sound as if they could be listened to
fresh today. I have recently re-discovered the off-beat charm of his songs
& score for Robert Altman's musical film- Popeye. I am listening to him as I compose this post. Nilsson would
have been celebrating his 72nd birthday with his best pal- John Lennon today,
if they had both made it.