Harry Nilsson remains one of pop music’s most enigmatic and celebrated figures. Emerging from New York’s vibrant songwriting scene, where he honed his craft alongside Phil Spector and other luminaries, Nilsson initially navigated the industry’s byways. It wasn’t until “Everybody’s Talkin’,” a song penned by Fred Neil that he famously covered, broke into the Top 10 charts, propelled by its feature in the iconic, Oscar-winning film Midnight Cowboy, that mainstream recognition truly beckoned. Even after this initial success in 1969, Nilsson’s journey was marked by a gradual ascent, characterized by his audacious approach to record-making. He defied genre boundaries, crafting albums that seamlessly traversed musical styles and eras, often within the span of a single LP.
Nilsson was a true innovator, recording an album of 1940s standards long before it became a trend. Known for his reclusive nature and preference for studio work over live performances, he cultivated an intriguing persona. His career, though tragically cut short by his untimely death at 52 in 1994, was a captivating tapestry of unexpected turns and consistent artistic reinvention. This list of the top 10 Harry Nilsson Songs aims to showcase the breadth and brilliance of his musical legacy, highlighting the tracks that best exemplify his unique talent and enduring appeal.
10. “Me and My Arrow” (From The Point!, 1971)
Just over a year after “Everybody’s Talkin'” propelled him into the Top 10 after its Midnight Cowboy feature, Harry Nilsson unveiled The Point!, a soundtrack album accompanying his own animated television special. This whimsical fable, set in a land where everything, and everyone, possesses a point, provided the perfect backdrop for Nilsson’s gentle storytelling. “Me and My Arrow,” with its softly rolling melody and heartwarming lyrics about companionship, was released as a single and charmed its way into the Top 40, demonstrating Nilsson’s knack for crafting deceptively simple yet profoundly resonant songs. The song’s enduring appeal lies in its universal message of friendship and its undeniably catchy tune, making it a beloved classic from Nilsson’s diverse catalog.
9. “As Time Goes By” (From A Little Touch of Schmilsson in the Night, 1973)
Long before the trend of rock artists recording albums of classic standards became commonplace, Harry Nilsson was already ahead of the curve. In 1973, he released A Little Touch of Schmilsson in the Night, a collection of twelve timeless songs from the Great American Songbook, featuring compositions by legendary songwriters like Irving Berlin and Gordon Jenkins. The album’s final track was “As Time Goes By,” a song immortalized by the 1942 cinematic masterpiece Casablanca, despite being written a decade prior. Nilsson’s rendition of “As Time Goes By” is a masterclass in subtle elegance. His understated yet deeply emotive vocal delivery, coupled with a simple and refined arrangement, breathes new life into this iconic ballad, showcasing his respect for the material while imbuing it with his own artistic sensibility.
8. “Remember (Christmas)” (From Son of Schmilsson, 1972)
“Remember (Christmas)” is a poignant and nostalgic ballad from Nilsson’s Son of Schmilsson album. This haunting track masterfully employs the spare piano chords reminiscent of his massive hit “Without You,” weaving in a vintage melodic sensibility and a palpable sense of melancholy. Released in 1972, “Remember (Christmas)” not only stands as a beautiful song in its own right but also subtly foreshadowed Nilsson’s next ambitious project: his 1973 foray into the Great American Songbook with A Little Touch of Schmilsson in the Night. The song’s introspective lyrics and wistful atmosphere perfectly capture the bittersweet emotions often associated with the holiday season, solidifying its place as a unique and cherished Christmas tune.
7. “Spaceman” (From Son of Schmilsson, 1972)
As the lead single from Son of Schmilsson, the follow-up to his breakthrough Nilsson Schmilsson album, “Spaceman” initially appeared to be crafted from a similar hit-making blueprint. The song bursts into life with prominent horn arrangements, echoing the sonic textures that contributed to the success of its predecessor. However, despite its energetic and elaborate production, “Spaceman,” and indeed the Son of Schmilsson album itself, did not reach the same commercial heights as Nilsson Schmilsson. While “Spaceman” narrowly missed the Top 20, peaking just outside, and Son of Schmilsson reached a respectable No. 12, they ultimately represented a slight dip from the stratospheric success Nilsson had previously achieved, highlighting the unpredictable nature of the music industry and the challenges of replicating chart-topping phenomena.
6. “You’re Breakin’ My Heart” (From Son of Schmilsson, 1972)
Following the phenomenal success of Nilsson Schmilsson in 1971, his sole Top 10 album, record company pressures mounted for a sequel that would replicate its formula. However, Harry Nilsson, a true artistic maverick, chose to defy expectations. Instead of delivering a carbon copy, he crafted Son of Schmilsson, a more eclectic and diverse collection of songs. “You’re Breakin’ My Heart,” a raw and gutsy rock track from the album, epitomizes this rebellious spirit. The song is most famous for its unapologetically explicit chorus – “You’re breakin’ my heart, you’re tearin’ it apart / So f**k you” – lyrics that undoubtedly raised eyebrows and potentially ruffled feathers among record label executives. This bold artistic choice underscores Nilsson’s commitment to creative freedom over commercial conformity, even at the risk of alienating industry expectations.
5. “Many Rivers to Cross” (From Pussy Cats, 1974)
After the detour into classic standards with 1973’s A Little Touch of Schmilsson in the Night, Nilsson returned to his rock and roll roots with 1974’s Pussy Cats. This album was famously recorded during John Lennon’s infamous “lost weekend” period, with Lennon himself joining forces with Nilsson. The resulting record is a boozy and raucous affair, brimming with both Nilsson originals and a selection of cover songs. “Many Rivers to Cross,” originally a powerful reggae anthem by Jimmy Cliff, was chosen to open the album. Nilsson’s rendition, imbued with the raw energy and slightly chaotic atmosphere of the Pussy Cats sessions, transforms the song into a soulful and bluesy rock number, showcasing his interpretive prowess and the collaborative spirit of this unique period in his career.
4. “Coconut” (From Nilsson Schmilsson, 1971)
After seven albums and five years of dedicated work, Harry Nilsson finally achieved a genuine breakthrough hit with Nilsson Schmilsson. While Midnight Cowboy had previously boosted his cover of Fred Neil’s “Everybody’s Talkin'” into the Top 10, more than a year after its initial release, Nilsson Schmilsson was a success in its own right, reaching the Top 5. “Coconut,” a playful and quirky track from the album, became the third single and Nilsson’s third, and ultimately final, Top 10 hit. Characterized by its infectious rhythm, sing-along chorus, and whimsical storytelling, “Coconut” perfectly encapsulates Nilsson’s ability to blend musical innovation with lightheartedness, creating a song that is both undeniably catchy and uniquely Nilsson.
3. “Jump Into the Fire” (From Nilsson Schmilsson, 1971)
Prior to Nilsson Schmilsson, Harry Nilsson’s albums were celebrated for their eclectic nature, ranging from soundtracks for children’s TV specials to entire LPs dedicated to the songs of Randy Newman. His seventh album, Nilsson Schmilsson, while commercially focused, retained this characteristic diversity – it was simply Nilsson’s creative approach. The album seamlessly transitions from melancholic piano ballads to joyful oldies homages and hard-edged rock anthems, exemplified by the epic seven-minute track “Jump Into the Fire.” This musical volcano showcases Nilsson’s versatility at its peak, with its extended instrumental passages, driving rhythm, and Nilsson’s passionate vocals creating a dynamic and unforgettable listening experience, solidifying its place as a standout track within his impressive discography.
2. “Without You” (From Nilsson Schmilsson, 1971)
Similar to his initial hit, “Everybody’s Talkin’,” “Without You” was not an original Nilsson composition. And mirroring the trajectory of his 1969 Top 10 breakthrough, “Without You” ascended to even greater heights, propelling Nilsson to the coveted No. 1 spot for four consecutive weeks. “Without You” was initially recorded by Badfinger in 1970 on their album No Dice. However, Nilsson’s soaring and emotionally resonant interpretation of the song is widely considered the definitive version. His powerful vocal performance, imbued with vulnerability and raw emotion, transformed the song into a timeless ballad of heartbreak. Even Mariah Carey’s successful cover version has not eclipsed the enduring impact and emotional weight of Nilsson’s original rendition, cementing its place as a signature song.
1. “Everybody’s Talkin'” (From Aerial Ballet, 1968)
“Everybody’s Talkin'” initially appeared on Harry Nilsson’s second album, Aerial Ballet, released in 1968. Penned by folk singer Fred Neil, the song was initially released as a single but failed to gain traction, stalling at No. 113. However, fate intervened when, approximately a year later, “Everybody’s Talkin'” was chosen as the theme song for the Academy Award-winning film Midnight Cowboy. This cinematic placement sparked a resurgence in the song’s popularity. It was re-released as a single and this time soared to No. 6, becoming Nilsson’s first Top 10 hit and forever linking him with this iconic track. “Everybody’s Talkin'” remains a quintessential Nilsson song, showcasing his distinctive vocal style and his ability to connect with listeners on a deeply emotional level, proving that sometimes, the right song, at the right time, can catapult an artist into the spotlight and solidify their place in music history.
