I've honestly tried to avoid reading about this after the fact album, comprised of the work Harry Nilsson had done just prior to his death, but what I have read has to me seemed to miss both the point and the mark.
To my ears, it sounds like producer Mark Hudson has totally hit the mark, and yes, this might be my favorite Beatles related work since the 80s. This is my favorite album of 2019. It's the record we would have all produced if given the shot, something I sure can't say that about Giles Martin's work on the Beatles reissues.
"Losst And Found" kicks off the proceedings, and its pub rock approved guitars and throbbing rhythm section (Keifo Nilsson and Jim Keltner) deliver a super sophisticated composition that twists and turns with sumptuous background vocals, and it features an arrangement that unexpectedly modulates then takes us perfectly back in time. Nilsson's voice is closer here to Elvis Costello and Graham Parker than his earlier atmospherics, but that's intended as high praise, not in any way a negative comment in any way. It's not the voice of seventies Nilsson, but is that the point? His phrasing and intonation are on point, and his delivery is charmingly perfect. This track alone is worth the price of the album.
"Woman Oh Woman" takes us back to Nilsson's wonderful soundtrack work, and sounds like a long lost sitcom theme in places. The accordian work and Keltner's distinctive bass drum work is exactly what's called for, and when we get to the musical interlude it's apparent that Mark Hudson is having the time of his life finishing up not just Harry's last work, but also wrapping up an era when things like arrangements and great production mattered. This is homage of the highest caliber, and Hudson's most realized work as an epic-styled producer.
Next up, we have Harry's salute to the Fab Four, the cheeky "U.C.L.A." in which he name checks "Penny Lane," Yesterday," and "Something." It's both nostalgic and charming, and when Nilsson names Ringo, Keltner kills it with a direct quote from the intro of Harrison's "Something." If you don't get it, that's cool, but in not getting you're certainly not cool. Or are you just too cool? Everything about this record smacks of Nilsson's greatest era without ever condescending. You can almost hear the love and dedication dripping off of it.
And, so it goes. The songs are, much like every Nilsson album, what the Japanese call wabi-sabi. They are perfect in their imperfection, but wasn't that what made Harry Nilsson great, the guy who couldn't stop himself with following up his greatest triumph with a resounding, "Fuck you?"
I adore this record, like I said it is probably my favorite of 2019, which may be damning it with faint praise, but it's so much better than I had expected after being so disappointed with most historical do overs.
I'm tempted to review every track here, but I'd rather you discover them for yourself, But do this for me.
Don't approach this with a jaded outlook, listen to it like you did when you heard All Things Must Pass and the Ringo album for the first time. I honestly can't imagine an album that would make me miss Harry Nilsson's greatness more than this does. Don't be too cool to dig it. It deserves better than that.
A MAJOR hat's off to Mark Hudson, Kiefo Nilsson, Jim Keltner, and everyone who put such a big fucking smile on my face today.
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