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Pandemonium Shadow Show - Aerial Ballet - Aerial Pandemonium Ballet

Pandemonium Shadow Show - Aerial Ballet - Aerial Pandemonium Ballet_图片预览

专辑中文名: Pandemonium Shadow Show - Aerial Ballet - Aerial Pandemonium Ballet歌手: Harry Nilsson资源格式: MP3版本: BOX SET发行时间: 2000年地区: 美国语言: 英语简介:
专辑介绍:
歌手、曲作者哈里·尼尔森(哈里·爱德华·尼尔森三世——Harry Edward Nelson 3)在1941年出生于纽约的布鲁克林区。高中不也之后,他随全家一起搬到了加利福尼亚,夜间在一家银行的计算机部门打零工。在这些日子里,他的精力全部投入到了为音乐出版商作曲和制作试听中。工夫不负有心人,最终他和水星唱片(Mercury Records)签约,并以强尼·奈尔斯(Jonny Niles)的艺名发行了第一首单曲《Donna(窈窕淑女)》。之后,他转投大神唱片(Capitol Records)录制了一系列并不成功的单曲;这期间,他还担任了新拯救歌手(New Salvation Singers)的主唱。
60 年代中期,他以菲尔·斯贝克特(Phil Spector)的艺名写了一些曲子,而在这些曲子被罗奈特乐队(the Ronettes)和现代民谣四重唱(the Modern Folk Quartet)采用并灌制之后,哈里突然之间变得炙手可热起来。蒙奇乐队(the Monkees)在“玩偶(Cuddly Toy)”中,以及当时事业开始下滑的新兵乐队(the Yardbirds)在“十个小印第安人(Ten Little Indians)”都采用了哈里的作曲。他的曲子还被海龟乐队(the Turtles)、李克·内尔森(Rick Nelson)、鲁鲁(LuLu)、血汗泪乐队(Blood, Sweat and Tears)以及玛丽·霍普金所采用。
1967年,哈里和美国无线唱片公司(RCA Records)签下了演唱合同。他的第一张专辑“喧嚣的黑暗之舞(Pandemonium Shadow Show)”。尽管唱片凸现出了哈里充满智慧的作曲能力以及对甲壳虫(Beatles)一首单曲“你不能那样做(You Can’t Do That)”进行了翻唱,这张唱片在商业上是失败的。不过聊以欣慰的是唱片在评论界取得了不错的评价。更重要的是,唱片引起了甲壳虫乐队的兴趣。约翰·列农(John Lennon)和保罗·麦卡特尼(Paul McCartney)在发表苹果(Apple)专辑的场合接受记者采访时提及到了哈里,认为他是他们非常喜爱的音乐家。列农本人甚至打电话给哈里祝贺唱片发行。很快,奈尔森就把在银行的工作辞掉了,专心投入到音乐创作中来。
three dog night 再一次推动了harry的事业向前发展,与此同时,one在1969年打进了排行榜的前十位,同时nilsson的第二张LP aerial ballet 倍受关注.两个月后,歌曲 everybody s talkin 被选为电影 midnight cowboy 的主题曲.harry 因此打入前十位,并为他赢得了格莱美大奖. nilsson一直作为歌手/作词 为人们所认知,然后讽刺的是这首everybody s talkin 却为乡村摇滚歌手 fred neil所做.
harry 同时为otto preminger 的电影配乐--- skidoo ,由groucho marx 所演唱.当然还有其他电影的配乐包括家喻户晓的热门电视
剧集 the courtship of eddie s father
1970年nilsson所发行的两张专辑证明了nilsson决不是那种被一种形式所拘泥的人.这两张大碟 一张是由randy newman 所演唱,另一张则是一部儿童电视的配乐, the point 其中包括了打进前40位的 me and my arrow
奇怪的是,nilsson的最佳单曲badfinger却是由 另一个歌手所演唱.歌曲 without you 及其他上榜歌曲 coconut jump into the fire 被收录在专辑 nilsson schmilsson 中.在70年代初期的歌曲将他精湛的技艺,活泼 感性的曲风表现的淋漓尽致, 少了很多酸涩感觉.
然而, 1973年由Gordon Jenkins 一手包办的流行元素的专辑 a little touch of schmilsson in the night 却反应平平.这点并不奇怪.在disco music 当道的时候,他的曲子里那股浓烈的tin pan alley味道很显然有些不入流.
70年代中期与约翰 列农在los angeles结识过着酒鬼的日子后,nilsson开始变得声名狼藉.(此时,列农正与yoko ono 分居).
在smother 兄弟事件解决之后,这对酒鬼兄弟被踢出了洛杉矶吟游诗人俱乐部.此后,列农担任了nilsson下一张专辑的制作人.就在这时最残酷的事情发生了, nilsson声带破裂,因为害怕列农放弃这次计划,他隐瞒了失声的实事.pussycats 是他发行的最后一张进入top 100的专辑.与此同时,他与L A 的ringo starr 合作为little-film 做配乐 son of dracula .尽管拥有强大的制作阵容以及美妙的歌曲,电影本身却很失败.
由于nilsson的声音彻底毁了,他用他嘶哑的喉咙灌录唱片.这简直是奇迹.两张L A session-men 的专辑 duit 和 sandman 续写了nilsson的创作生涯.
The session men 带来了harry最后的rca(美国无线电公司) 大碟 knillssonn ,一张由管弦乐配乐的pop专辑.这张轻快的歌曲大碟仅仅因为rca的不重视 没有有力的宣传而未达到其应有的效果.
harry 心灰意冷离开了rca,此后他发行了 一张lp 全集-- 1979s flash harry 遗憾的是这张大碟从来没有在美国发行过.
harry 此后的生活一直与妻子una 共度,抚养着他们的孩子.1980年在好友 约翰 列农被杀后,harry致力于推进 campaign to end handgun violence(反手枪暴力活动)此间他为迪斯尼电影 popeye 还有其他电影配乐并在全球发行.
90年代初期,harry的健康状况严重恶化,起初是糖尿病,后来因为心脏病发,在1994年由于心脏衰竭他安详的在睡梦中死去,这是他刚刚完成了一张新专辑,只是从未发行过.
1995年,为纪念harry,很多艺人包括 ringo starr,stevie nicks victoria williams 以及B-52 s fred schneider联合制作了一张lp for the love of harry
Although he synthesized disparate elements of both rock and pop traditions, singer/songwriter Harry Nilsson was at heart a maverick whose allegiance belonged to neither. His initial series of albums in the late 60s made him a personal favorite of the Beatles, who found a natural affinity with his knack for catchy melodies, witty lyrics, and extraordinary vocal range. Thought of as a songwriter first and a performer second, he became a pop star himself in the late 60s and early 70s with Everybody s Talking and Without You. He lost some of his original audience, however, with subsequent detours into pre-rock styles of pop, and did little recording over the last 15 years of his life.
Nilsson had been struggling to make inroads into the music business for over five years before his critically acclaimed 1967 album, Pandemonium Shadow Show. He made demos, sang commercial jingles, and shopped songs, all the while keeping his job at a Los Angeles-area bank. In the mid- 60s, he wrote a few songs with Phil Spector that were recorded by the Ronettes and the Modern Folk Quartet; occasionally he released records of his own. The Monkees recorded his Cuddly Toy, and the Yardbirds did Ten Little Indians on a single in their waning days. But Nilsson didn t quit his bank job until after the release of Pandemonium Shadow Show, which gave him creative rein in the studio for the first time, and showcased his three-and-a-half-octave voice to full advantage.
The album caught the attention of the Beatles (helped, no doubt, by its ingenious medley of classic Beatle tunes, You Can t Do That ). John Lennon and Paul McCartney named him as their favorite American singer at a press conference, an extraordinary accolade for an unknown. (Nilsson was sometimes even rumored to be joining the group.) Three Dog Night took his One into the Top Ten in 1969, and Nilsson s second LP, Aerial Ballet, continued the ambitious pop/rock direction of his debut, marrying his slightly eccentric, bouncy (if sometimes precious) tunes to baroque orchestral production. When one of its songs, Everybody s Talkin , was used as the theme for the Midnight Cowboy film, Nilsson had his first Top Ten hit. The irony was that, although Nilsson was primarily identified as a singer/songwriter, the song was actually a cover of a composition by folk-rocker Fred Neil.
But Nilsson would never be content to be pigeonholed into definite categories, as demonstrated by his two 1970 albums. One was devoted entirely to covers of songs by Randy Newman (then just emerging as a performer); another was his soundtrack to an animated children s special, The Point (including the hit Me and My Arrow ). And it was another cover (of a Badfinger album track) that gave him his biggest single, the number one smash Without You. Yet Nilsson didn t cash in on his stardom in a conventional manner; he never performed in concert (there were occasional television appearances), preferring to craft his artistry in the studio.
Without You appeared on 1971 s Nilsson Schmilsson, which included a couple of other hits, the faux-tropical Coconut and the surprisingly gritty Jump Into the Fire, which rates as his hardest-rocking cut. During the first half of the 1970s, he continued to broaden his range from the well-crafted, peppy, sensitive tunes that had dotted his early releases, cutting some tougher, more sour work. He lost some of his constituency, however, with 1973 s A Little Touch of Schmilsson in the Night, a collection of pre-rock pop standards with an orchestra conducted by arranger Gordon Jenkins (most noted for his work with Frank Sinatra). His affection for the music wasn t entirely surprising, as there had always been a strong Tin Pan Alley flavor to much of his writing, but it wasn t exactly in step with the times.
Much of Nilsson s notoriety stems from a period in the mid- 70s when he was a drinking buddy of John Lennon in Los Angeles (where Lennon was living during a separation from Yoko Ono). The drunken pair were thrown out of L.A. s Troubadour club in a well-publicized incident, following which Lennon offered to produce Nilsson s next album. The timing was not opportune; Nilsson lost his voice during the sessions, rupturing one of his vocal cords, keeping it a secret out of fear that Lennon would abandon the project. Released as Pussy Cats, it was his last album to make the Top 100. During the same period, he also embarked on a project with another L.A.-based ex-Beatle, Ringo Starr, acting and writing music for the little-seen Son of Dracula film.
The upper register of Nilsson s voice, which was ultimately his greatest asset, had been permanently (though not irredeemably) damaged. After a few rather unsuccessful late- 70s album, Nilsson withdrew from the studio into family life and other business ventures, spending much of his energies campaigning for gun control after Lennon was shot in 1980. In failing health in the 1990s, diagnosed with diabetes and suffering a massive heart attack, he died in early 1994, just after finishing the vocal tracks for a new album.
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