Customer Reviews

Little Touch of Schmilsson in the Night

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This album, featuring brilliant performances by both singer Harry Nilsson and arranger Gordon Jenkins, was (for some reason) hacked up and only about 65% of it was released. As the entire album was conceived as a whole, with links bridging the songs, this was a real shame.

However, the full album has recently been restored and released under the title "As Time Goes By: The Complete Schmilsson in the Night," and so you should absolutely avoid "A Little Touch" and make sure to get "As Time Goes By." You won't be sorry.

When this album was released in the early '70s--a collection of songs that were already decades old, carefully arranged by Sinatra's best ballad arranger Gorden Jenkins--it wasn't clear if this was intended as a loving tribute or an ironic statement. Coming from the hippest (and most talented) musician-come-practical joker in the room, and appearing years before this type of record would be popularized by people like Linda Ronstadt, it just seemed this album couldn't be serious.

Or could it?

Well, the truth is, it doesn't matter. Because context becomes irrelevant over time, and what's left is the music. And, what beautiful music it is. Tremendously well-chosen standards from throughout the first half of the 20th century, tremendously well orchestrated by a master, and sung with passion AND precision by a man of great vocal talent. Who cares what anyone was thinking? All you ever need to know is on the record.

Time has only been kind to this album, and to these ears it has dated not a whit in the more than quarter century since it was released. Perhaps because it was never of its time in the first place. Lush romantic music from a happier, simpler time--something we all need.

This remastered adds several four bonus tracks that were recorded during the same sessions but not included on the original album. These tracks fit in well with those from the album as originally issued. The sound of this remaster is also DRAMATICALLY better than the original US CD issue.

The remastered release of Harry Nilsson's Touch is cause for celebration. In a time when American Idols reign supreme, and faded pop singers try to resurrect ailing careers singing standards, yielding excruciating results, this CD reminds us that Mr. Nilsson was perhaps the first rocker to successfully record an album of standards. Along with Willie Nelson's 1978 Stardust, these two lps introduced an entire generation to its own musical heritage. But Mr. Nilsson's lp was first, and finest.
I purchased it back then (1973) and was transported by its romantic lyricism. Like many Beatles generation's kids, I was not enamored with the 70's music. Disco was on the horizon, jazz was becoming fusion, and country was becoming pop with a southern accent. The only place to go was to the past. And Mr. Nilsson must have known this. He didn't undertake this project to resurrect his own career, as he was on top at the time. It was a risky move; some warned of career suicide. The results, both commercially and critically, thankfully proved otherwise.
The album itself is composed mainly of prewar, (WW11 that is,) standards written by the likes of Gus Kahn, Herman Hupfield, and Irving Berlin. The lesser known jewels "Lazy Moon" and "Lullaby In Ragtime" glimmer just as much as the more familiar "Always", "Making Whopee", and "As Time Goes By". Mr. Nilsson employs a respectful approach, preventing a degeneration into camp, a la Tiny Tim. The renditions are joyous, and full of vitality, but not overdelivered (unlike so much of the bellowing we hear today). His vocals caress each lyric, and being who he is, Mr. Nilsson avoids the solemnity that often mars so many of these projects, while simultaneously rejecting the whimsey that was beginning to stereotype him.
Much of the credit for the album has to go to Gordon Jenkins for his arrangements and direction of the 39 piece orchestra. For many of us, the past sounds like Gordon Jenkins: sumptious, elegant, and full of grace. This lp stands alongside Mr. Jenkins best work, including the lp "Where Are You".
For me, Touch served as a launching pad, albeit into the past, and led me down a path where I discovered those singers and artists before the Beatles, and before Elvis. Jo Stafford, Jeri Southern,and Hoagy Carmichael became favorites; then I happened upon jazz, where the standards, particularly since Mr. Nilsson's lp, seem to be valued and constantly reinterpreted. I like to think Touch had something to do with that. Finally, I have come to rest where all paths in popular music inevitably lead- to Frank Sinatra's doorstep. And waiting in the wings- much to my surprise- with Mr.Sinatra, was Gordon Jenkins and the aforementioned "Where Are You". Mr. Sinatra's seminal 1957 lp emanates with much of the same sense of longing and sweet sadness that haunts Mr. Nilsson's. My musical route, circuitous as it was, and some 30 years in the making, had come full circle. And now, a few years later, the lp that started it all-Touch- has finally been remastered and released, sending me back in time once more...This is all I ask, this is all I need...

I've reviewed this album twice before on the Amazon site, first for the Australian import version entitled, "As Time Goes By," and then some while later when the British import version became available here.

THERE ARE DIFFERENCES here that may be of interest to someone who has not yet discovered this magnificent collection, and these differences may be important enough for you to consider one version over another. The audiophile with an especially capable system will prefer the British pressing.

First, and perhaps most importantly, the new domestic remaster simply adds the bonus tracks to the end of the album after following the original 13-song LP sequence. In my opinion, this is something of a disservice since it appears to me (and to some professional critics) that the song, "As Time Goes By," is intentionally placed at the end of the album -- in either the truncated original 1973 release or the expanded British and Australian imports -- because the artist intended the song to be an epilogue expressing the theme of the album as a whole. The tune emphasizes the importance of the various phases of many interpersonal relationships as they evolve from courtship ("Lazy Moon") through marriage ("For Me & My Gal"), infidelity ("Makin' Whoopee") and irreconcilable differences ("Thanks For The Memories"). Along the way, Nilsson is mindful of the importance of introspection ("This Is All I Ask) and his own mortality ("Over The Rainbow").

Not only does this new remaster merely append the five additional tunes omitted from the original release, there are two non-essential asides that are attached to two songs, but not indexed (one from an engineer telling Nilsson that he has "all the time he needs but not a second extra." The other is a request from Nilsson that he is provided with a cigarette, some whiskey and some drugs.). These two instances on the domestic remaster are placed within the bonus tracks segment so that the album loses its continuity -- breaking a spell, perhaps. On the British import, the engineer's remarks precede the album in its entirety. Nilsson's request for drugs and whiskey was omitted from the British import altogether, but it appears at the end of "Over The Rainbow" on the domestic remaster. This results in a somewhat devalued effect for many listeners, myself included. Some may note that the revised lyrics for two song selections on the album might suggest the artist's nonchalant attitude toward this album; personally I consider them as comic relief.

Second in importance is the artwork that accompanies these two releases. While both the British import and the newer remaster provide the original jacket photo, only the British import follows the inner illustrations of the original gatefold, and in full color, just like the original. The new domestic release provides us with some sense of what was there (black and white only), but moves the musicians' credit to the back of the booklet. Both versions include producer Derek Taylor's introduction to the album, but beyond that is where the real differences are found. There is a more extensive set of notes to the domestic release. Curtis Armstrong wrote these notes in February 2006; the British import features an essay written by Andrea Sheridan in January 2002. Both are informative for the completist.

When this album was released in the early '70s--a collection of songs that were already decades old, carefully arranged by Sinatra's best ballad arranger Gorden Jenkins--it wasn't clear if this was intended as a loving tribute or an ironic statement. Coming from then poster boy for hip music lovers and years before this type of record would be popularized by people like Linda Ronstadt, and in light of Nilsson's well-known sense of humor, it just seemed this couldn't be serious.

Or could it?

Well, the truth is, it doesn't matter. Because context becomes irrelevant over time, and what's left is the music. And, what beautiful music it is. Tremendously well-chosen standards from throughout the first half of the 20th century, tremendously well orchestrated by a master, and sung with passion AND precision by a man of great vocal talent. Who cares what anyone was thinking? All you ever need to know is on the record.

Time has only been kind to this album, and to these ears it has dated not a whit in the more than quarter century since it was released. Perhaps because it was never of its time in the first place. Lush romantic music from a happier, simpler time--something we all need.

dap

I,originally bought this album (back when they were LP's)in 1973.
Already knowing Harry's work from previous records, I added this album to my collection. What I found out is, Harry changed directions from what he was known for. I think he set out to do something daring, gutsy for the times he lived in. Rock and Roll
was the dominant music, crooning was for Las Vegas. He took the risk of recording something, that might not have been to popular at that time, and showed any who would take the time to listen his talent, his voice, his range. I feel strongly that Harry achieved his greatest work in this one LP. Today it still has just as much impact as it did thirty years ago. Yes, this album
would go with me to the deserted island if I were to go. If you don't know him, this album is my first recommendation to
learn about Harry Nilsson. He paved the way for Linda Ronstandt
to record with Nelson Riddle. I never want to be where I can't
listen to this record when the mood strikes me. It's one of my all-time favorites. I hope you enjoy it too.

This album reintroduced me to the "standards" of songwriting's golden era. Harry was one of my idols from the time I saw him perform with John Lennon in Central Park in the early 70's. I am starting to develop a real anathema for Brian Glasser and his reviews in "E-Map," whatever that is. Generally, the albums he disses, I love. We don't exactly see eye-to-eye, obviously. This album is one of the acoustic joys of all time in my humble opinion. The arrangements are gorgeous, and Harry interprets each song in his own inimitable style. These are not your standard interpretations. Harry was a true iconoclast. "Lazy Moon" and "As Time Goes By" are particularly brilliant reworkings. These tunes will stick with you. I find that I sing them to myself 20 years after first listening to them. And it's not Sinatra's voice that I hear in the inner chamber of my ear - it's Harry's.

This is an absolutely perfect record. Harry's beautiful voice matched with stellar arrangements by Gordon Jenkins and the best songs imaginable. Probably the best "As Time Goes By" there will ever be. "Touch of Schmilsson" has even more meaning for me because I met Harry and had him sign it for me about 20 years ago. He regaled me with stories of himself and Keith Moon carrying on in the 70s (I was wearing a Who shirt, which sparked his memory), then he mistakenly inscribed the record to Keith instead of Ken. An honest mistake and I loved him all the more for it. A classy album from a very classy guy. I miss him.

I bought this album on vinyl in the late seventies and haven't gotten over it yet! It's beautiful. I must have it on CD now and put it on continuous play.

What was it about the Lost Generation? Was it the West Bank in Paris? Was it the parties that went on and on and on? What was it that insprired those old romantic ballads?

"You Made Me Love You," "As Time Goes By," "Making Whoppie."

What is it about those tunes that makes you want to grab a bottle of gin, a string of pearls and dance the night away slowly and tenderly with your lover?

This 1970's release by Harry Neilson is terrific. He's done a masterful job of working the music. He captures the essence of the songwriters as well as the lovers of that generation and of many that have followed.

This cd is well worth owning.