Harry Nilsson – Son of Schmilsson (180g 45rpm Vinyl 2LP)
Harry Nilsson’s Son of Schmilsson Endures as a Madcap Work of Defiant Genius, Humorous Protest, and Raucous Fun: Features George Harrison, Peter Frampton, and More
Mastered from the Original Master Tapes: Mobile Fidelity Numbered 180g 45RPM Vinyl 2LP Set Presents 1972 Album with Full-Range Dynamics, Lifelike Separation, and Astute Clarity
“I sang my balls off for you baby.” Harry Nilsson‘s bold proclamation on the opening track to Son of Schmilsson immediately makes it evident the singer had no intention to repeat the approach of his commercial breakout, the preceding Nilsson Schmilsson – and harbored no desire to hold back on any front or advance any traditional notion of a career. The madcap album goes all out, delivering a wild ride infused with horror-movie effects, crass jokes, then-shocking profanity, snoring, and even a belch – strangeness that belies the fact it went gold and landed a Top 40 single in the form of “Spaceman.” Hindsight further shows the gonzo work endures as a stroke of defiant genius, ego-grounding facetiousness, and raucous fun – all the way down to the iconic artwork depicting Nilsson as a vampire.
Mastered from the original master tapes, pressed on premium vinyl at RTI, and housed in an old-school Stoughton gatefold jacket, Mobile Fidelity’s numbered 180g 45RPM 2LP set of Son of Schmilsson presents the music with full-range dynamics and astute clarity. Recording with producer Richard Perry and at London’s Trident Studios for the second time, the singer again captures a natural sound marked by lively tonalities, generous air, and stellar presence. All these aspects come to the fore with unprecedented degrees on this first-ever audiophile reissue of Nilsson’s most controversial (and self-sabotaging) turn.
Listeners who prize separation and spaciousness are in for a treat. While Nilsson and Perry juggled everything from unusual percussion to horn sections to choirs and an orchestra, Mobile Fidelity’s version of Son of Schmilsson never seems muddled or congested. The versatile array of instruments have room to breathe, while notes emerge with palpable immediacy and fade with realistic decay. It goes without saying that Nilsson’s elastic voice projects with you-are-there resolution and transparency. Make no mistake: You’ll hear exactly why the 1972 work continues to spark debate and persist as a fan favorite to this day.