| | Harry Nilsson Point! CD Harry Nilsson Discography of CDs
(10 Customer Reviews)
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This reissue features original comic book story and cover art. Personnel includes: Harry Nilsson (vocals, piano); George Tipton (conductor); Alton Hendrickson (guitar, mandolin); Dennis Budimir, Tommy Tedesco, Al Casey (guitar); Tibor Zelig, Israel Baker, Arnold Belnick (violin); Armand Kaproff, Edgar Lustgarten (cello); Louise Dismsan, Gretchen Shanley, Arthur Gleghorn (flute); George Fields, Tommy Morgan (harmonica); Tom Scott (saxophone); Carroll Lewis (trumpet); Mike Rubini (piano, organ, clavinet); Dan Randi (organ); Carol Kaye, Stephens LaFever (bass); John Guerin, Earl Palmer (drums); Jerry Williams, Alan Estes, Milt Holland (percussion). Recorded at RCA Studios, and at A&M Studios, Hollywood, California between April and September 1970. All tracks have been digitally remastered. Personnel: Harry Nilsson (vocals, piano); Alton Hendrickson (guitar, mandolin); Dennis Budimir, Al Casey, Tommy Tedesco (guitar); Dorothy Remsen (harp); Tibor Zelig, Israel Baker, Arnold Belnick (violin); Byron Berline (fiddle); Armand Karpoff (cello); Ethmer Roten (flute, saxophone); Arthur Gleghorn (flute); George Fields, Tommy Morgan (harmonica); Jim Horn, Tom Scott (saxophone); Carroll Lewis (trumpet); Michel Rubini (piano, Clavinet, organ); Mike Melvoin (piano, Clavinet); Michael Lang (piano); Ralph Grierson (harpsichord, organ); Don Randi (organ); Frank Capp (drums, timpani); Earl Palmer , John Guerin (drums); Alan Estes, Jerry Williams , Milt Holland (percussion). Liner Note Author: Curtis Armstrong. Recording information: A&M Studios, Hollywood, CA (12/12/1969-09/28/1970); RCA Studios, Hollywood, CA (12/12/1969-09/28/1970). Arranger: George Tipton. The Point! is the soundtrack to a cartoon feature originally aired on ABC TV in 1971. Especially at this stage of his career, Harry Nilsson was uniquely suited for writing and recording children's music, given his sweet melodicism and love of whimsy. As it happens, The Point! worked out better than anyone could have expected, not just because "Everything's Got 'Em," "Me and My Arrow," "Think About Your Troubles," and "Are You Sleeping?" are songs strong enough to have been on a proper Nilsson record. There's also an intangible quality to this record, a warmth and generosity that really wasn't on any of his other albums, quite possibly because his humor is never sardonic or reliant on in-jokes. It's gentle and loving, as is the music. The tale is fantastical enough to be of interest to children (and the moral is strong enough to reassure them and their parents), but the songs and music are so strong that the album continues to be a source of wonder, even as those children become adults. ~ Stephen Thomas Erlewine In 1970, Harry Nilsson's THE POINT appeared. It arrived as both an animated television special and this soundtrack. The album alternates seven warm and sprightly songs with seven bits of narration (also by Nilsson), which together present Nilsson's delightful little fable. However, the songs do stand perfectly well on their own. "Me and My Arrow" was a hit at the time, and found its way into people's consciousness again in the '80s when it was used in a car commercial. The story's themes are universal and the songs and their arrangements are catchy to children without being cloying to adults. "Think About Your Troubles" sports a confident vocal that melds the blues with Broadway. The orchestrations throughout the entire album (arranged and conducted by George Tipton) are supple, supportive, and slyly inventive. The Point! is the soundtrack to a cartoon feature originally aired on ABC TV in 1971. Especially at this stage of his career, Harry Nilsson was uniquely suited for writing and recording children's music, given his sweet melodicism and love of whimsy. As it happens, The Point! worked out better than anyone could have expected, not just because "Everything's Got 'Em," "Me and My Arrow," "Think About Your Troubles," and "Are You Sleeping?" are songs stRolling Stone (5/27/71, p.53) - "...THE POINT is not a collection of sound track songs, but rather a carefully told story complete by itself...conveyed in an utterly delightful style..." Mojo (Publisher) (9/00, p.88) - "...Strange and lovely..." NME (Magazine) (9/23/00, p.35) - 8 out of 10 - "...THE POINT has great charm, better songs, and was a huge TV hit..." Purchase Point! CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
Point!
$6.75 Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter...Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, 'Albert's ...
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Point!
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| | Stephen Malkmus Face The Truth CD (2005)
Point!
$10.15 Personnel: Stephen Malkmus; Mike Clark , Mike Clark (keyboards); Joanna Bolme (bass guitar); John Moen (drums, background vocals); The Jicks. Audio Mixer: Phil Ek. Recording information: Shamroc Justice Studios, PDX (02/2004-08/2004). Considering the seemingly plainspoken title of his third solo album, plus the extracurricular knowledge that the former Pavement leader has settled down and is a first-time father, it would be easy to assume that Face the Truth is where Stephen Malkmus finally turns into a self-conscious adult, ironing out the kinks in his music, tempering his humor, and starts making classic rock records for Mojo readers. Frankly, such a leap backward toward respectability doesn't seem all that far-fetched in light of the meandering, monochromatic Pig Lib, which suggested that Malkmus was standing on the verge of becoming a modern-day Tony McPhee, churning out guitar jams to an ever more selective audience. Knee-jerk assumptions shouldn't always be trusted, however, since Face the Truth isn't plain or predictable at all: it's a vibrant return to form. Malkmus is making records as he did in the heyday of Pavement, treating the Jicks as a backing band that can contribute a little in the studio but is designed for the stage. He lays down most of the instrumental tracks himself, overdubs acoustic guitars, banjos, and sitars, dabbles in synths, and plays around with the mixes so they bend, twist, slur, and suddenly explode. Only on the misleading first single, "Post-Paint Boy" -- a sly swipe at modern art -- does he sound as conventional as he did on Pig Lib, but it's sharper than most of that record, and it acts as a good anchor to this gleefully excessive album. Malkmus is driven by the same mischievous spirit that fueled his first solo album, but where that record had a proudly impish, even silly, bent, Face the Truth has an air of mystery. It's not so much that Malkmus is inscrutable -- a criticism often lazily leveled against him -- but that he's made the album with the sole desire of amusing himself, indulging his whims in a way reminiscent of the wild detours of Wowee Zowee. But Face the Truth isn't just tighter than that album -- its 40 minutes zoom by -- it's concentrated, with each track packed until it's ready to burst. Yet for as indulgent as the oversaturated mixes are, they're never overstuffed: each instrument, each overdub, each blip and squawk is there for a reason, and no song, not even the epic eight-minute sprawl of "No More Shoes," lasts longer than necessary. One of Malkmus' greatest gifts as a record-maker has been ...
| | Bob James Touchdown CD (1978) Bonus Track; Remastered
Point!
$9.99 All tracks have been digitally remastered. Personnel: Bob James (piano, Fender Rhodes piano, synthesizer); Eric Gale, Hiram Bullock (guitar); Earl Klugh (acoustic guitar); Hubert Laws (flute); David Sanborn (alto saxophone); Ron Carter (bass instrument); Gary King (bass guitar); Idris Muhammad, Steve Gadd (drums); Mongo Santamarķa, Ralph MacDonald (percussion). Bob James' most enduring recording is perhaps one of his least adventurous. Full of simple laid-back melodies, light, airy grooves, and quiet backdrops, it's a smooth jazz "masterpiece." It's an enduring part of his catalog and was the launch pad for many movie and television projects, and for a string of hit recordings for the Warner label in the 1970s, '80s, and '90s. In effect, it insured his financial security for the future. The set is notable for its heavyweight ...
| | Rotary Downs CD (2002)
Point!
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Point!
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Point!
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