Klinger: So for those of you who are paying attention, we’re trying something different around here. When we were covering the Great List in numerical order, we just took turns. Then, once we started talking about critical acclaim using our own choices, we each led off talking about our picks. Now, in an effort to shake things up a little bit, we’re forcing the other one to start talking about our selections first. Flying in blind, without a net. For those of you who aren’t paying attention, you can skip this preceding paragraph.
Except I’m afraid our inaugural effort will be a little anticlimactic, Mendelsohn, because the album you’ve chosen is one that I’m not only intimately familiar with, it’s an album I actually choose to listen to in my spare time. Nilsson Schmilsson is for some reason the only Harry Nilsson album on the Great List, clocking in at a criminally underrated No. 938, which tells me that something has gone horribly wrong around here. It may have been his commercial breakthrough, and it did birth two superhits with “Without You” and “Coconut”, but it’s hardly the lone tentpost in Nilsson’s career. The album represents a break from his earlier, more baroque albums, placing him smack dab in the juicy mainstream center of the 1972 pop scene. And I guess anything that puts a talent like his in the public consciousness is a net gain for society. But I’d hate to think that Nilsson will be best remembered for singing a couple hit songs and being next to John Lennon when he punched a waitress. He was a gifted songwriter and a hell of a singer who deserves a lot more acclaim in his own right. Is that what led you to pick Nilsson Schmilsson, Mendelsohn?