Pussy Cats

( 2 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
The relationship between Harry Nilsson and John Lennon is legendary. They were notorious booze hounds and carousers, getting kicked out of clubs for misbehavior and generally terrorizing L.A. during Lennon's "lost weekend" of 1974. They wanted to make an album together -- hell, anyone working at such a peak would -- and the result was Pussy Cats, a Nilsson album produced by Lennon. Almost immediately, Nilsson got sick, resulting in a ruptured vocal cord. Not wanting Lennon to stop the sessions, Nilsson never told his friend, stubbornly working his way through the sessions until he lost his voice entirely. These are the sessions that make up Pussy Cats, an ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
The relationship between Harry Nilsson and John Lennon is legendary. They were notorious booze hounds and carousers, getting kicked out of clubs for misbehavior and generally terrorizing L.A. during Lennon's "lost weekend" of 1974. They wanted to make an album together -- hell, anyone working at such a peak would -- and the result was Pussy Cats, a Nilsson album produced by Lennon. Almost immediately, Nilsson got sick, resulting in a ruptured vocal cord. Not wanting Lennon to stop the sessions, Nilsson never told his friend, stubbornly working his way through the sessions until he lost his voice entirely. These are the sessions that make up Pussy Cats, an utterly bewildering record that's more baffling than entertaining. Like many superstar projects of its time, this is studded with contributions from friends and studio musicians, all intent on having a good time in the studio -- which usually means hammering out rock & roll oldies. In this case, it meant both Dylan's "Subterranean Homesick Blues" and the children's song "Loop de Loop," which gives a good idea where Nilsson was at. Through its messiness, Pussy Cats winds up showing how he and Lennon violently careened between hedonism and self-loathing. Of the new songs, the inadvertently revealing "All My Life" is the strongest, followed by the sweet "Don't Forget Me," yet this is more about tone than substance. It's about hearing Nilsson's voice getting progressively harsher, as the backing remains appealingly professional and slick. It doesn't quite jibe, and it's certainly incoherent, but that's its charm. It may not be as wild as the lost weekend itself, but it couldn't have been recorded at any other time and remains a fascinating aural snapshot of the early days of 1974.
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Product Details

  • Release Date: 12/17/2002
  • Label: Camden International
  • UPC: 743219502520
  • Catalog Number: 195025

Album Credits

Performance Credits
Harry Nilsson Primary Artist, Primary Artist, Primary Artist, Piano, Electric Piano, Vocals, Track Performer
David Steinberg Choir, Chorus, Children's Chorus
Ringo Starr Drums, Maracas
Jesse Ed Davis Guitar
Keith Moon Conga, Drums, Wood Block
Jim Keltner Drums
Jane Getz Piano
Sneaky Pete Kleinow Pedal Steel Guitar
Kenny Ascher Piano, Conductor
Gene Cipriano Saxophone
Chuck Findley Trombone
Jim Horn Saxophone
Bobby Keys Saxophone
Danny Kortchmar Guitar
Trevor Lawrence Saxophone
Willie "The Lion" Smith Organ
Klaus Voormann Bass
Cynthia Webb Marimbas
Nathalie Altman Choir, Chorus, Children's Chorus
Susie Bell Choir, Chorus, Children's Chorus
Troy Germano Choir, Chorus, Children's Chorus
Erik Mueller Choir, Chorus, Children's Chorus
Rachel Mueller Choir, Chorus, Children's Chorus
Phylida Paterson Choir, Chorus, Children's Chorus
Peri Prestopino Choir, Chorus, Children's Chorus
Cantey Turner Choir, Chorus, Children's Chorus
Kristin Turner Choir, Chorus, Children's Chorus
Damon Vigiano Choir, Chorus, Children's Chorus
Sneeky Pete Pedal Steel Guitar
Technical Credits
John Lennon Producer
Harry Nilsson Author, Adaptation
Kenny Ascher Orchestration
Greg Calbi Mastering
Roy Cicala Engineer
Jimmy DeKnight Composer
Derek Taylor Liner Notes
Paul Williams Tape Research
Acy Lehman Art Direction
Max Freedman Composer
Andrea T. Sheridan Liner Notes
Cally Artwork
Keith Munro Producer
Curtis Armstrong Liner Notes
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Customer Reviews

Average Rating 4.5
( 2 )
Rating Distribution

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Sort by: Showing all of 2 Customer Reviews

  • Posted October 1, 2010

    more from this reviewer

    The Last Dance

    It's worth it for the stellar version of Doc Pomus and Mort Shumer's "Save The Last Dance For Me." With John Lennon producing (and, from what my ears tell me, harmonizing -- although Nilsson seems also to be harmonizing with himself) this is a song sung by a world-weary man. The piano is played slowly, heavily and Ringo -- I do believe it's him, with those signature hesitating beats and final thump at the end of the track -- drives the old boy to the end of his tale of woe. This is one version of this song where the guy is probably not going to get the girl. The song is almost over the top, but the harmonies are sincere. There is beauty in this pain.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted November 29, 2010

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews