Yes but in some cases not everyone has ever read the liner notes, maybe have just heard the song over the years in radio so it is still educational in a way...but I do see what you're saying
In the case of "I Want You to Want Me" it was expedience. Here's the story from Bun E.: When we were cutting “I Want You to Want Me” Werman told us he had a great idea for the front of the song and on the tail end of the song. Instead of teaching it to us he had Jay Graydon come in. He did his part in about ten minutes. He played the two-guitar thing at the start. Steve Lukather was during Dream Police. We finished the record and I flew home. I was home a couple of weeks and Werman called and said, “You need to come back out here as we need to finish ‘Voices.’” Tom was singing “Voices” and he just wasn’t cutting the mustard. He said, “We want to re-cut the vocals and have Robin sing it.” We did it live in the studio and Luke came in and played the acoustic guitar in the studio, as did Rick. Rick also played the electric on the song. Jai Winding played piano and Tom played bass and I played drums and Robin sat in the booth and sang as we cut the track live. We did three takes and they all sounded pretty good and then we picked one. Lukather goes, “I’ve got a great idea for a solo. Let me run in there and play it.” We were like, “That sounds great. Let’s keep it.” We kept it. We literally did the whole track in about one afternoon. That’s how Lukather ended up on that track.
Mark Lewisohn does NOT mention it. So I'd tend to believe that it did NOT happen. Unless someone comes up with some proof or a statement from one of the participants saying that it happened, then you have to presume that it did NOT occur. (No one has given a definitive answer if John and Paul sang on "Jumpin Jack Flash" or "Honky Tonk Women" either---although we "know" that they are not on those songs---so you can't prove something by the absence of an answer.)
Legendary punk/alt-rock bassist Mike Watt played on half the songs on Kelly Clarkson's difficult third album My December.
In 1998, for the 30th Anniversary of their 1968 album "S.F. Sorrow", the Pretty Things played the album live in Abbey Road Studio 2 to an audience of friends and families. It was one of the earliest webcasts and the server crashed so few got to see it live on the internet as intended. But a limited edition of the show was released on CD and later on DVD. Guest narrator was Arthur Brown and David Gilmour played guitar on a few songs.
Did you know that Clover(later to become The News, Huey Lewis' backup band) played on Elvis Costello's My Aim Is True?
That sequence of events makes sense. Btw over the weekend I saw a video of the Ramones, and in the intro to Needles and Pins Joey said they got the song from Sonny Bono, who did write it with Jack Nitzsche, but it was Jackie who first recorded and released the song.
That was the US tour the summer of 1964. Not sure on how many dates, but she usually was the act right before the Beatles performed. There are pics of her playing Monopoly with George in the hotel room in Atlantic City, Monopoly being about Atlantic City.
Nilsson's hit, The Coconut Song, ("lime in the coconut ") features some background vocals from Paul McCartney.
I read it a while back, remembered it today after listening to some Nillson. Just looked it up, only found it on Wicki, which means it may not turn out not to be factual Anybody know about this? Here it is: Edit Read in another language Coconut (song) Page issues Single (Harry Nilsson) "Coconut" Single by Harry Nilsson from the album Nilsson Schmilsson B-side "The Moonbeam Song" Released 1972 Format 7" single Recorded 1971 Genre Calypso Length 3:52 Label RCA Victor Writer(s) Harry Nilsson Producer(s) Richard Perry Harry Nilsson singles chronology "Jump into the Fire" (1972) "Coconut" (1972) "Spaceman" (1972) "Coconut" is a song written and first recorded by American singer-songwriter Harry Nilsson, released as the third single from his 1971 album, Nilsson Schmilsson. It was on the Billboard charts for 10 weeks, reaching #8,[1]and was ranked by Billboard as the #66 song for 1972. In 1998, a cover version was released by Australian singer Dannii Minogue as a single, peaking at #62 on the ARIA singles chart. Contents LyricsEdit The lyrics feature four characters (the narrator, the brother, the sister, and the doctor), three of whom (narrator, sister, and doctor) are sung in different voices by Nilsson[citation needed]. The song describes a story in which a girl has a stomachache and calls her doctor who prescribes her a drink. With the help of her brother, they concoct a beverage consisting of lime and coconut. When the sister calls the doctor late at night, the doctor (annoyed at being awakened by such a complaint) laughs her off and recommends that she "put the lime in the coconut and drink 'em both together"—then call him in the morning. It has been noted on more than one occasion that the song is symbolic of pregnancy and morning sickness[citation needed]. MusicEdit There are no chord changes in the song: an arpeggiated C7th accompanies the song. PersonnelEdit Harry Nilsson – vocals Caleb Quaye – guitar Ian Duck – acoustic guitar Herbie Flowers – bass Roger Pope[citation needed] – drums Jim Gordon – percussion Paul McCartney – background vocals and words
This thread was a great read! Didn't see these mentioned (my apologies if they were)... David Bowie background vocals on 'It's Only Rock n' Roll' by the Stones. Nicolette Larson background vocals on 'Could this Be Magic?' by Van Halen... in return for Edward's appearance as "?" on 'Can't Get Away From You' on her ST debut. Chris Robinson's background vocals on Jenny Lewis' 'Acid Tongue'.
McCartney on Nilsson's "Coconut"..background vocals and LYRICS?????? Utter rubbish. If you believe that you'd believe anything. The stuff people put in wiki's. Amazing.
He was the guy who played piano on Springsteen's Jungleland. And Romeo And Juliet from Makin' Movies has the same tune as Jungleland. Hmmmm
Not so impossible if you read the great article below. Enjoy! LOL Epic brandy binges. Guns in the studio. The famous ‘Lost Weekend’. How Harry Nilsson, the hellraising singer of Without You, befriended and bewitched the Fab Four – and drove himself into an early grave One long party: During the infamous 'lost weekend' Harry Nilsson with John Lennon and May Pang. Nilsson always slightly hero-worshipped Lennon, and there was a shared love of the outrageous Somewhere between three and four o’clock on a Monday morning in April 1968, the telephone rang in the little office at RCA Records in Los Angeles where an obscure singer-songwriter named Harry Nilsson was keeping his usual nocturnal hours. ‘I was half asleep,’ Nilsson recalled. ‘A voice says: “Hello, Harry. This is John. Man you’re too f***ing much, you’re just great. We’ve got to get together and do something.” ‘I said, “Who is this?” ‘“John Lennon.” ‘I said: “Yeah, right, who is this?” ‘“It’s John Lennon. I’m just trying to say you’re fantastic. Have a good night’s sleep. Speak to you soon. Goodbye.” ‘I thought, “Was that a dream?”’ Not a dream, but the start of an association that would change Nilsson’s life. The year before, Nilsson recorded The Beatles’ You Can’t Do That, cleverly using quotes from 14 other Beatles songs. That had led to an invitation to a party at George Harrison’s rented house in the Hollywood Hills. Harry recalled that the Beatle, ‘in a white windblown robe with a beard and long hair, looking like Christ with a camcorder’, had listened to his songs and been ‘very complimentary’. Nilsson was described as 'the finest white male singer on the planet', and was an accomplished songwriter who happened to have huge hits with two songs he did not write: Everybody's Talkin' and Without You Harrison took Nilsson’s demos away and played them to the other Beatles, who were now calling Harry in the middle of the night. The Monday after Lennon’s call, Paul McCartney rang. ‘Hello, Harry. Yeah, this is Paul. Just wanted to say you’re great, man! John gave me the album. It’s great; you’re terrific. Look forward to seeing you.’ The next Monday, Nilsson dressed and waited for a four o’clock call from Ringo. It didn’t come. But on May 14, Lennon and McCartney appeared at a press conference in New York. Asked to name their favourite American artist, Lennon replied ‘Nilsson’. The two gave the same response when asked their favourite group. Later that day, when a journalist wondered what they thought about American music, Lennon replied, ‘Nilsson! Nilsson for president!’ A unique relationship would form between Nilsson and The Beatles. He would write a song for McCartney, make films and party through the 1970s with Ringo Starr, and record and raise hell with Lennon in the notorious 18-month ‘lost weekend’ period in 1973 and 1974, when John left Yoko Ono for a wild life in Los Angeles. There was, it should be said, much more to Nilsson than his Beatles associations. He was described by his producer Richard Perry as ‘the finest white male singer on the planet’, and was an accomplished songwriter who happened to have huge hits with two songs he did not write: Everybody’s Talkin’ and Without You. Not long after Lennon and McCartney returned from New York, Derek Taylor, The Beatles’ press officer at Apple, made a call to Harry. ‘Derek says: “The lads, the boys, the Fabs would like you to come over and join them at a session,”’ Nilsson remembered. ‘“They’re recording at Abbey Road. They’re dying to see you.”’ Nilsson with Ringo Starr and Lynsey de Paul. 'When he got to make records with John Lennon and be friends with Ringo Starr, his life was complete,' said legendary songwriter Jimmy Webb Within a few days, Nilsson was sitting on a plane crossing the Atlantic. Arriving at Heathrow, he found that Ringo had kindly left his Daimler limousine at the airport for him. Suddenly famous, having been endorsed by the world’s biggest band, Nilsson went straight to a reception for his own record, where the other three Beatles were the stars of a guest list that included everybody who was anybody in swinging London. That afternoon, another limo arrived to take Harry out to Lennon’s home in the Surrey commuter belt. Nilsson was greeted warmly by Lennon, and a single look between them was the start of a lifelong friendship. ‘We spent the entire night talking until dawn,’ said Nilsson. ‘Yoko ended up like a kitten at John’s feet, curled up. And John and I are on about marriage, life, death, divorce, women. And I’m thinking, “This is it! This is truthful. This is good. This is honest. This is exciting. It’s inspirational.”’ Lennon gave Nilsson an Indian gold braided jacket with fur trim lining he had worn in Magical Mystery Tour. The following day McCartney announced he was coming over to Nilsson’s hotel, and he ran through rough versions of several of his newly written songs. Nilsson sent down for a bottle or two of the best wine on the hotel’s room service list, and they carried on singing songs for one another into the small hours, until there was a thunderous banging on the door from the occupants of the room next door: ‘What the hell do you people think you’re doing? Don’t you know some people work for a living? Some people have to get up in the morning!’ Nilsson calmly introduced them to his visitors, and Paul gently apologised. The neighbours were impressed to find that the disturbance had been created by so famous a guest and made no further complaints. The evening ended with McCartney driving Nilsson around London in his Aston Martin. It laid the groundwork for future collaborations between Nilsson and all four members of the group. The song Everybody’s Talkin’ had made Nilsson a star in his own right by the time his friendship with Ringo – soon to be one of the cornerstones of Nilsson’s life – blossomed in the early 1970s. ‘Ringo and I spent a thousand hours laughing,’ said Nilsson. Lennon and Nilsson are thrown out of the Troubador in LA on March 13, 1974, for heckling Ringo, often sporting mirrored sunglasses that disguised the effects of the night before, was at the heart of a social set that enjoyed late nights, exclusive bars, nightclubs and brandy. Along with Nilsson and Ringo, there would be Marc Bolan of T Rex, Keith Moon, and Graham Chapman of Monty Python. When in London, they would meet in the afternoon, drinking brandy and swapping yarns, each new arrival dropping in with the catchphrase: ‘I hope I’m not interrupting anything?’ ‘We would drink until 9pm,’ Nilsson recalled. ‘That’s six hours of brandy. Then between 9 and 10, we would usually end up at Tramp, the most uproarious, exclusive disco-restaurant in the world. 'Royalty, movie stars, world champions all frequented the place. It was a ride, meeting luminaries and having blow-outs every night.’ Nilsson was back in Los Angeles by the time of John Lennon’s arrival in the city in the autumn of 1973. Ever since their time together at Lennon’s home, there had been a strong bond of friendship between the two of them. However, unlike the camaraderie he enjoyed with Ringo, Nilsson always slightly hero-worshipped Lennon, and there was a shared love of the outrageous. This could, and often did, prove to be a destructive force. Lennon was at a crossroads. His album Mind Games would be released in October to indifferent reviews, and in June he had split from Yoko. He and Ono’s former personal assistant, May Pang, eloped to the West Coast, where Lennon planned to make an album of rock classics, to be produced by Phil Spector. Lennon’s drinking was under control in New York, but in Los Angeles, away from Yoko, it increased dramatically as he began socialising with Nilsson. As she watched Lennon match Nilsson’s intake of brandy and cocaine, May Pang felt powerless: ‘(Nilsson) had charm. We loved him. But he went to extremes.’ Nilsson and Micky Dolenz at the Rainbow According to Spector, Nilsson was a hindrance to the sessions, and one of his more extreme pranks involved suggesting holding up a 7-Eleven store.Spector was no less outrageous. He started arriving at the studio dressed up in various costumes, first as a doctor, then a karate instructor, and finally a cowboy, complete with loaded revolver. Trying to assert his authority, Spector fired the gun into the air. Covering his ears, Lennon quipped, ‘Listen Phil, if you’re going to kill me, kill me. But don’t f*** with me ears – I need ’em.’ The sessions broke down, leaving Lennon to spend more time with Nilsson, who introduced him to all his nocturnal haunts. These included the Rainbow Bar and Grill in Hollywood, where the upstairs room still has a plaque on the wall commemorating their late-night drinking club, ‘the Hollywood Vampires’, which included Micky Dolenz of The Monkees, Keith Moon and Alice Cooper. On March 13, 1974, Nilsson took his friend to see comedians the Smothers Brothers at the Troubadour club. Lennon proceeded to get seriously drunk on Brandy Alexanders. The press the next day reported: ‘Customers in the jammed nightclub complained Lennon made sarcastic comments and shouted obscenities during the show. Said the Smothers’ manager, Ken Fritz: ‘I went over and asked Harry to try to shut up Lennon. Harry said: “I’m trying – don’t blame me!” 'When Lennon continued, I told him to keep quiet. He swung and hit me in the jaw.’ The bouncers had Lennon out in seconds. Photographer Brenda Mary Perkins tried to snap him, but the enraged Lennon took a swing and his fist allegedly hit her right eye. The Nixon administration had tried to have Lennon returned to Britain because of an ancient drug charge. When Perkins filed charges at the sheriff’s office, a Nilsson cover-up and charm campaign quelled an investigation that could have got Lennon deported. Lennon and Nilsson agreed they had to do something more positive than going out on wild benders. John announced his intention of producing an album for Nilsson, and they decided they and the musicians should rent a beach house close to Santa Monica. The sessions yielded the disappointing ***** Cats, but were notable for a rare reunion of the principal Beatles. Round midnight on the first night, McCartney appeared with Stevie Wonder. Lennon was passing cocaine around, and his offer of a ‘toot’ to Stevie gave the subsequent bootleg album its title: A Toot And A Snore In ’74. It was the last time the two ex-Beatles would ever play together in a studio. On December 8, 1980, Nilsson was in the studio when he heard Lennon had been shot – it brought his professional life to a complete stop. He would never make another completed studio album of his own. But by the early 1990s, his weight, his drinking, and the years of cocaine intake had taken a serious toll on his wellbeing. A business venture resulted in bankruptcy, and Ringo had to step in to provide Harry and his family with a house and spending money. Beset by ill health, Nilsson died on January 15, 1994, aged 52. In most obituaries, Nilsson’s career was summed up by his two Grammy-winning records, with the suggestion that the rest was an inexorable downturn into self-destruction. Nilsson seemed to agree: ‘Being relegated to Everybody’s Talkin’ and Without You ain’t exactly what I set out to do.’ ‘When he got to make records with John Lennon and be friends with Ringo Starr, his life was complete,’ said close friend and legendary songwriter Jimmy Webb. ‘That’s all he ever wanted. He wanted to know those people, to be admired by them. Everything else was the small print.’ From ‘Nilsson’ by Alyn Shipton, published by OUP USA, £18.99. To order at a special price of £14.99 with free p&p, please call the Mail Book Shop on 0844 472 4157 or visit mailbookshop.co.uk Read more: The Beatles: When Harry met... John, Paul, George and Ringo: The American Beatle's 18-month 'lost weekend' with Lennon | Daily Mail Online Follow us: @MailOnline on Twitter | DailyMail on Facebook
