…That’s The Way It Is
…That’s The Way It Is was Harry’s second choice for the title of his 13th studio album. RCA wouldn’t let him call it Eldridge & Beaver Cleaver U.S.A. Can’t think why…
If he’d got his first choice we could have gathered something of his moronic humour and state of mind of those days. The eventual title suggests resignation. And from the cover art of the album to the music, a feeling of surrender is prevalent. The cover photograph shows Harry on a sofa with his feet up, shoes off, one eye on the television, and one on his copy of Penthouse. Liquor bottles, ashtrays, LPs and trinkets are scattered around his musty, dimly lit abode. The artist is growing older, fatter, and sinking into obscurity… Does he care? Doesn’t look like it. The music doesn’t do anything to suggest otherwise. Out of the nine complete tracks on …That’s The Way It Is, seven are covers, and two are co-written by him. It seems like Harry is neither properly playing up to his quirky side for his cult fans, nor trying to recapture the commercial success of some of his previous records. This album doesn’t present the work of the energetic, ex-banker, fresh-faced, independent songwriter he used to be, but the work of the lazy, contented man on the front cover. On this album Nilsson indulges his whims, making the record he felt like making in 1976, writing next to nothing, covering the songs he wanted to, and no-one could tell him to do otherwise. That’s the way it was.
Other reviews I’ve read criticise the album’s middle-of-the-road production. I can’t understand why. Since Nilsson’s not pushing any boundaries, I think Trevor Lawrence’s lush, Spector-esque production adds to the album’s listenability.
As with most of Nilsson’s work, this record is blessed with some of the all-time greatest session musicians playing on it. These include Jim Keltner, Klaus Voorman, Dr. John, Van Dyke Parks and Bobby Keys. The performances are second-to-none. The jaunty groove on ‘Daylight has Caught Me’ is brilliant… an absolutely astounding backing-track. Likewise, Harry’s vocal performance is spot-on throughout. By 1976 his voice has gradually started to recover from being wrecked in the Pussy Cats sessions. It’s still a bit husky and gravelly, but this suits the tracks, giving them a warm, soul-y edge.
The album opens with ‘That is All’, originally by George Harrison. It’s a sweet, dreamy song with a climbing, rousing chord structure, sweeping violins and a passionately sung vocal. It sounds more suited to the end of an album, as it is emotional, night-time, moving music. However, I daresay at this stage in his life Harry’s mornings would have involved some serious shaking, existential fear and philosophical questioning as he stared into the abyss of deliriums. So in Harry’s world this type of song is a pretty appropriate opener to a record. Next up is the medley of ‘Just One Look/Baby I’m Yours’. It’s a beautifully put together romantic song. A little cheesy, yes… but who cares? It’s self-consciously playing up to traditions of the love-song duet. ‘Moonshine Bandit’ is brilliant. Co-written by Nilsson, it’s got a laid-back, Jamaican vibe. ‘I Need You’ is originally by America, and Nilsson’s performance is reminiscent of his work on ‘Without You’. ‘A Thousand Miles Away’ is one of my favourites. I love the way Nilsson and the other performers play up to the soul and soft-jazz traditions… another song very aware of itself… post-ironic, especially when the second singer is introduced half way through, comes careening in slightly sharp, and is met by an audience’s applause. Although it’s an obvious song for him to choose, Randy Newman’s ‘Sail Away’ is an integral part of the album. Harry gives an out-of-this-world vocal performance, and the instrumentation is exceptional. ‘She Sits Down on Me’ follows… because where would any Nilsson album be without one his quirky, absurd story songs!? ‘Daylight Has Caught Me’ is my favourite song on the album. It’s written by Nilsson and Dr. John. Instrumentally it is impeccable – SUCH a fun, groovy song. The lyrics deal with the fact that Harry’s got a one way ticket on a fast train to terminal booze. There’s no getting off. He lives for the night-life, and can’t stand the real world that keeps catching up with him every morning. ‘Moonlight’s no friend of [his]’ either though, as that’s what’s fuelling the horrendous mornings. It’s a horrific train ride to be on, and his vocal performance yelps and screams in despair. Harry drank (and died) for our sins. BUT… he loves it really! – the song can’t help but sound fun! It’s a boozey psalm from the gospel according to Harry. ‘Zombee Jamboree’ is a silly song with steel drums, and a fine way to end the album.
Why is there a reprise of ‘That is All’ at the end of the album? It certainly doesn’t merit it! Essentially a covers album, …That’s The Way It Is doesn’t exactly take the listener through an emotional journey, and doesn’t warrant a reprise to round things up at the end. It’s completely superfluous. But that’s what I like about it. It’s stupid and moronic.
