Daily Archives: July 13, 2022

After COVID-19 cancelled summer festivals in Nanaimo the past two years, Nanaimo Child Development Centre thinks its time to get silly again.

The Silly Boat Regatta, a fundraiser for the child development centre, returns Sunday, July 17, at Maffeo Sutton Park. Participants construct boats of recycled items and, hopefully, paddle from Sway A Lana Lagoon out into Nanaimo Harbour and back. Silliness is encouraged.

Dominic Rockall, NCDC executive director, said while donors continued giving the past two years, the pandemic was difficult, as community events couldnt be held, limiting opportunities to raise money. However, planning has been underway for several months for this years regatta, sponsors are coming onboard and organizers are excited to start up again, he said.

While the centres core programs receive government funding, said Rockall, the child development centre hopes to raise $50-90,000 to be spent on different initiatives.

Last year we started a new Island-wide pediatric therapy equipment library that needs equipment We have a couple of programs that we subsidize with funding, the Family Resource Navigator program a person that helps families find resources in the community and our summer camp for kids with extra support needs, Rockall said.

The Silly Boat Regatta is entering its 36th year and Rockall said one of the most impressive boats came in 2019, with V.I. Tree Services entry.

These guys brought a log down and they carved out a giant log with chainsaws and sat in the log And so it went in the water, it sunk up to their chests, but thats as far as it sank. So they were able to still move through the water, with the log under the water and all of them partially submerged, said Rockall.

Teams have until Wednesday, July 13, to sign up.

People can begin assembling boats beginning 8 a.m. July 17, with races beginning at 1 p.m.

Entertainment includes Juno-nominated childrens entertainers the Kerplunks and Americas Got Talent dance contestants Funkanometry.

Volunteers are sought and anyone interested can e-mail Keeley Campbell at keeley@nanaimocdc.com or Morag Champagne-Holland at morag@nanaimocdc.com.

For more information, including official rules, go to http://www.sillyboat.com.

RELATED: Smashed pumpkins part of NCDC fundraiser

RELATED: Silly Boat Regatta 2019 fills harbour with silly sailing

READ ALSO: Nanaimo dragonboat races kick off summer festival season

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Teams will get wacky and get wet at Nanaimo's Silly Boat Regatta Nanaimo News Bulletin - Nanaimo Bulletin

Surrounded on stage by two dozen young musicians, Jon Anderson feels a special kind of energy.

Fans will reap the benefits when Anderson, singer/lyricist with art-rock legends Yes, performs locally with The Paul Green Rock Academy.

They'll perform Yes songs, including the entire "Close to The Edge" album, plus hits by a few other classic artists, resuming a tradition started in 2005, whenAndersontoured with Paul Green's original School of Rock All Stars.

"It's been wonderful chaos, on and off for 20 years," Anderson said. "They're brilliant musicians and amazing kids. The hardest thing for me is getting to learn the names because there's 22 of them. I'm always like, 'Now what's your name again?'

Upcoming concerts: July 14, Wellmont Theater, Montclair, N.J.; July 16, Ridgefield Playhouse, Ridgefield, Conn.; July 17, Sugarloaf Performing Arts Center, Sugar Loaf, N.Y.; July 20, Keswick Theater, Glenside, Pa.; July 22, The Kent Stage, Kent, Ohio; July 27, The Palace Theatre, Greensburg, Pa.; Aug. 3, The State Theatre, State College, Pa.

In the press release touting the tour, Anderson said, "I sang and toured with the Paul Green School of Rock many years ago. It was a miracle for me to join in with their young energy. And learn from them."

In a follow-up phone interview July 12, Anderson elaborated on what lessons the youths from Green's Philadelphia- and Connecticut-based schools of rock have taught him.

"About the joy of life. And the joy of making music," Anderson said. "They've all got a hopefulness of the future. A lot go straight from touring to Berklee School of Music and places like that."

Learning the Yes catalog is a daunting challenge for high school students. We're talking about one of rock's most virtuosic bands, with some of the greatest musicians at their particular instrument, such as the late Chris Squire on bass, Rick Wakeman on keyboards, and Steve Howe, named Guitar Player Magazine's "Best Overall Guitarist" from19771981.

"Paul Green is the impresario and he does that so well," Anderson said of the students' musical training. "And there's such a love for the music."

Though Anderson admits he was skeptical about collaborating when Green first pitched the idea of his students performing concerts with the longtime Yes man.

"The first time I met him, and he invited me I thought, 'I don't think so.'" he said. "But then he sent me a recording of his students playing (Yes') 'Heart of The Sunrise.' It was on a cassette tape."

Anderson was blown away by what he heard, and agreed to join what would become a fruitful partnership.

It was Anderson who first suggested this current tour feature 1972's "Close to The Edge," an iconic masterstroke that's made many top albums lists, including Rolling Stone's 500 Greatest Albums in 2020. The 37-minute album features just three songs, including the side one spanning title track, and mixes classical music-inspired passages with Anderson's prettily sung, often impressionistic lyrics.

"Sort of miraculously, it works," he said of his and the Rock Academy's treatment of the album. "The way they play it, with so much excitement."

Anderson recalls being on tour with Yes supporting 1971's "Fragile" album (with the band's classic-rock staple "Roundabout") when ideas for "Close to The Edge" began to hatch.

"Fragile" featured two eight-minute songs, and the 11-minute epic "Heart of The Sunrise," but Anderson suggested to Howe they kick things up a notch.

"I said I think we should go for a long-form piece. And you could only put 20 minutes on one side of a record at that time."

They would co-write the 18-minute "Close to The Edge" title track, inspired by Herman Hesse's "Siddhartha," a novel about self-discovery. Though ultimately, the song's length bothered radio stations.

"When it was time to go back out on tour, we would go to radio stations but they were still playing (earlier songs) 'Starship Trooper' and 'Heart of the Sunrise.' We couldn't get anyone to play our new record. And in The States, by then, FM radio was falling apart and AM was better known, and so we didn't get that album played on any station in any shape or form," Anderson said. "But from the first night we played that album live, audiences loved it, so there was that."

More:Revisit the classic Genesis with Steve Hackett

The side two track, And You And I," includes a lyric "there'll be no mutant enemy we shall certify/Political ends, as sad remains, will die" Anderson believes is timely enough to have been written last month.

"You're experiencing that in America now. The inconsistencies. I explain it better on stage when I perform a more recent song I wrote, 'Screw," where I say you can't trust politicians, they're only out to screw you," he said.

More:Adrian Belew tour is all about power trio

The tour also includes "Close to The Edge's" side two track "Siberian Khatru," a multi-layered romp Anderson acknowledges has a tricky ending to nail, but he and the Paul Green students always succeed.

The setlist will include songs from other Yes albums. Expect "Roundabout," the hypnotically escalating "Starship Trooper" and Yes' 1983 chart-topper, "Owner of a Lonely Heart."

"But I also wanted to do something different. It's all Yes, Yes, Yes, so I said why not add a Led Zeppelin song? I've always dug 'Kashmir,' so we do that. And we do Lenny Kravitz and Eminem."

Wait a minute ... Anderson rapping Eminem's "Lose Yourself"?

"We've got a guy who does it perfectly. I'm not rapping," Anderson said.

More:Review: John Mayer weaves magic once more in Pittsburgh

Any philosophical banter from Anderson could include his long-held pro-environmental stance.

"I think part of our purpose is being guardians of Mother Earth. And we're not looking after her very well right now, are we? What's wrong with us suckers?"

Swinging back through Pennsylvania makes Anderson recall memories like playing for 130,000 people in a Bicentennial concert at JFK Stadium in Philadelphia.

"When we first came to Pittsburgh, it felt like it was in the middle of nowhere as we landed at the airport there on top of a mountain, mind you, we were probably stoned then. But every show there was really special and always such a pleasure," Anderson said.

My Favorite Guitar

My Favorite Guitar: Granati

Beaver County Times

This tour's July 27 show in Westmoreland County is in a 96-year-old vaudeville theater.

"I love those kinds of buildings," Anderson said. "The ghosts. There's an energy from another time."

More:Phone-less audience sees Jack White shine

When the tour wraps, he plans to finish a solo album for release this year.

In the meantime, "Come see the show and enjoy these young and talented musicians," Anderson said. "I know you will have a wonderful evening spending time with the future of rock 'n' roll."Scott Tady is entertainment editor at The Beaver County Times and easy to reach at stady@gannett.com.

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Jon Anderson gets 'Close to The Edge' in tour with young talent - The Times

Is professional ethics an endangered species? That was the focus of my keynote address at the Pennsylvania Association for College Admission Counseling conference last month in Hershey, Pa.

The speech was focused more specifically on the ethics of the college admission counseling profession. Is ethics an endangered species now that the National Association for College Admission Counseling no longer polices its ethical standards following a consent decree with the antitrust division of the U.S. Department of Justice?

That question raises a more fundamental one: Does college admission counseling qualify as a profession?

Those of us who work in college admissions and college counseling have historically thought of ourselves as a profession. That suggests a higher calling than mere fealty to our employers, serving not only institutional interest but also the public interest. Is that still the case given the increasing commercialization of college admission/enrollment management?

The concept of professional ethical standards is embedded in the definition of professions. In his Pulitzer Prizewinning history of the American medical profession, Paul Starr identified three defining characteristics of professions:

How does college admission measure up to Starrs definition?

Of the three tenets of professionalism, the claim to technical, specialized knowledge is the weakest for college admission. Despite numerous attempts to institutionalize credentialing for college admission officers and school counselors, there is not a clear path for entry into the admission field, and we are still fighting the school counseling establishment to acknowledge that courses in college counseling should be a required part of graduate programs.

Once in the field, training and professional development are haphazard. The practice of college admission and college counseling remains more art than science, and its never been rocket science. Thats not necessarily a bad thing.

That might also be changing. Both college admission and college counseling require far more knowledge and skill than when I started my career.

Is college admission oriented toward service rather than profit? Thats a harder question to answer, and it might not be an either-or question. There is no question that higher education is an industry, with the admissions office functioning as the sales/marketing division. Admissions offices help colleges and universities achieve institutional goals ranging from revenue to diversity to mix of students.

I hope we are more than that. Saying that we are a profession means that we have a higher calling, that we serve not only our institutions but society at large. We help students make life-changing decisions about their futures, and that is noble work. We are educators rather than salespersons, colleagues rather than competitors.

The value of being a profession became clear over the past couple of years as COVID-19 forced us to retreat into our homes and offices. College admission and college counseling can be lonely jobs. No one on your campus or in your building knows exactly what you do, but they all think they do. More than anyone else at my school, I have a network of colleagues on both sides of the desk that extends not just locally but nationally. I can reach out to those colleagues with a question or to vent and they will understand.

I worry that may be endangered. Are we one profession with two sides of the desk or are college admission and college counseling becoming two different professions? I hope that Angel Prez and the National Association for College Admission Counseling will give attention to that issue.

The third tenet of Starrs definition of professions is being self-regulating, with standards of practice and a code of ethics. For decades NACACs foundation was its commitment to and enforcement of ethical standards for college admission. In fact, one of the reasons NACAC was founded 85 years ago was to ensure that admissions officers were not compensated on a per-head basis.

But what happens when a professional organization cant enforce ethical standards? In 2016 NACAC appointed a steering committee to take a fresh look at its Statement of Principles of Good Practice (SPGP), first adopted in 1960. The SPGP was a set of rules rather than a statement of principles, amended annually (sometimes on the fly) in response to colleges pushing the envelope on recruiting practices.

I was a member of the steering committee, and I consider its work an example of NACAC at its bestthoughtful, deliberative, with lots of input from the membership. The result was a new document, the Code of Ethics and Professional Practice (CEPP). The CEPP was passed unanimously by both the NACAC Assembly and the membership. Anyone who has spent any time in NACAC knows that is rare, maybe even unprecedented.

Not long after the CEPP was passed, NACAC was the target of an inquiry, and later an investigation, from the antitrust division of the Department of Justice. The DOJ alleged that NACACs ethical rules prohibiting incentives for early decision and prohibiting poaching of students already enrolled at another institution unfairly restricted colleges from recruiting.

I would argue that the issue was not as much those prohibitions as the fact that NACAC was policing and enforcing its ethical standards. One of the first issues discussed by the steering committee was enforcement, and the consensus of the group, propelled by several members who had chaired NACACs Admission Practices Committee, was that mandatory ethical rules enforced by the organization were important. At the time NACAC was one of the few professional organizations enforcing ethical rules.

In retrospect it is clear that NACAC and the DOJ were operating from different assumptions and interpretations. NACAC saw its ethical code as protecting students from coercion and manipulation, while the DOJ saw NACAC as hurting students by limiting institutions recruiting practices, which in turn would result in students paying less for college. The DOJ seemed to see NACAC as a cartel controlling college admissions rather than a voluntary membership organization. NACACs enforcement of its ethical code rarely if ever resulted in penalties to institutions, as most inquiries were resolved amiably.

Nevertheless, the DOJ investigation shook NACAC to its core. The NACAC leadership determined that fighting DOJ could jeopardize the organizations existence, and they entered into a consent decree. There is now a successor document to the CEPP, the Guide to Ethical Practice in College Admission. It does not differ dramatically from the CEPP but has made the various tenets best practices, removing any reference to monitoring or compliance.

So is professional ethics an endangered species post-DOJ and postOperation Varsity Blues? I would argue that a commitment to ethics is more important than ever before.

Changing from mandatory to best practices doesnt have to change the way we conduct ourselves. Best practices are just that, and whether or not the rules are policed, the ethical principles underlying them are still compelling, calling us to act honorably and truthfully in our professional work. Just because something is permissible doesnt make it a good idea.

Ethics comes from the Greek word ethos, meaning distinguishing character or guiding principles. Ethics is about ideals and is normative or prescriptive, asking, How should we act?

So what are the ideals guiding the college admission/counseling profession?

That last one has been imperiled by the revelations coming out of the Operation Varsity Blues scandal. Even though no admission officers were implicated, the colleges involved looked less like victims than unindicted co-conspirators. Varsity Blues reinforced the idea that the college admissions process rewards the already privileged. Are we OK with that?

The good news is that a majority of those in our profession are committed to acting ethically and professionally. But we cant take the health of our profession for granted. Ethical common ground is more like a beach than a rock. All it takes is one major storm to do permanent damage.

We need to be ethical conservationists, and we need to voluntarily keep our house in order. Failure to do so may further erode public trust in what we do. In my speech in Hershey I quoted a famous Pennsylvanian, perhaps the most famous Pennsylvanian. In discussions preceding the Declaration of Independence, he said, We must all hang together, or most assuredly, we will all hang separately.

Words for our profession to live by.

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Admissions needs professional ethics more than ever (opinion) - Inside Higher Ed

Deaf Havana have spoken to NME about their sixth album The Present Is A Foreign Land and why the record is a new beginning for the band.

After the Norfolk five-piece released their electro-pop album Rituals in 2018, things started falling apart for the band. A distinct step away from the indie rock of 2017s All These Countless Nights, vocalist James Veck-Gilodi described that album as a slow death for Deaf Havana.

I learnt so much writing that album but that excitement quickly became cynicism, the singers brother and guitarist Matty told NME. We had been so focused on pop hooks, the soul wasnt there. Touring felt empty and by the time the band had finished that run of shows at the end of 2019, they were all confident that Deaf Havana was over.

Towards the end, there was nothing positive about the band, James explained. A meeting in January 2020 confirmed it, with a farewell tour arranged to clear their remaining debts.

Then COVID happened, and Deaf Havana had a chance to rethink their priorities. When it looked like touring might be possible, talk of those farewell shows began again. They realised selling tickets might be easier if there was a new song to go with it and, fortunately, Matty had spent lockdown treating writing like a nine-to-five job. After not speaking for a year, Matty and James went into the studio to record 19 Dreams, while producer Mike Horner suggested an acoustic song to go with it.

The next day, James came into the studio with the bands latest single Nevermind and, a few weeks later, they had an entire album. I wrote Nevermind in 10 minutes, he told NME. Its like it was just waiting to pour out of me. Like most of his material on The Present Is A Foreign Land, it was written about a particularly terrible six-month stint where his entire life collapsed. I was depressed, I was alone, I didnt know what I was doing, he said. Unsurprisingly, the lyrics are pretty miserable, but theres a bit of hope in there.

Our entire ethos used to be, lets just have a laugh and a pint, Matty explained. On tour, theres no real support for your mental health and when youre always in a different city, surrounded by people you dont know, you craft a comfortable little hole of six pints every day. That becomes the norm.

But then it starts bleeding into your home life until it gets too much and it all falls apart, added James. For me, misery breeds creativity, so I had a lot to write about.

He continued: Nevermind is pretty heavy really if I think about what Im actually singing about. I still dont really think Ive fully comprehended what that song means to me. It helped me come to terms with that period of my life. Hopefully, that song can help people get through a tough time or make them feel like theyre not on their own.

The Present Is A Foreign Land, which arrives next week (July 15), is a 50/50 collaboration between Matty and James, with the other members of the band leaving during lockdown due to other commitments. Despite the upheaval, the guitarist described making this album as the most fun Ive ever had. We were working for 14 hours a day, having these creative conversations, he said. Its super liberating, being able to take these thoughts, fears or worries that you have in your head and turn them into something digestible.

Deaf Havana have a long-standing history of changing sound on every record. Theyve tackled post-hardcore (Meet Me Halfway, At Least), folk (Old Souls), indie-rock (All These Countless Nights) and electro-pop (Rituals). The Present Is A Foreign Land sounds like a greatest hits, pulling influence from all those different eras.

We didnt know if we were ever going to release this album, said James. So we didnt really care. We were just writing music for the sake of writing it, which is probably why it sounds like a mixture of everything. We were just writing the songs we wanted to hear.

Deaf Havana CREDIT: Press

The singer continued: I need to get back to that again. Now stuff is getting more serious again, Im starting to freak out and going back to treating this band like a job, which has always been my downfall.

Deaf Havanas Instagram bio proudly reads New Beginnings and James explained a fresh start was a necessity. Otherwise, were just running in circles and making the same mistakes again. Even though I can get in my own head about things, I am optimistic and excited about where this goes next.

My ambitions are very much always the same. I just want to grow Deaf Havana more, appeal to more people and be able to keep doing it.

James was surprised their comeback has been met with as much warmth as it has. I thought people would have forgotten about who we were, he said. Were all guilty of it. I wouldnt have blamed anyone for moving on, because its an obvious thing to do.

So why, after 15 years, a constantly changing sound and an unwavering sense of self-destruction, do people still care about Deaf Havana? No matter the level of bullshit thats been going on in our lives, all of our songs even the ones Im most embarrassed about and would never show anyone have an honest message to them, which anyone can connect with, explained James. I think thats whats keeping people interested.

Back in a good place with the band, the duo have already started writing music for the next album. Nothing is radically different, its just more refined and better, said Matty.

With The Present Is A Foreign Land, theres a confidence to Deaf Havana that theyve never really had before. The main issue has always been that I dont really know who I am and Ive always wanted to be a million different things at the same time, which explains all the very different albums, James said. Ive never known what we are. But now Im comfortable with that, so Im happy to just write and whatever comes out comes out.

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Deaf Havana: I've never known what we are, but now I'm comfortable with that - NME

Twisted Sister frontman Dee Snider said his band has no interest in reuniting, despite lucrative offers to do so.

The singer made his declaration during a question and answer with fans on Twitter.

Asked about potentially releasing new music, the Twisted Sistervocalist was direct. Never say never, but I don't see me recording anymore, Snider said, noting that hes more focused on other projects, such as movies, books, tv, radio, etc.

When one fan challenged Sniders claim -- and likened it to bands who conduct farewell tours, only to reunite later -- the singer doubled down on his statement.

Actually it's these never ending farewell tours, fake farewells and we changed our minds after the farewell that keep me honest, Snider explained. I hate all that fake farewell bullshit. Bands should stay forever if they want to...just don't sell us a B.S. farewell tour!

Twisted Sister retired in 2016, Snider continued, and while we talk to each other regularly, none of us has even mentioned reuniting. And believe me, we are getting lucrative offers.

Sniders new remarks follow similar statements indicating hes largely done with music. In May, the rocker told fans that he was likely done with touring and playing shows, and was instead turning his attention towards new endeavors. To that end, Snider recently announced an upcoming graphic novel with Z2 Comics titled Hes Not Gonna Take It. The story will chronicle Sniders lifelong defense of free speech, including his role in the Parents Music Resource Center senate hearing of 1985.

UCR takes a chronological look at the 100 best rock albums of the '80s.

Go here to read the rest:

Dee Snider: Twisted Sister Rejects 'Lucrative Offers' to Reunite - Ultimate Classic Rock

Harry Nilsson's long-awaited breakthrough with the gold-selling Top 5 smash Nilsson Schmilsson had his record label hoping for a sequel. Based on the title, it seemed like he'd delivered one on July 10, 1972.

But this was Harry Nilsson. Instead, the guest-packed Son of Schmilsson arrived as an eccentric oddity, something that might only have been possible in the free-form decade in which it was made.

"My approach would have been to just pick up where Nilsson Schmilsson left off," producer Richard Perry said in the liner notes for a Son of Schmilsson reissue. "Typically brilliant Nilsson vocals, songs that maintained our artistic integrity but at the same time had great commercial value. If Nilsson Schmilsson was our Revolver, [let's] make Son of Schmilsson our Sgt. Pepper."

Only Nilsson felt like he was in a trap of his devising. "By repeating the formula, you can correct it, make it better and get rid of all the chaff," he allowed back then. "But on the other hand, you run the risk of grinding the formula into the ground by repeating it and letting it become just a formula. It's scary."

Ultimately, there was no danger of that happening on Son of Schmilsson. Even its most approachable song, "You're Breakin' My Heart," was commercially dead on arrival, despite a backing group that included George Harrison, Klaus Voormann, Peter Frampton and Nicky Hopkins. There was some question at RCA about whether to even include the track after Nilsson took a stunning lyrical turn: "You're breakin' my heart, you're tearin' it apart so, fuck you."

"He sat down and very nicely starts playing this song, and everyone's paying attention and then he gets to 'So, fuck you," Frampton said in theliner notes to the reissue. "I mean, we were just not expecting that! It was a big shocker."

Listen to Nilsson's 'You're Breakin' My Heart'

This wasn't creative license on Nilsson's part, as he was going through a divorce. In keeping, a sense of sad displacement tends to permeate Son of Schmilsson, even as Nilsson tumbles into the bottom of a liquor bottle. He rages at his isolation on the opening "Take 54" ("I sang my balls off for you, baby ... but when I woke up I was alone"), then becomesuntethered from gravity on the No. 23 hit "Spaceman."

"I don't quite understand to this day why [the divorce] hit him so hard, but he maybe interpreted it as some failure in him," Perry said in 2013's Nilsson: The Life of a Singer-Songwriter. "It was to begin what was a downward spiral for the rest of his life. He would show up to the studio with a half bottle of cognac. The first half had already been consumed that afternoon."

"Remember (Christmas)" leans predictably toward the maudlin, as Nilsson laments that "love is only in a dream." "Joy" is, of course, about anything but. "Turn On Your Radio" better balances his pain and desolation, but subsequent titles like "I'd Rather Be Dead" and "Ambush" are more in keeping with the general narrative tone here. An impish cover of the El Dorados' "At My Front Door," with its blithe undertones of infidelity, completes the picture.

"The guy was able to paint a picture of despair or melancholy and he did it very well, economically," Nilsson collaborator Van Dyke Parks later told Pop Matters. "He could do all of that in a song. I think that it was an amazing combination, to be able to deliver sentimentality and a sense of irony." The principal element that keeps Son of Schmilsson from stepping off the ledge is its fizzy musical schizophrenia.

Listen to Nilsson's 'The Most Beautiful World in the World'

"Take 54" emerges as a kind of shag-carpeted funk, while "Remember (Christmas)" is simply angelic and "Joy" delightfully cornpone. "I'd Rather Be Dead" concludes with a raucous singalong featuring retirement-home residents. (One of them had a squeaky wooden leg, requiring a new take.) "The Most Beautiful World in the World" ends things with a mind-blowing amalgamation of every great and every incredibly indulgent impulse Harry Nilsson ever had.

And that may be the fairest assessment of Son of Schmilsson: It finds an artist in the wild, fully free with all of the pluses and minuses that entails.

"There was a great deal of subtlety in his work," Parks argued. "And I think that that wasn't lost on the casual observer then. But I think that it's also part of the structure that keeps it upright and available and enjoyable today. It took some courage to get that kind of authorship and character in a song form that wasn't an easy thing to merchandise at the time."

In between, there's copious burping, weird studio chatter and B-movie sound effects. It's that kind of record. So, Nilsson was able to sneak up to No. 12 on the Billboard chart, but undoubtedly only because of early sales to new fans of his preceding, far more mainstream LP.

Something was unfortunately lost along the way: Son of Schmilsson didn't end up as Nilsson and Perry's Sgt. Pepper. Despite a spoken-word assurance at the end of "The Most Beautiful World in the World" ("Goodbye, Harry"; "See you next album, Richard"), this instead was their Let It Be.

Nilsson continued further down an uncommercial path with 1973's A Little Touch of Schmilsson in the Night, a standards album produced by Beatles associate Derek Taylor. Perry never worked with Nilsson again.

From AC/DC to ZZ Top, from 'Bridge Over Troubled Water' to 'London Calling,' they're all here.

Go here to see the original:

How Harry Nilsson Steered Toward the Ditch on 'Son of Schmilsson' - Ultimate Classic Rock