The fruitful association between Nilsson and Tipton continued after Nilsson signed with RCA Records-Tipton went on to create the arrangements for nearly all of Nilsson's RCA recordings between 1967 and 1971 but their association ended in the 1970s when the two fell out for unknown reasons.

as Fagin, and also co-starred with Micky Dolenz in Harry Nilsson's play The Point at the Mermaid Theatre in London in 1978.

When Nilsson visited the Beatles in London during 1968, John Lennon played Nilsson " Revolution " and selections from the ( then-upcoming ) ' White Album ', and Nilsson in turn played to Lennon ( who had spent thirty-six hours listening to Nilsson's first album ) a demo cut of this record.

In 1991, the Disney CD For Our Children, a compilation of children's music performed by celebrities to benefit the Elizabeth Glaser Pediatric AIDS Foundation, included Nilsson's original composition " Blanket for a Sail ," recorded at the Shandaliza Recording Studio in Los Angeles.

In March 1974, Lennon began producing Harry Nilsson's Pussy Cats album, thus named to counter the " bad boy " image the pair had earned in the media with two drinking incidents at The Troubadour: the first when Lennon placed a Kotex on his forehead and scuffled with a waitress and, two weeks later, when Lennon and Nilsson were ejected from the same club after heckling the Smothers Brothers.

He was also caretaker manager in conjunction with Trevor Peake at the end of the 2001 – 02 season, between Roland Nilsson's departure and Gary McAllister's appointment.

Then, on the curving back " straight " by the harbor, Gunnar Nilsson's Lotus broke its rear suspension and jerked hard into the wall at 160 miles per hour.

Lennon was producing Harry Nilsson's latest album, Pussy Cats, when Paul and Linda McCartney dropped in on the first night of the session, aka " the Jim Keltner Fan Club Hour ", at Burbank Studios on 28 March 1974.

Furthermore, the opening vocal motif from Nilsson's song " Good Old Desk " is used as a background vocal line ( at approximately 1: 54 into the song ).

During his years with Helsingborg, he became a huge favourite among supporters of the club, and his impact at the club is, regarding the years since the club's top flight comeback in 1993, only rivaled by those of Henrik Larsson's and Roland Nilsson's.

The song would also become Nilsson's first US top 10 hit, reaching # 6, and his first Canadian # 1.

The New York Post rated Nilsson's cover of Fred Neil's " Everybody's Talking " # 51 on their list of the 100 Best Cover Songs of All Time.

Notable hit covers include Randy Newman " Mama Told Me Not to Come " ( US # 1 ), Laura Nyro " Eli's Coming " ( US # 10 ), Russ Ballard of Argent " Liar " ( US # 7 ), Hoyt Axton (" Joy to the World " ( US # 1 ) and " Never Been To Spain " ( US # 5 )), Elton John and Bernie Taupin (" Lady Samantha " & " Your Song "), John Hiatt " Sure As I'm Sittin ' Here " ( US # 16 ), Bush " I Can Hear You Callin '", Leo Sayer " The Show Must Go On " ( US # 4 ) and Harry Nilsson's " One " ( US # 5 ).

In 1974, Moon played drums on Harry Nilsson's album " Pussy Cats ", which was produced by John Lennon.

During 1964 Tipton invested his life savings-$ 2500-to finance the recording of four Nilsson songs, which he arranged ; they were able to sell the completed recordings to the Tower label, a recently-established subsidiary of Capitol Records, and the tracks were subsequently included on Nilsson's debut album.

Whatever the cause, it was evidently a source of lingering resentment for Tipton, who was one of the few significant collaborators who refused to participate in the 2010 documentary on Nilsson's life and career.

Nilsson's recording contract was picked up by Tower Records, which in 1966 released the first singles actually credited to him by name, as well as the debut album Spotlight on Nilsson.

Nilsson's next project was an animated film, The Point !, created with animation director Fred Wolf, and broadcast on ABC television on February 2, 1971, as an " ABC Movie of the Week ".

Nilsson's voice had mostly recovered by his next release, Duit on Mon Dei ( 1975 ), but neither it nor its follow-ups, Sandman and ... That's the Way It Is ( both 1976 ) met with chart success.

, Nilsson's final album, tentatively titled Papa's Got a Brown New Robe ( produced by Mark Hudson ) has not been released, though several demos from the album are available on promotional CDs and online.

Starr and he were longtime friends, and the ex-Beatle had recently played drums on Nilsson's 1972 album Son of Schmilsson, which had spoofed horror movie motifs.

Leopoldo Torre Nilsson's classic Argentine film Martín Fierro ( 1968 ) is based on the poem.

Outside of his band, George played guitar on John Cale's 1973 album Paris 1919, Harry Nilsson's Son of Schmilsson album ( Take 54 ) and ( uncredited but verified by Leo Nocentelli ) The Meters ' Just Kissed My Baby in 1974.

That same year he played on Harry Nilsson's Nilsson Schmilsson album, contributing the drum solo to the track " Jump into the Fire ".

In addition to his acting career, Armstrong's affinity for the music of Harry Nilsson has prompted him to become an expert on Nilsson's work.

Nilsson's voice in the control room is heard on several songs, instructing the recording engineer to add more echo or remove a voice.

The album features Nilsson's own recording of " Old Dirt Road ", co-written and performed with John Lennon on Lennon's album Walls and Bridges ( 1974 ), Lennon's last album of original songs before his six year hiatus.

Dan Aykroyd said he developed the idea for the Coneheads based on the Moai, the mysterious and ancient stone statues of Easter Island, which have similarly conical heads, and the people of the land of Points from Harry Nilsson's The Point !.

Sally Nilsson's biography on the life of Robert Hichens was published in 2011.

Nilsson's career is also notable for the fact that he was one of the few major pop-rock recording artists of his era to achieve significant commercial success without ever performing major public concerts or undertaking regular tours.

Pandemonium Shadow Show was followed in 1968 by Aerial Ballet, an album that included Nilsson's rendition of Fred Neil's song " Everybody's Talkin '".

Aerial Ballet also contained Nilsson's version of his own composition, " One ", which was later taken to the top 5 of the US charts by Three Dog Night and also successfully covered in Australia by John Farnham.

Nilsson's next album, Harry ( 1969 ), was his first to hit the charts, and also provided a Top 40 single with " I Guess the Lord Must Be in New York City " ( written as a contender for the theme to Midnight Cowboy ), used in the Sophia Loren movie La Mortadella ( 1971 ) ( US title: Lady Liberty ).

" Nilsson was so impressed with Newman's talent that he devoted his entire next album to Newman compositions, with Newman himself playing piano behind Nilsson's multi-tracked vocals.

His superb performance was rewarded with Nilsson's second Grammy Award.

Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight.

Nilsson's work and interests took him to the US for extended periods, and while he was away he lent his place to numerous musician friends.

Nilsson's musical work after leaving RCA Victor was sporadic.

At Nilsson's benefit concert, Santley played the final scene of I Due Foscari, and his Doge was compared favourably to Ronconi's.

The Swedish race was full of anticipation after Gunnar Nilsson's win last time out, but once again in qualifying, it was his teammate Mario Andretti leading the way from John Watson, with James Hunt heading the second row.

Aerial Ballet was Nilsson's second album for RCA Victor, and was titled after the highwire circus act of his grandparents.

However, the song was subsequently selected for use in the Oscar-winning film Midnight Cowboy and became one of Nilsson's biggest hits as a performer, hitting the US top ten in 1969.

Another song, " Little Cowboy ", later featured in The Courtship of Eddie's Father, was written by Nilsson's mother.

The original opening number for Aerial Ballet was " Daddy's Song ", but this track was removed ( apparently without Nilsson's awareness ) after the first copies were issued, because The Monkees had recorded a cover version to be featured in their film Head, and had paid $ 35, 000 for exclusive rights to the song.