Nilsson's second release is an odd yet engaging mix of standards-based music and modern singer-songwriter material. And very substantial, too, as "One" and "Everybody's Talkin" will attest.
Well, just about everything that the previous album was, this album is a laughable parody of it. Or at least it comes out sounding that way. The intention was to capitalize on Nilsson Schmilsson's success, but Harry had other ideas. Right from the first track ("Take 54") it's clear he's in a bawdy, reactive mood ("I sang my balls off for you baby!"). Oh yes, there is also "You're Breaking My Heart" which contains the classic line - "you're breaking my heart/you're tearing it apart/so fuck you!" Most of the other songs just feel fragmented, or ramble on the same goofy note ("The Lottery Song"). Nilsson's wacky personality is about the only good sell here, otherwise, this was quite the interesting flop as far as flop albums went.
This should have been the launching point for a superstar run of albums to the end of the decade. Instead, Nilsson Schmilsson stands as the idiosyncratic peak in the reluctant career of a pop star who seemed to wallow in self-sabotage far more than most in this line of work. That same trait is nothing more than an charming undercurrent to the more composed mainstream notes that Nilsson consistently hits throughout. "Without You" and "Coconut" were deserved international hits; both presenting the extremes within the artist - the sheer talent and sensitivity vs. a sense of humor gregarious enough for three people. The trap really springs shut once you get to "Jump Into The Fire", which is nothing more than a vamp, but oh what a vamp. There is still a bit of an outsider feel which is not going to connect with everyone, but out of all of the Nilsson albums this is the one where talent, songcraft, production, etc - all come together to form a very serious and solid record.
Essentially, Cameo gets back to what they always did best - make vapid dance-floor anthems sound cool, intelligent, and even somewhat innovative. The only difference now is, they are fully updated for the mid-1980's, but then again, the title track may well be one of those party grooves that stands the test of time. Certainly, as far as pure catchiness goes, it's hard to top "Word Up". They backed it up with six more songs that all had radio potential. Two of them were bona-fide hits ("Candy" and "Back and Forth"). Overall, despite some lingering questions, Cameo had definitely risen their game a few levels with this outwardly mainstream yet intriguing effort.
