Emitt Rhodes – 'Emitt Rhodes' (1970)
For the one-man-band pop perfection. The comparisons to Paul McCartney are common, but the spirit of early Nilsson runs deep in Emitt Rhodes’ self-titled masterpiece. Recorded entirely by himself in a home studio, the album is a treasure trove of perfectly
crafted pop songs filled with yearning melodies, clever chord changes, and layered harmonies. If you appreciate the DIY artistry and melodic genius of albums like 'Aerial Ballet', Rhodes’ heartfelt, homespun classic will feel like discovering a lost brother. Songs like 'With My Face on the Floor' and 'Lullabye' deliver the same kind of intimate, melancholic beauty that made Nilsson a songwriter’s songwriter.
Van Dyke Parks – 'Discover America' (1972)
For the wildly inventive, Americana-obsessed arrangements. If the strange and wonderful journey of 'The Point!' is your sweet spot, Van Dyke Parks' 'Discover America' is your next essential listen. Parks, a one-time Nilsson collaborator, takes a deep, eccentric dive into Calypso and early American song forms. The album is quirky, joyful, and brilliantly arranged, unearthing and reinterpreting forgotten tunes with a sardonic wit that Nilsson himself would have admired. It’s a history lesson and a pop album rolled into one, sharing Nilsson’s love for musical exploration and a healthy dose of playful absurdity.
Judee Sill – 'Heart Food' (1973)
For the divine vocals and spiritual, complex songwriting. While Nilsson’s ballads could break your heart with their raw emotion, Judee Sill’s music aims for the sublime. Her second album, 'Heart Food', is a work of staggering beauty, blending folk, gospel, and baroque pop with a level of compositional sophistication that was virtually unmatched. Songs like 'The Kiss' and 'The Donor' feature intricate vocal arrangements and a spiritual depth that feel like a sacred counterpart to Nilsson’s more earthbound sorrows. For those who treasure the soaring vocal purity and orchestral grandeur of Nilsson’s most ambitious moments, Sill’s masterpiece is a revelation.
Todd Rundgren – 'A Wizard, a True Star' (1973)
For the genre-hopping, studio-as-instrument chaos. Part of Nilsson’s charm was his unpredictability; the same artist gave us 'Coconut' and 'Without You'. Todd Rundgren took that spirit and ran with it on this kaleidoscopic, post-psychedelic opus. 'A Wizard, a True Star' abandons traditional song structure for a seamless, 56-minute suite of pop fragments, soul medleys, and avant-garde noise. It’s a bewildering and brilliant listen that mirrors the anything-goes creativity of Nilsson’s mid-70s work. If you love an artist who treats the recording studio like a playground, Rundgren’s wild ride is mandatory.
Rufus Wainwright – 'Poses' (2001)
For the grand, theatrical pop and world-weary lyrics. A modern heir to Nilsson’s brand of piano-led showmanship, Rufus Wainwright’s second album is a masterclass in baroque pop. 'Poses' chronicles a life of decadent indulgence in New York City with a mix of soaring melodies, lush orchestrations, and lyrics that are equal parts witty, cynical, and deeply romantic. Tracks like 'Cigarettes and Chocolate Milk' capture the same blend of cleverness and confession found in Nilsson's best work. It’s the sound of a brilliant songwriter grappling with his own appetites, wrapped in a gorgeous, theatrical package.
Father John Misty – 'I Love You, Honeybear' (2015)
For the cynical wit and lush, earnest arrangements. Many have compared Father John Misty (the persona of Josh Tillman) to Nilsson, and this album is the perfect evidence. 'I Love You, Honeybear' is a concept album about love, marriage, and jealousy in the modern world. Tillman pairs sweeping, beautiful, and often orchestral music with lyrics that are brutally honest, darkly funny, and dripping with self-aware irony. He captures Nilsson’s unique ability to sing a romantic, heartfelt melody while simultaneously undercutting it with a cynical or absurd observation. It’s the perfect album for anyone who loves when a beautiful sound is used to tell a complicated, messy truth.
