Harry Nilsson's tenth album, "Pussy Cats," released in 1974 by RCA Records, stands as a notable collaboration produced by John Lennon during his "Lost Weekend" period. This album's creation was steeped in unique circumstances, from its title's inspiration to unexpected studio visits and the physical toll it took on Nilsson. The project brought together a remarkable array of musical talent and resulted in a distinctive sound that blended pop and rock
elements, capturing a specific moment in the careers of both Nilsson and Lennon.
The "Lost Weekend" and Album Conception
The album's title, "Pussy Cats," was directly inspired by the negative press that Nilsson and Lennon were receiving at the time. Both artists were frequently depicted as being drunk and rowdy in Los Angeles, leading to the somewhat ironic and self-aware choice of title. An inside joke was even incorporated into the album's cover art: children's letter blocks spelling out "D" and "S" were placed on either side of a rug under a table, forming a rebus that suggested "drugs under the table." This playful yet pointed detail reflected the duo's irreverent spirit during this tumultuous period.
The recording process for "Pussy Cats" began in Los Angeles. However, John Lennon eventually moved the production to New York, believing he could exert better control over the sessions there. This shift in location marked a significant phase in the album's development, as Lennon sought to shape the sound and direction of the project. The album's recording spanned from March to May 1974, utilizing both Burbank Studios in Los Angeles, California, and Record Plant in New York, New York.
Vocal Strain and Unexpected Collaborations
During the intense recording sessions, Harry Nilsson experienced a significant physical challenge: he ruptured one of his vocal cords. Despite this serious injury, Nilsson chose to keep it a secret from Lennon, pushing through the sessions. This decision, however, led to further damage to his vocal cords, with some observers, including Micky Dolenz of The Monkees, suggesting that Nilsson never fully recovered his voice afterward. The strain on his vocals is particularly evident on tracks like "Old Forgotten Soldier," where he is noticeably off-key on certain lines despite his bluesy delivery, and "Loop de Loop," where his vocals are heavily masked by backing singers who take the lead towards the song's end.
The album also featured an extraordinary, albeit unplanned, moment of collaboration. After the very first night of recording on March 28, Paul McCartney and Stevie Wonder unexpectedly visited the studio. Bootleg recordings from this impromptu session were later released as the album "A Toot and a Snore in '74." This event is historically significant as it marks the only known instance of Lennon and McCartney recording together since the breakup of The Beatles, adding another layer of intrigue to the "Pussy Cats" story.
Musical Contributions and Release
"Pussy Cats" showcased a diverse array of musical talent beyond Nilsson and Lennon. Notable musicians who contributed to the album included Ringo Starr, Keith Moon, and Jim Keltner, all of whom played drums on the closing track, "Rock Around the Clock." Other significant contributors included Jesse Ed Davis, Klaus Voormann, and Bobby Keys, bringing a rich tapestry of sounds to the album. Half of the album's original ten tracks were covers, while the remaining songs were written by Nilsson, with Lennon co-writing "Mucho Mungo/Mt. Elga."
The album was released on August 19, 1974, in the United States, followed shortly by its United Kingdom release on August 30, 1974. It was also made available in a quadrophonic version on both record and eight-track tape, featuring special mixes for that particular issue. The album's intended original title, "Strange Pussies," was ultimately rejected by RCA Records and subsequently modified to the more palatable "Pussy Cats." This detail further illustrates the behind-the-scenes decisions and creative negotiations that shaped the final product, solidifying "Pussy Cats" as a unique and memorable entry in Harry Nilsson's discography.
