Editing Harry Nilsson (section)

===1962–1966: Musicianship beginnings===
By 1958, Nilsson was intrigued by emerging forms of popular music, especially [[rhythm and blues]] artists like [[Ray Charles]]. He had made early attempts at performing while he was working at the Paramount, forming a vocal duo with his friend Jerry Smith and singing close harmonies in the style of the [[Everly Brothers]]. The manager of a hangout Nilsson frequented gave him a plastic ukulele, which he learned to play, and he later learned to play the guitar and piano.{{Sfn|Shipton|2013|pp=17–18}} In the 2006 documentary ''[[Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him)?]]'', Nilsson recalled that when he could not remember lyrics or parts of the melodies to popular songs, he created his own, which led to writing original songs.

His uncle's singing lessons, along with Nilsson's natural talent, helped him when he got a job singing demos for songwriter [[Scott Turner (songwriter)|Scott Turner]] in 1962. Turner paid Nilsson five dollars for each track they recorded. (When Nilsson became famous, Turner decided to release these early recordings, and contacted Nilsson to work out a fair payment. Nilsson replied that he had already been paid – five dollars a track.)<ref name="Who is" />

In 1963, Nilsson had some early success as a songwriter, working with [[John Marascalco]] on a song for [[Little Richard]]. Upon hearing Nilsson sing, Little Richard reportedly remarked: "My! You sing ''good'' for a white boy!"<ref name="Eden" /> Marascalco also financed some independent singles by Nilsson. One, "Baa Baa Blacksheep", was released under the pseudonym "Bo Pete" to some small local airplay. Another recording, "Donna, I Understand", convinced [[Mercury Records]] to offer Nilsson a contract, and release recordings by him under the name "Johnny Niles".<ref name="Eden" />

By 1964, Nilsson worked with [[Phil Spector]], writing three songs with him. He also established a relationship with songwriter and publisher [[Perry Botkin Jr.]], who began to find a market for Nilsson's songs. Botkin also gave Nilsson a key to his office, providing another place to write after hours.<ref name="Who is" />

Through his association with Botkin, Nilsson met and became friends with musician, composer and arranger [[George Tipton]], who at the time was working for Botkin as a music copyist. In 1964, Tipton invested his life savings – $2,500 – to finance the recording of four Nilsson songs, which he also arranged. They were able to sell the completed recordings to Tower label, a recently established subsidiary of [[Capitol Records]], and the tracks were subsequently included on Nilsson's debut album. The fruitful association between Nilsson and Tipton continued after Nilsson signed with [[RCA Victor]]. 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.<ref>{{Cite web |last=Lounge |first=The Art Music |date=2016-03-24 |title=Dreams Are Nothing More Than Wishes: The Harry Nilsson Story |url=https://artmusiclounge.wordpress.com/2016/03/24/dreams-are-nothing-more-than-wishes-the-harry-nilsson-story/ |access-date=2023-04-21 |website=THE ART MUSIC LOUNGE |language=en}}</ref>

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]]''. None of Nilsson's Tower releases charted or gained much critical attention, although his songs were being recorded by [[Glen Campbell]], [[Fred Astaire]], [[The Shangri-Las]], [[The Yardbirds]], and others. Despite his growing success, Nilsson remained on the night shift at the bank.<ref name="Who is" />