"Jump into the Fire" | ||||
---|---|---|---|---|
West German picture sleeve
|
||||
Single by Harry Nilsson | ||||
from the album Nilsson Schmilsson | ||||
B-side | "The Moonbeam Song" | |||
Released | 1972 | |||
Format | 7-inch record | |||
Genre | Rock, hard rock | |||
Length | 3:32 (single edit) 6:54 (album version) |
|||
Label | RCA Victor | |||
Writer(s) | Harry Nilsson | |||
Producer(s) | Richard Perry | |||
Harry Nilsson singles chronology | ||||
|
"Jump into the Fire" is a song by American singer-songwriter Harry Nilsson, released on his 1971 album Nilsson Schmilsson. It was also issued as the album's second single, after "Without You", and peaked at number 27 on America's Billboard Hot 100 chart and number 16 in Canada.
Written by Nilsson, the song is in the hard rock style and marked a departure from his previous work. The recording was produced by Richard Perry and includes a segment where the bass player, Herbie Flowers, audibly detunes his instrument. "Jump into the Fire" gained further recognition following its inclusion as the soundtrack to a pivotal scene in Martin Scorsese's 1990 gangster thriller Goodfellas.
"Jump into the Fire" is a rock song written and performed in a style that music journalist Matthew Greenwald likens to the early-1970s sound of the Rolling Stones. He adds: "Lyrically, on the surface, it's a hot lovers plea; however, it could easily be taken as a plea to society as a whole. Like a lot of Nilsson's greatest songs, it works on many different levels."Stephen Thomas Erlewine describes the track as "surging hard rock", while James Parker of The Atlantic calls it "livid, dragon-bones funk".
Nilsson recorded the song in London in 1971 for his Nilsson Schmilsson album. As with much of the material on the album, it marked a departure from his previous work, as Nilsson was keen for commercial success after years of recognition as a quality artist and songwriter. He later commented: "What do you say to a man who writes The Puppy Song and then writes Jump Into The Fire? I really needed [to make that change], too, that was exactly what I was hoping would happen." The sessions were produced by Richard Perry, whom Nilsson acknowledged as having been instrumental in his progression.