Laura Nyro - New York Tendaberry 1969

Although New York Tendaberry was nearly as strong a record as its predecessor, Eli and the Thirteenth Confession, it wasn't as accessible. In large part that's because, unlike her first two albums, it didn't have three or four songs that would become instantly recognizable hits in the hands of other artists. But it was also because the mood of the record was considerably darker and the production quite a bit starker. It was hardly a gloomy affair, but the emphasis was on soulful laments and arrangements that often featured, in part or whole, nothing but her voice and piano. Without at all sounding blatantly derived from gospel, it often sounded very much in the spirit of gospel in its fervid passion, though using melodies from a wide pop/blues-soul canvas and addressing concerns far more secular and personal. There were crafty, dramatic punctuations of orchestration, yet these were far more subdued than they had been on the more jubilant Eli and the Thirteenth Confession. "Save the Country" (along with the upbeat section of "Time and Love") is really the only song here that has the immediate uplifting impact of her most famous early tunes, and even that track could have benefited from a less-bare setting. It's a rewarding album, but one that takes some effort to fully appreciate. The 2002 CD reissue adds two bonus tracks: the mono single version of "Save the Country," which has a far fuller arrangement than the album take, and the jaunty, previously unreleased "In the Country Way." AMG.

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Laura Nyro - The First Songs 1973

This disc contains a dozen of the first songs that singer/songwriter Laura Nyro ever recorded. They were issued originally as More Than a New Discovery (1967) for the folkie Forecast division of the primarily jazz-oriented Verve Records label. When Columbia Records bought Nyro's back catalog, they reissued the material under the title The First Songs in 1973 as a stopgap release during her self-imposed exile from 1971 until 1976. Pop music enthusiasts will recognize many of the songs, as they became international hits for other artists. "Wedding Bell Blues" and "Blowing Away" are signature tunes for the Fifth Dimension. "And When I Die" likewise became best known by Blood, Sweat & Tears. "Stoney End" and "I Never Meant to Hurt You" both are notable from Barbra Streisand's respective cover versions. For The First Songs, Nyro is accompanied by a small pop combo. Her duality as composer and performer demonstrate her influence from pop music's golden Tin Pan Alley to the more modern Brill Building style. Nyro's ability to synthesize the introspection of a classic torch ballad with an undeniable intimacy inherent in her lyrics is evident on "Buy and Sell," as well as "Billy's Blues" -- which both exemplify her uncanny marriage of jazz within a uniquely pop music structure. Also immediately discernable is that these tunes were far from simplistic, dealing with the organic elements that tether all of humanity, such as love, death, loss, and even redemption. While artists such as Tim Buckley and Joni Mitchell were attempting to do the same, much of their early catalog is considerably less focused in comparison. For example, "Lazy Susan" incorporates the same acoustic noir that would become the centerpiece of her future epics "Gibsom Street" and the title track to New York Tendaberry. There are a few differences between this release and More Than a New Discovery. In addition to altering the title and cover art, The First Songs revises the running order and renames "Hands Off the Man" to "Flim Flam Man." Beginning in 2002, Sony/Legacy commenced an exhaustive overhaul of Nyro's classic '70s albums. In addition to remastered sound, newly incorporated artwork, and liner notes, the series also boasts "bonus tracks" where applicable. Both casual listeners, as well as seasoned connoisseurs, can find much to discover and rediscover on these seminal sides from Laura Nyro. AMG.

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Laura Nyro - New York Tendaberry 1969

Although New York Tendaberry was nearly as strong a record as its predecessor, Eli and the Thirteenth Confession, it wasn't as accessible. In large part that's because, unlike her first two albums, it didn't have three or four songs that would become instantly recognizable hits in the hands of other artists. But it was also because the mood of the record was considerably darker and the production quite a bit starker. It was hardly a gloomy affair, but the emphasis was on soulful laments and arrangements that often featured, in part or whole, nothing but her voice and piano. Without at all sounding blatantly derived from gospel, it often sounded very much in the spirit of gospel in its fervid passion, though using melodies from a wide pop/blues-soul canvas and addressing concerns far more secular and personal. There were crafty, dramatic punctuations of orchestration, yet these were far more subdued than they had been on the more jubilant Eli and the Thirteenth Confession. "Save the Country" (along with the upbeat section of "Time and Love") is really the only song here that has the immediate uplifting impact of her most famous early tunes, and even that track could have benefited from a less-bare setting. It's a rewarding album, but one that takes some effort to fully appreciate. The 2002 CD reissue adds two bonus tracks: the mono single version of "Save the Country," which has a far fuller arrangement than the album take, and the jaunty, previously unreleased "In the Country Way." AMG.

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Laura Nyro - Eli & The thirteen Confessions 1968

Nyro peaked early, and Eli and the Thirteenth Confession, just her second album, remains her best. It's not only because it contains the original versions of no less than three songs that were big hits for other artists: "Sweet Blindness" (covered by the 5th Dimension), "Stoned Soul Picnic" (also covered by the 5th Dimension), and "Eli's Comin'" (done by Three Dog Night). It's not even just because those three songs are so outstanding. It's because the album as a whole is so outstanding, with its invigorating blend of blue-eyed soul, New York pop, and early confessional singer/songwriting. Nyro sang of love, inscrutably enigmatic romantic daredevils, getting drunk, lonely women, and sensual desire with an infectious joie de vivre. The arrangements superbly complemented the material with lively brass, wailing counterpoint backup vocals, and Nyro's own ebullient piano. AMG.

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Laura Nyro - Smile 1976

After a five-year hiatus, singer/songwriter Laura Nyro returned with Smile in 1976. On this disc, Nyro's somewhat idiosyncratic writing and performance style is decidedly subdued. In its stead is a light pop and jazz feel similar to that of Maria Muldaur's mid-'70s recordings. Supporting Nyro instrumentally is virtually a who's who of New York and Los Angeles studio stalwarts. While the prowess of folks likeWill Lee (bass), brothers Randy Brecker (trumpet) and Michael Brecker (flute/sax), Hugh McCracken(guitar), and Rick Marotta (drums) certainly strengthens Nyro's already laid-back material, it likewise reduces her to sounding like a Joni Mitchell ripoff. The undeniable highlight of Smile is the maturity in the songwriting. It becomes obvious that the half-decade away has done some significant good in revealing a decidedly positive evolution in Nyro's approach to her own life. What's more is that the material on this album seems to come from a place of contentment. The influence of her work with the female soul vocal trio LaBelle on Gonna Take a Miracle -- prior to her mini-retirement -- also seems to be a source of inspiration throughout this disc. The high and tight vocal harmonies -- all of which are credited to Nyro -- are wholly rewarding and hark back to her R&B-induced "Wedding Bell Blues" and "Stoned Soul Picnic." This is most evident on the opening track, "Sexy Mama" (penned by Harry Ray, Joe Robinson, and Al Goodman), which was also a hit for the R&B vocal group the Moments. The intimate nature of "I Am the Blues" and "Midnite Blue" are reminiscent of older Nyro favorites such as "Emmie" and "Captain St. Lucifer." In all, Smile is much like a musical letter from an old acquaintance and casts a direct light onto the next phase in Laura Nyro's recording career. AMG.

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Laura Nyro - Eli And The Thirteenth Confession 1968

Nyro peaked early, and Eli and the Thirteenth Confession, just her second album, remains her best. It's not only because it contains the original versions of no less than three songs that were big hits for other artists: "Sweet Blindness" (covered by the 5th Dimension), "Stoned Soul Picnic" (also covered by the 5th Dimension), and "Eli's Comin'" (done by Three Dog Night). It's not even just because those three songs are so outstanding. It's because the album as a whole is so outstanding, with its invigorating blend of blue-eyed soul, New York pop, and early confessional singer/songwriting. Nyro sang of love, inscrutably enigmatic romantic daredevils, getting drunk, lonely women, and sensual desire with an infectious joie de vivre. The arrangements superbly complemented the material with lively brass, wailing counterpoint backup vocals, and Nyro's own ebullient piano. The 2002 CD reissue adds three previously unreleased demos, with no instrumental accompaniment save piano, of "Lu," "Stoned Soul Picnic," and "Emmie." AMG.

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Laura Nyro - More Than A New Discovery 1967

These 12 sides represent singer/songwriter Laura Nyro's earliest professional recordings. More Than a New Discovery was originally issued on the Folkways label in conjunction with Verve Records in early 1967. The contents were subsequently reissued as The First Songs in 1969 after she began to garner national exposure with her first two LPs for Columbia -- Eli and the Thirteenth Confession (1968) and New York Tendaberry (1969), respectively. Many of these titles became international hits for some of the early '70s most prominent pop music vocalists and bands. Among them, "Wedding Bell Blues" and "Blowing Away" were covered by the Fifth Dimension. "And When I Die" became one of Blood, Sweat & Tears signature pieces. Likewise, "Stoney End," as well as "I Never Meant to Hurt You," are both arguably best known via Barbra Streisand's renditions. Accompanied by a small pop combo, Nyro's prowess as both composer and performer are evidence that she was a disciple of both Tin Pan Alley as well as the Brill Building writers. Additionally, Nyro was able to blend the introspection of a classic torch ballad with an undeniable intimacy inherent in her lyrics. "Buy and Sell," as well as "Billy's Blues," exemplify her marriage of jazz motifs within a uniquely pop music structure. Also immediately discernible is that these were far from simplistic, dealing with the organic elements that tether all of humanity, such as love, death, loss, and even redemption. While artists such as Tim Buckley and Joni Mitchell were attempting to do the same, much of their early catalog is considerably less focused in comparison. For example, "Lazy Susan" incorporates the same acoustic noir that would become the centerpiece of her future epics "Gibsom Street" and the title track to New York Tendaberry. There are a few differences worth noting when comparing More Than a New Discovery and First Songs. After Columbia Records bought Nyro out of her contract with Verve/Forecast, they also issued this collection in 1973 as First Songs, boasting a revised running order, as well as a title change from "Hands Off the Man" -- as listed here -- to "Flim Flam Man." Beginning in 2002, Sony/Legacy began an exhaustive overhaul of Nyro's classic '70s albums. In addition to remastered sound and newly incorporated artwork and liner notes, the series also boasts "bonus tracks" where applicable. Both casual listeners, as well as seasoned connoisseurs, can find much to discover and rediscover on these seminal sides from Laura Nyro. AMG.

listen here

Buy @ Amazon: USA - FR - UK