Time And Love: The Laura Nyro Album By Album Thread

For CK 9626:

75.5 %
68.8 %
63.6 %
77.2 %
74.3 %
66.6 %
69.4 %
69.2 %
62.5 %
78.8 %
73.2 %
74.3 %
69.2 %

 

Here's an update:

Mastering 1: 75.5/68.8/63.6/77.2/74.3/66.6/69.4/69.2/62.5/78.8/73.2/74.3/69.2
Sony Japan 28DP 1082 Matrix: 28DP 1082 11 ++++
Columbia USA CK 9626 Matrix: ?
Mastering 2: 99.9/99.9/99.9/99.9/99.9/99.9/99.9/99.9/99.9/99.9/99.9/99.8/99.8
Columbia Legacy 508068 2 (made in Austria) Matrix: S5080682000-0101 31 A1

 

Does the reference 'DIDP 070335' on my CK 9626 made in USA mean anything?

 

Haven't followed the Nyro remasterings at all. Do they all resemble "mastering 2" above? If so, what a waste.

I'd been looking for the Japanese "Nested" for a while, as it was always very rare. When they finally released the remaster, I figured a few might show up. Finally, about a month ago, I saw one in the new arrivals section of a used store, still sealed with the obi!! and 700 Yen (about $8)!!! and this was in a respected used store. Man, I wonder who was doing the pricing that day.

 

Someone confirmed here that the US remasters and the recent Japanese mini vinyl pressings of Eli and NYT matched. I haven't seen confirmed yet that the remasters from the US and Austria were identical.

 

To clarify:

The US, EU and JPN. remasters of the first 4 that were remastered: ELI, NTY, GTAM & The First Songs are ALL THE SAME. Some here detect some slight difference on The First Songs, but that is about it.

The second wave of JPN. mini LP remasters (which I have not gotten around to buying) yet are another story. These are reported to sound excellent. Titles are: Xmas; Nested, Smile, Seasons of Light, Walk the Dog & Mothers Spiritual.

Of these, 3 are available from Iconoclassic: Seasons, Mothers & Nested.

Still not available domestically are Smile, Walk the Dog.

OOP everywhere are: Live From Mountain Winery; Live in Japan (JPN. version had more tracks); Live at the Bottom Line and Angel in the Dark (which was an SACD) and Live at the Fillmore East. I see Fillmore frequently in the used; Angel less so; Mountain Winery seldom; Bottom Line, less seldom and Live Japan I have never seen anywhere in its extended version. Even the U.S. version I only ever see on ebay.

 

NEW YORK TENDABERRY



Released: September 24 1969 by Columbia Records as KCS 9737
Peak US Chart Position: 32

Produced by Laura Nyro and Roy Halee
Recorded at Columbia Studios, New York City, October 1968 to July 1969
Engineered by Roy Halee

All songs written and arranged by Laura Nyro
Conductor and consultant: Jimmy Haskell

Laura Nyro: Lead Vocals, Piano
Bob Bushwell: Bass
Gary Chester: Drums
Bernie Glow: Trumpet
Lew Solloff: Trumpet

Side 1
1.You Don't Love Me When I Cry (4:24)
2.Captain for Dark Mornings (4:38)
3.Tom Cat Goodbye (5:32)
4.Mercy on Broadway (2:18)
5.Save the Country (4:36)

Side 2
1.Gibsom Street (4:47)
2.Time and Love (4:24)
3.The Man Who Sends Me Home (2:52)
4.Sweet Lovin' Baby (3:55)
5.Captain Saint Lucifer (3:17)
6.New York Tendaberry (5:33)

Bonus tracks on 2002 remaster:
- Save The Country (1968 mono single, produced by Bones Howe)
- In The Country Way (previously unreleased)

Singles:
October 1969: Time and Love/The Man Who Sends Me Home (did not chart)
January 1970: Save the Country (LP version, edited)/New York Tendaberry (did not chart)

 

Today's the 40th anniversary of Laura's masterpiece. I listened today and it still sounds as brilliant, timeless and unique as ever. One of my all time favourite albums.

Does anybody know if the Save the Country single edit ever made it to CD? The mono single can be found on the 1997 compilation and as a bonus track on the 2002 remaster, but that's a completely different take.

 

Still no replies? Here's the allmusic.com review:

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."

 

FWIW:

A friend of mine worked for years in a vinyl wholesaler in the 70's/80's. He claims that Columbia pressed up the cover with the 'blue' shot without her knowledge and just figured that once she saw it, she'd agree to the cover change. She of course, didn't. They then used all those blue covers (empty of course) as packing materials whenthey would ship lps to the distributor. He estimates he threw away a hundred or more of them.

 

This one was an LP by her that I didn't buy upon release - I probably couldn't cobble together enough lawn mowing $$ for it at the time (I was 13 or 14). A friend of mine had it anyway and we all listened together in those days.

I have to say that I agree totally with the allmusic review you posted. I just didn't enjoy it as much as Eli for the reasons stated - the starkness and the darkness. I haven't heard it in its entirety in years. However, it did have some wonderful moments and I should probably just start all over again with it.

I believe that it was during this period that I saw her play in concert. She played Cincinnati's finest 3500 seater Music Hall - the home of the symphony orchestra etc. We were very lucky to have many Rock concerts there over the years - I remember the Laura Nyro handbill, and other concerts listed were The Who (playing Tommy), James Taylor (just coming off of Sweet Baby James), and Derek and The Dominoes were in there somewhere too. (I missed The Who -Thanksgiving night!- and Derek also.)

It was a reverent crowd of course, a very quiet and serious affair. She came out in a classic black dress and looked just like the woman on the Eli Cover, with whom I was more than infatuated. Many swooned.... The whole show was solo and similar to the Fillmore East disc which is available. Honestly. I remember being slightly disappointed that she didn't have a band to supply a bit of variety to the show, but seeing her in that perfect hall is a memory I will always cherish. Her voice was amazing. My friend, MikeM, who posts here occasionally (but not lately, obviously) still talks about how he melted when she had a microphone problem and whispered in the sultriest voice imaginable "Richard....." to get the sound guy to fix the problem. Everyone in the hall wanted to be named "Richard" that night. He tells the story much better, but you get the idea. She was so special.

 

Is the 45 version of Eli's Coming available on cd?

 

This is the alternate cover:

 

Is that an edit as well? I'll check the versions on the 1997 and 2000 compilations. If both of these are complete versions I guess the single edit isn't available on CD.

 

That was a shot of her on the terrace of her New York apartment.

The one that became the final cover was shot on the terrace as well.

 

According to Michelle Kort's book, Nyro 'changed her mind' over the first cover, and that's when they were withdrawn, after several thousand had been made.

It's also stated that some copies with the original design did make the record racks and got sold.

 

I like the full terrace cover better! An album I have always liked BUT never loved....that is for Christmas and The Beads of Sweat. But it is still a worthwhile effort by an iconoclast who would go into a direction that would diminish her royalties from covers BUT increase the quality of her music(IMO). It just wasn't Brill Building music anymore...it was something else.......

 

Great story. You are so lucky you got to see her.

 

I am blessed to have seen Ms. Nyro many times, thanks to Doug Weston's Troubadour and its policy of contractually requiring performers to return for multiple week-long engagements.

The first time was right on the heels of the release of Eli. The tiny club was packed, of course, 250+ strong. Laura came out, so cute in a black shirt and big red skirt, sat down at the piano and opened with "Wedding Bell Blues". In between songs she spoke in a deep, soft, husky and slightly druggy-sounding voice. I was 17 and smitten.

She returned to the Troub as required, four more times in the next two years, before being permitted to book the larger places she could easily fill. One memorable night was delayed by a visit to the doctor. When she finally made her way to the stage Laura explained, "I think this will be a very sleepy set tonight", and that night's opener was "He's A Runner".

Laura's final Troubadour appearance was special, everyone knew it was the last. By now her West Coast fans were rabid, though that may be a poor choice of words, being mostly young hippies. During the final set one young girl approached the stage and presented Laura with a gift - a live baby duck.

Fast forward six months, Laura Nyro appeared at the 12,000 capacity Dorothy Chandler Pavilion at the Los Angeles Music Center. In the middle of a stunning solo set a girl's voice rang out. "How's your baby duck?" Much laughter, from the crowd and Laura. "Oh my god" Laura said to the audience, "Do you know what I named that duck?" Imagine multiple voices yelling "What??" Laura responded: "Donald."

 

Thanks for all the great stories about Laura's live shows. I would have loved to have seen her live, but unfortunately I didn't discover her music until several years after her death.

 

That's so funny to hear, especially when so many of the pictures of her during that time show her non-smiling ultra-serious face, sometimes with an atmospheric cigarette.

The only thing that I wonder about is the giving of the duck.
"Excuse me, miss. What's in that container you're bringing in?"
"oh, that's just a duck I'm giving to Ms. Nyro."
"A duck?"
"Oh yes, do you want to see it?"
[Thinking: Oboy, I got one of them crazy, drugged out hippies here]
"No problem, miss, you and the duck just go to your seat up there."

 

Got into her music in 98! Saw her stuff all over the place in thrift store bins and decide to take a shot. It's a decision, I've never regretted to this day.....

 

At a folkie club like the Troub, no one would've asked anything about a container. Ah, the good days.

Hippies. Can't live with 'em, couldn't live without em.

PS: She smiled a lot during between-song banter, endearingly, but she always had that trippy hippie druggy vibe going.

 

Wow, I love that story. It makes me really miss her.
Our "icons" sometimes carry so much weight, but she was also just a silly girl who grew up loving sidewalk doo wop and top 40. And cartoons, obviously. We forget sometimes that these gifted "deep artists" we admire so much are just people too, doing all the same people stuff we do.

 

The 45 version combined the lp version and the ending that was later in the lp.