Laura Nryo is the last word in pop prodigies. I can’t think of anyone whose songs – and ability to deliver them – were so perfectly formed and mature at such a young age. She wrote Wedding Bell Blues at 18, and it, along with And When I Die, Billy’s Blues and Stoney End all appeared on her first album, More Than A New Discovery, released when she was 19. When I think back to what I wrote at 18…
That first album, on Verve Folkways, brought her to the attention of David Geffen, then a young wannabe agent on the make. He convinced her to take him on, got her out of her previous business arrangements, set up a publishing company with her and got her signed to Columbia. This was a good place for her to be. Great studios, some of the best producers and engineers (Charlie Calello, Roy Halee and Arif Mardin), and access to the kind of funds needed to hire the best musicians in town to play her idiosyncratic, irregular music: Chuck Rainey, Hugh McCracken, Richard Davis, Alice Coltrane and even Duane Allman are just a few of the musicians who played on her trio of classic albums from the late sixties and early seventies, Eli & the Thirteenth Confession, New York Tendaberry and Christmas & the Beads of Sweat.
All of these albums are essential. My favourite is probably New York Tendaberry, which has fewer famous songs than the other two, but is a richer, more elusive and ultimately more rewarding album qua album. Eli is the one to get for great standouts and, truth to tell, a little filler (but those highlights include Emmie, Lu, Eli’s Coming, Stoned Soul Picnic so who’s grousing?).
Christmas and the Beads of Sweat, the last of her three great albums, is something else again. The most diverse and in some ways the most difficult of the classic trio, lacking as it does the unifying themes and mood of New York Tendaberry and the sheer volume of transcendent melodies on Eli, Christmas wrong-foots you by throwing in songs like When I Was a Freeport and You Were the Main Drag and her transcendent version of Up on the Roof amongst all the difficult stuff. Songs like Map to the Treasure are commendably ambitious in musical form, but lack the assuredness of the knotty, emotionally complex material on, say, Gibsom Street, from New York Tendaberry, or the lightness of touch present on Eli.
But When I Was a Freeport is a no-arguments career highlight. You’ve got to love her vocal on this, and lines don’t come much better than ‘I’ve got a lot of patience, baby, and that’s a lot of patience to lose’ and I never fail to smile at the ‘whew’ she inserts before the last (very Dylanesqe) ‘drag-uh’. It’s a mystery to me why she didn’t end the album with this song – no ending to the first stage of her career could have been more fitting.
Not quite up on the roof – Laura Nyro, poet of New York