Laura Nyro - New York Tendaberry - 180g LP

Product no.: PPANKCS9737

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Laura Nyro - New York Tendaberry - 180g LP
£29.99
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure - PPAN KCS 9737 - 180 Gram Virgin Vinyl 

AAA 100% Analogue - Audiophile Mastering by Ray Staff at Air London 

Limited Edition - Pressed  at Pallas Germany - Columbia KCS 9737

This LP is an Entirely Analogue Production

As you might imagine, few buyers of this record in 1969 got to hear it as intended in the studio, considering the cheap record players of the time and the so-so quality of the vinyl by 1969.This reissue betters the original in terms of clarity, dynamics, extension and especially background quiet. The Pallas pressing is dead silent.If you don’t know this record or the late Laura Nyro’s music and you’re a Joni Mitchell Blue fan, this one’s for you Music 9/10 Sound 8/10 Michael Fremer - Analogueplanet

Laura Nyro's masterpiece, New York Tendaberry, remastered by Ray Staff on 180g  Vinyl! The tapestry of great beauty and painful images found here is not for the pop-oriented crowd who only are familiar with the aurally digestible versions of "Save The Country" and "Time And Love" sung by other people. Laura herself had a voice both comforting and full of despair, and both of those tones are wonderfully represented on this complex journey.

Though Laura Nyro was one of the most successful American songwriters of the late '60s, her buoyant, genre-blending major-label debut clicked with only a small, influential cult audience. But even Nyro's faithful must have been taken by surprise by its 1969 follow-up. A mature, deeply impressionistic ode to her hometown, New York Tendaberry captures the city's multicultural soul and emotionally jagged edges; it's hard to believe this 22-year-old daughter of a jazz musician who couldn't read a note of music concocted it. 
 

Stripping her music down to the bare essentials of her expressive, occasionally explosive soprano and fervent piano work exponentially expanded its dramatic potential. There are few pop albums whose minimalist use of studio flourishes and production sheen have been as effective. Rooted in the singer's beloved '50s R&B and pop, yet infused with her brave, singular vision, this album remains Nyro's masterpiece.
 
Laura Nyro’s most personal, mature and intense album of love’s struggles proved to be the stopping point for many fans of the earlier gospel-y good time Nyro who sung “Stoned Soul Picnic,” “Eli’s Comin’,” “Wedding Bell Blues,” “Stoney End,” and even “And When I Die,” which was celebratory despite the song’s morbid title.  While New York Tendaberry includes a healthy dose of Nyro’s uptempo gospel-piano stomp on songs like “Save the Country,” the album’s two openers “You Don’t Love Me When I Cry” and “Captain For Dark Mornings” are intensely personal confessionals that along with much of side two, preclude Joni Mitchell’s Blue by a few years.  The echoey, distant production produces an unusual sonic and tonal perspective, but knowing Roy Halee, who co-produced with Nyro and engineered it was not accidental. Nyro and piano are bathed in a controlled reverberant field occupying a small, distant but well focused field.  Nyro anchors the instrumental backdrop on piano with other instruments, especially treated horns similar to what Halee got for The Byrds on Notorious Byrd Brothers.  Most of the other instruments are presented in the same distant reverberant haze, which causes a midrange glare and overload if you play this record too loud. It’s meant to be played at a relatively low level, probably to increase both the intimacy and the isolation. Then the purity shines through and the dynamic musical accents orchestrated by Jimmie Haskell (incorrectly spelled “Jimmy” on the jacket) jump without hesitation out of the mix.  As you might imagine, few buyers of this record in 1969 got to hear it as intended in the studio, considering the cheap record players of the time and the so-so quality of the vinyl by 1969.   This reissue betters the original in terms of clarity, dynamics, extension and especially background quiet. The Pallas pressing is dead silent.  If you don’t know this record or the late Laura Nyro’s music and you’re a Joni Mitchell Blue fan, this one’s for you, though don't ask me what a "Tendaberry" is.  Micheal Fremmer

Laura Nyro could break your heart with her gut-wrenching beauty. She poured out her emotions in songs full of gospel, soul, folk and jazz. She was a one of a kind and wore her heart on her sleeve. She had a once in a generation voice as Billie Holiday brought to jazz, and Joan Baez to folk.

The audiophile label, Pure Pleasure Records, out of England, has done a public service in releasing New York Tendaberry in glorious 180-gram vinyl with sumptuous remastering by Ray Staff. Laura’s vocals are crystalline and the occasional orchestral backings by Jimmy Haskell jump out from your speakers and will blow your mind on a quality pair of headphones.

Save the Country and Time And Love have been covered by many pop artists, but its Laura’s versions that stand the test of time. When you hear her emote, it’s as if Laura wrote the lyrics just to inspire you.

Laura Nyro had a brief period in the limelight before retiring at age 24. She came back on the scene several times in the ensuing decades but never regained her moment in the sun before dying of ovarian cancer in 1997. Her most noted compositions-Eli’s Coming, Stone Soul Picnic, and Sweet Blindness-were made into much bigger hits by others. Her genius was recognized by none other than David Geffen, who quit his early job as a music agent to become her manager.

New York Tendaberry had few hits, with the exception of Save the Country. What it did have was heartfelt lyrics sung in glorious emotions of happiness and deep pain by the genius that was Laura Nyro. What passes as pop music today pales in comparison. It was a “pure pleasure” to review this audiophile LP wonder…

Arranged By, Piano, Producer, Vocals, Written-By – Laura Nyro
Conductor  – Jimmy Haskell
Engineer, Producer – Roy Halee

Selections:
1. You Don't Love Me When I Cry
2. Captain For Dark Mornings
3. Tom Cat Goodby
4. Mercy On Broadway
5. Save The Country
6. Gibsom Street
7. Time And Love
8. The Man Who Sends Me Home
9. Sweet Lovin' Baby
10. Captain Saint Lucifer
11. New York Tendaberry
 
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Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

There really is nothing quite like it.  It’s the touch, the feel, you have to stop and stare, the cover,  the real thing, even the smell.

Its tangible, you can feel it, see it, study it,   muse/dream over it, it’s real, someone  has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.  

The music and the physical record.  Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover,  the sleeve notes, you are  holding a unique package, produced by craftsmen.

Pure Pleasure  Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe 

Pure Analogue Audiophile Mastering
 
Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
 
Released in Limited Quantities

PALLAS
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!  
 

 

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