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New York Tendaberry Original recording remastered


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Audio CD, Original recording remastered, February 1, 2008
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Frequently Bought Together

New York Tendaberry + Eli & The Thirteenth Confession + Christmas & Beads of Sweat
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Product Details

  • Audio CD (February 1, 2008)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sbme Special Mkts.
  • ASIN: B0012GMY5K
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (91 customer reviews)
  • Amazon Best Sellers Rank: #5,317 in Music (See Top 100 in Music)

1. You Don't Love Me When I Cry
2. Captain for Dark Mornings
3. Tom Cat Goodbye
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
12. Save the Country [Single Version][*]
13. In the Country Way [#][*]

Editorial Reviews

This 1969 LP is perhaps Laura's most intimate and haunting work. Her cathartic musical journey takes you through Save the Country; Time and Love , and more. Two bonus cuts!

Customer Reviews

Ultimately this record plays like a concept album.
Stephen C. Bird
Try New York Tendaberry - and you will either love or hate it, and if you love it, you will try every which way to get your hands on everything else she ever recorded.
Ozzie
New York Tendaberry represents everything about Laura Nyro that makes devotees religiously loyal while inspiring dismissive derision in detractors.
D. Mok

Most Helpful Customer Reviews

86 of 89 people found the following review helpful By Lee Armstrong HALL OF FAMETOP 1000 REVIEWERVINE VOICE on December 22, 2002
Format: Audio CD
With 6,400 volumes in my music collection, there are many artists I love. Laura Nyro is my VERY favorite. And of her work, "New York Tendaberry" is my all-time favorite, #1 out of 6400. I think back to 1969, 17 years old, living in Japan, depressed beyond depression, I picked this LP up because I'd heard about Nyro as a writer ... and hated it, what a waste. A week later I figured, "You're already depressed; you spent the money on this LP, might as well put on the headphones and give it one more listen." REVELATION! I think you have to be in a certain head space to click with NYT; and once you do, it never leaves you.
So how does one review the music that kept them on the planet? "I don't want to say goodbye, baby goodbye." Holding on and letting go at the same time. "You Don't Love Me When I Cry" is one of the most incredible songs ever recorded. It's softness and fierceness mixed, blended seemlessly. "I am soft and silly & my name is Lillianaloo" "Captain for Dark Mornings" sings lightheartedly juxtaposed with "My daddy's a ravin crazy gambler." Nyro uses her piano like a weapon, emotionally disarming and light one minute then pounding and raw the next as on "Tom Cat Goodbye," "Tom Cat, you ole rat, where you been to?" "Mercy on Broadway" starts with a piano line Gershwin would've been proud of and then shifts time signitures abruptly that would've put a smile on John Coltrane's face, "In the doom swept the band away." "Come on down to the glory river...gonna lay that devil down," Nyro rages on the stirring "Save the Country." The dissonant piano on "Gibson Street" made this the least accessible track on NYT for me; but the arrangement with its chimes and horn flourishes make it one I marvel at for its shear instrumental diversity, "Oh my sorrow, oh my mourning.
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48 of 50 people found the following review helpful By Gary F. Taylor HALL OF FAMETOP 500 REVIEWERVINE VOICE on December 29, 2002
Format: Audio CD
Laura Nyro orginally made her reputation by writing songs that mixed urban doo-wop with folk flavors--songs like "Stoney End," "And When I Die," "Wedding Bell Blues," and "Stone Soul Picnic," songs that hit big when recorded by other artists. In the late 1960s and early 1970s, Nyro recorded three ground-breaking albums (ELI & THE 13TH CONFESSION, NEW YORK TENDABERRY, and CHRISTMAS & THE BEADS OF SWEAT), and although many consider that her creativity peaked with those releases she continued to record and remained powerfully influential until her death in 1997. But for all of this, and unlike such Brill Building contemporaries as Carole King, Laura Nyro herself never made the leap from star writer to star performer. There are several reasons for this. Nyro had a passionate voice of considerable range, but it was not a "star" voice--that is to say, her voice lacked that idiosycratic sparkle that one expects to find in a great singer. But more to the point, after her first wave of song-writing hits, Nyro unexpectedly evolved into an incredibly uncompromising artist who seldom bothered to consider audience response to her material. Only one recording in her long career would achieve anything like a commercial success, and that recording is the 1969 NEW YORK TENDABERRY, which peaked at number 32.
It is odd that NEW YORK TENDABERRY ever made it into the pop charts to begin with--even by today's standards it is alternative with a capitol "A," a strange mix of jazz, blues, rock, pop, urban edges, and folk flourishes created largely by Laura and her piano with little in the way of musical back-up and still less in the way of vocal back-up.
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28 of 28 people found the following review helpful By D. Mok on December 31, 1999
Format: Audio CD
New York Tendaberry represents everything about Laura Nyro that makes devotees religiously loyal while inspiring dismissive derision in detractors.
With Laura, everything is subjective so I will simply offer my own view: Be patient with this album and many fruits will emerge over time.
New York Tendaberry was my first Laura Nyro album and was not an easy listen the first time through. It is dramatic, intense, at times painfully quiet and more often than not bewilderingly freeform, almost expressionistic. Minimalistic arrangements and the naked solitude of Nyro's voice made me reluctant to come back to the album. But come back I did, and everytime something delicious emerges that makes me wonder how carefully I'd been listening the first time through.
"Captain St. Lucifer", a rhythmically intriguing composition with a soaring chorus that's probably the best in Nyro's songbook, expresses the joy and spontaneity that few acknowledge in Laura's songwriting. "You Don't Love Me When I Cry" is a searing torch song that cuts like a knife, as soon as you get past its overtly aggressive emotion. And on this album another cluster of Nyro standards emerges: "Save the Country", "Gibsom Street", "Time and Love" -- New York Tendaberry is one album that, once you accept its complex but fascinating inner logic, works both on the level of individual songs and as an organic concept album. Each mode puts you in a separate state of consciousness, and the listener is the better for it.
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