Gonna Take a Miracle オリジナルレコーディングのリマスター, インポート
- アーティスト: Laura Nyro & LaBelle
- アーティスト: ローラ・ニーロ
- アーティスト: ローラ・ニーロ
More Than a New Discovery, Eli and the Thirteenth Confession, and New York Tendaberry established Laura Nyro as one of the early 1970s' brightest and most uncompromising singer-songwriters. But just as the budding success of 1969's Tendaberry seemed to establish her persona in the public's mind, Nyro reached back to the beloved Brill Building pop, doo-wop, and '50s R&B for inspiration, extended a hand in partnership to then-down-on-their-luck soul vets LaBelle, and tossed off this loving blast from the past. Producers Kenny Gamble and Leon Huff (who would later formulate the vaunted Philly soul sound) were ostensibly in charge, though the voices of Nyro and LaBelle carry the day. Whether the bare-bones production harked back to the mindset of Nyro's moody Tendaberry or (as Amy Linden's new liner notes suggest) they simply ran out of time and had to finish the project, there's a sense of immediacy to the recordings that outstrips even some of the originals. Tracks like "Jimmy Mack" and "I Met Him on a Sunday" feel like they spontaneously came together around an upright piano, their rhythm section a chorus of joyous hand claps. Others, like "Desiree" and "The Wind," have a haunting, ethereal sense that's pure Nyro. This is one of the oddest collections of Nyro's career, but also one of the most joyously heartfelt. This reissue features four live bonus tracks, soulful solo covers of "Ain't Nothing Like the Real Thing," "(You Make Me Feel Like) A Natural Woman," "O-o-h Child," and "Up on the Roof," that fit the theme of the studio album to a T. --Jerry McCulley
1971 album is Nyro's only album of non-original music including 'Spanish Harlem', 'Monkey Time/Dancing In The Street' and 'Jimmy Mack'. Remastered & featuring the previously unreleased live bonus tracks 'Ain't Nothing Like The Real Thing', '(You Make Me F
(ﾓﾁﾛﾝ ﾋﾞﾆｰﾙLP)でしたが、Lauraのその一途なR&Bへの想いが伝わる歌いに嬉しくなったのを思い出します。声自体は白人系の奇麗なもので、決してSoulfulではないけれど、まだ若々しいLABELLEとのｺﾝﾋﾞﾈｰｼｮﾝ（かなりfeatureしている）が黒っぽさをだしているしてｱﾚﾝｼﾞの良さも相まって素晴らしい出来のAlbumで、保存盤としてCD買い直す価値は充分。Carol Kingが20代の女性などにも見直されている昨今、このAlbumも匹敵する個性と価値があるのでは？日本ではそれ程知名度はないかも。へたな、Daina RossのAlbum買うよりズットお値打ちｱﾘ
I met him on a sundayがシュレルズで、
ほかにマーサリーヴス&ヴァンデラスを3曲もやってる。jimmy mackなんか最高だな と思ってる。
If you didn't then, trust me, you need this in your life.
Either way buy it anyway for the four bonus live tracks!
Laura Nyro was one of the greatest singer/songwriters ever to
draw breath in the listening world. Perfect and forever peerless.
This 1971 collaboration with vocal trio LaBelle ( aka Patti LaBelle,
Nona Hendryx and Sarah Dash ) is utterly magical.
Kenny Gamble and Leon Huff's affectionate production captures a great
moment in musical history. Ms Nyro, for all her many wonderful recordings,
rarely felt more at home, relaxed and elementally focussed than here.
These four great voices come together in a joyous celebration of sweet sixties soul.
Performances to make your heart beat faster and the hair to stand up on your skin.
Can there really be a finer cure for melancholy than to hear their peerless
renditions of Marvin Gaye's 'The Bells' and 'Dancing In The Street?!
The good times don't stop there however.
If the raw emotional truth of 'Desiree' doesn't bring tears to your eyes then
it is unlikely that you will ever have understood the meaning of true love.
Smokey Robinson's 'You've Really Got A Hold On Me' comes alive, as though for
the first time, in this skillful and playfully perfect four-part vocal arrangement.
Likewise, the treatment of Jerry Leiber and Phil Spector's magical 'Spanish Harlem',
punctuated with warm brass intrusions and subtle percussion is a modest masterpiece.
Martha and The Vandellas' 1967 classic 'Jimmy Mac' (Brian Holland, Lamont Dozier
and Eddie Holland) is also given a scintillatingly full-bodied re-appraisal.
'The Wind' might make even the staunchest aetheist believe in angels!
Of the live additions, 'Ooh Child', in just a minute-and-a-half, condenses
everything that was incomparable, impeccable and sublime about Ms Nyro's art.
The shift into the glorious rendition of 'Up On The Roof' is alone worth the price of the album.
'Gonna Take A Miracle' is a little piece of heaven on earth.
Die eigentliche Überraschung folgt erst in den Bonustracks der CD: ebenfalls Cover, die Nyro solo mit Piano im selben Jahr live im Fillmore East einspielt und davon zwei King/Goffin-Cover: (You Make Me Fee Like) A Natural Woman und Up On The Roof, ersteres 1967 ein superkonservativer Megahit Aretha Franklins, der zweite bereits 1962 ein Charterfolg der Drifters. Beide verdeutlichen die Genialität der Carol King Kompositionen, deren Perfektion geradezu alles aushält - auch eine Nyro-Phrasierung....
As ever with Laura Nyro, one of her many musical qualities is her use of dynamics and within this recording vocals and instruments soar from whispers to roars, all very delightfully. Dynamics seem to be such a forgotten attribute for so many musicians both live and recorded nowadays. Here the voices really come alive on the excellent selection of songs and I concur with everything the two previous reviewers have expressed so well.
A shame no out-takes or alternate takes are not present (or available?) but the extras are fine.
What comes across, after all these years, is the obvious fun and enjoyment the girls are having in singing this music, giving their performances a freshness and spontaneity that belies its age.
Die aufstrebende Singer/Songwriterin Laura Nyro, später bekannt geworden mit ihren sehr experimentellen Alben und Labelle, eine zu diesem Zeitpunkt schon eher stagnierende Gesangsgruppe um Patti Labelle und Nona Hendryx fanden sich 1971 unter etwas merkwürdigen Umständen zu dieser Produktion zusammen. Tagelang saßen die vier Frauen im Studio und probten, ohne eine Note aufzunehmen. Erst kurz vor Ultimo, quasi "One-Take" entstand dieses ungewöhnliche Album. Die Frische des Gesangs, die zupackenden Arrangements, die hörbare Heiterkeit der Musikerinnen und deren fantastische Stimmen sorgen für Gänsehaut und Überraschung beim Hörer. Begeisterung für die Hits der eigenen Kindheit und der Background der 4 Sängerinnen als Doowop-Straßenmusikerinnen werden hörbar und sorgen für ein Ausnahmealbum.
This CD reissue has four bonus tracks from a contemporary concert at the Fillmore East from 1971. All well worth having.
The first track, a mostly "a cappella" rendition of "I Met Him On A Sunday", makes very clear the wisdom of these choices. The vocal talent of all four ladies is very apparent, and a perfect fit for the material. The remaining nine of the original ten tracks fall into two groups: ballads, and more upbeat numbers. Of the ballads, "The Bells" is an emotional R&B song. "Desiree" is slow and melancholy. "Spanish Harlem" and "The Wind" are smooth, with a soft dreamlike quality. The emotional showpiece of the album is the title song, "It's Gonna Take A Miracle", a real heartbreaker.
Of the other original tracks, "You've Really Got A Hold On Me" is a mid-tempo, solid performance of that Motown classic, with an extended gospel ending. "Monkey Time/Dancing In The Street", "Jimmy Mack" and "Nowhere To Run" are joyous and infectious. The ending of "Nowhere To Run" goes on just a little too long (as if it really were searching for somewhere to run...).
There are four bonus tracks, previously unreleased live performances. On these Laura shows what she can do with only her voice, her piano and her soul. My favorite is "Up On The Roof". I just love it when she says, "I keep telling you!"
Here Laura Nyro pays homage to a handful of her favorites. Although Stacey Lattislaw had the most airplay of "Its Gonna Take a Miracle", Patti Labelle and Laura break the song down to its honesty and simplicity with two vocal brakes and three chord changes that electrify the listener. You ask yourself will she ever love again?
Chicago's Major Lance was the epitome of smooth soul. "Monkey Time", also revered and covered by Huey Lewis, asks us "Are we Ready". Laura answers for us with a version a bit slower than the original but genuine. Are we ready to dance or ready for social change? A simple twist that changes from a dance song reminding us "you got yours and I got mine." Brilliant!
When the Marvelettes released "Jimmy Mack", I knew a girl who broke up with her boyfriend Jimmy. At the age of 16, she was broken hearted. Laura's vocals change the song to redemption. If he's not coming back life goes on. She can only love him for so long a time.
The Shirelles first hit was "I Met him on a Sunday." Laura, Patti, with Bluebells Nona Hendryx and Sarah Dash open the album with an a cappela version that sounds straight from the stairwell of the Newark projects where the group first sung it. So stripped down and honest, it tells the story of a five day relationship. The guy was cheating so "Its Bye Bye, Baby." I love it!
For some reason, all these songs were summer songs of the sixties. Whether at Rockaway, Orchard or Coney Island, these recordings were blaring from everyone's radios at the same time. It was a smooth sound I will never forget. Neither did Lauro Nyro. Bravo, Laura!
When her fifth album turned out to be a collection of oldies, I was concerned. Why would one of the great emerging songwriters of the day suddenly need to do an album of "covers"? Of course, I bought it and LOVED it, but had to wonder, had she lost her muse?
What I didn't understand is that Laura's "heartbeat" songs, the tunes she had learned as a young teen in the early 60s--the ones she'd sung with friends in subway stations and on streetcorners--were an essential part of her musical soul. On her previous record CHRISTMAS IN MY SOUL, she had included her own exquisite version of Carole King's "Up On the Roof" among some equally beautiful originals, and it all seemed to flow together, creating one expansive musical ode to her native New York.
That number had worked so well, in fact, that it likely served as the inspiration for this record. And hooking up with Patti Labelle, herself a genuine veteran of the "girl group" era Laura so admired, was a stroke of pure genius. Patti, of course, has already begun recording with her own group as, simply, Labelle. It was pretty clear that Patti, Nona Hendryx and Sarah Dash, were on their way to considerable success on their own, but working with the era's pre-eminent white sould diva certainly wasn't going to hurt. (This was a few years prior to "Lady Marmalade" and the spacesuits.)
But they were all veterans in their own way, and all capable of keeping it both real and ethereal.
Those harmonies! Laura whispers and wails, Labelle seconds those emotions and add a grit and sass that only they could provide. It was an inspired partnership, and joyous--if Laura was indeed depressed at the time, it didn't show here.
The upbeat numbers, several by Martha and the Vandellas, are just fine. These ladies knew how to cook. But, I've got to admit that my favorite tracks are the gorgeous doo-wop inspired tracks like "The Wind" and "The Bells." Those haunting tracks remain among my favorite Nyro cuts of all time. Which is saying something.