Eli And The Thirteenth Confession

im actually kind of surprised this came out in 1968. i guess divas have been around for decades.

Eh carol king did it better

I've only heard fairly downbeat songs by Nyro before so parts of this were a welcome revelation. I enjoyed it.

Wow

very nice bateman

I am in utter shock

How is this not a universally known classic, the kind everyone with a record player has a battered vinyl copy of? I had never heard of it and it's absolutely stunning. It's not just the impeccable songwriting, the grooves and moods and perfect hooks; it's not just the wonderful wonderful voice going all over the place; it's the unbridled sense of creativity and inspiration. Each song bounces around, changing skin and attitude, crammed full of enough ideas that on any other records it would make for 2 or 3 cuts. A relentless volcano of creativity, held together by Nyro's sheer charisma (and deft arrangements).

Very 60’s

Great vocals, lounge sound

masterful singing skills, and the production quality is exceptionally good for the 60s. love nearly every vocal style she uses here.

I should have guessed from the Wikipedia sections about who she influenced that I really wouldn't like this very much. I'm reeeally not a fan of this pseudo-showtune, almost operatic pop music. And why are there big band elements? I really don’t know what was happening during any second of this album; with the tempo of the songs and the genre changing every two seconds, it felt super scattered and uncohesive (and I promise it's not just because I listened to it while under the weather). I'm sure Nyro was super influential, and she's clearly talented, but this was not for me at all. Favorite tracks: Eli's Comin'

Refreshing sound for 60s pop

Laura Nyro is the prog rock of singer/songwriters. I don't understand why so many critics don't like her work, but I think it's fantastic and this album i perfect. 5/5

I am shocked I've never heard of Laura Nyro. This was such a unique combination of soul, jazz, and big band vibes with a super unique voice. She reminds me of carole king. Great find

Weird sultry songs delivered in a mood grim yet jolly, somehow. Her voice is really great and the production is pretty tasteful. The lyrics, while rarely sensical, are often evocative. Count me a fan.

Was this the “we have Dusty Springfield at home” lady? (ntm.)

She sounds like a contemporary of Carole King. Sounds like it would be great live.

It's uneven but I think I ultimately liked this album. Maybe that's just my tolerance for the Gilmore Girls soundtrack rearing its head, but my tolerance for the more twee and whimsical songs seems to be higher than the average site user

At times, her voice was incredible. At other times, it was whiny and annoying

I like her voice and some of the arrangements but it’s not for me

It’s beautiful, but something is limited and lacked in the songwriting

Idk kind of a mixed tbh

This album sounds like love

This was so fun! I wasn't expecting it.

Have meant to check Laura Nyro out for the longest and I'm blown away at the skill. Essential for a lesson on expression

Eli And The Thirteenth Confession Laura Nyro 1968 Genres: Pop Styles: Singer Songwriter, Pop Rock 1. Luckie (★★★☆☆) -Contexto: Abre el disco. Dato verificado: deriva de una composición anterior que Nyro tocó en su audición para Verve en 1966. No tengo certeza sobre la historia concreta que narra la letra, así que no la relleno. 2. Lu (★★★☆☆) -Contexto: Tono ligero y rítmico, dirigido a alguien llamado "Lu". Salió como lado B del single de abril de 1968 (con "Farmer Joe"). En 2002 se reeditó con una demo de noviembre de 1967, solo piano y su voz multipista. No puedo precisar más sobre el argumento. 3. Sweet Blindness (★★★⯨☆) -Contexto: Tono festivo, de reunión y exceso. La "dulce ceguera" se lee como euforia o embriaguez, en línea con los temas de pasión, amor, muerte y drogas que se le atribuyen al disco. No encontré una explicación de Nyro sobre el sentido exacto. Fue un éxito de The 5th Dimension (Nº 13 en EE.UU.). 4. Poverty Train (★★★★⯨) -Contexto: Tono pesado, de blues y gospel, y una de las más largas del lado A (más de 4 minutos). El título apunta a la pobreza y al desarraigo, con imaginería ferroviaria. No tengo certeza de la narración detallada. -Fav 5. Lonely Women (★★★☆☆) -Contexto: Balada de piano de tono íntimo y melancólico. Trata de la soledad de las mujeres. No tengo confirmado el desarrollo de la letra más allá de ese eje. 6. Eli's Comin' (★★★★☆) -Contexto: Ritmo urgente, con soul y jazz. Gira alrededor de la llegada de "Eli", una figura de atracción peligrosa. Por lo que recuerdo, la letra advierte a una mujer que se proteja. No encontré una declaración verificable de Nyro sobre quién es Eli (le da título al disco). Three Dog Night la llevó al Nº 10 en EE.UU. 7. Timer (★★★☆☆) -Contexto: Abre el lado B. Por el título se vincula con el tiempo, pero no tengo certeza de qué cuenta la letra, así que no la interpreto. 8. Stoned Soul Picnic (★★★☆☆) -Contexto: Tono festivo, comunitario y gospel: una invitación a juntarse a disfrutar música y compañía. Existe una demo de 1967 y el título casi fue el del álbum entero (Verve lo iba a llamar "Soul Picnic"). Fue Nº 3 de The 5th Dimension. Nyro no aclaró, que yo sepa, si "stoned" va por las drogas o por la embriaguez del soul. 9. Emmie (★★⯨☆☆) -Contexto: Balada de amor intensa, dedicada a "Emmie". Suele leerse como canción de amor dirigida a una mujer, pero no encontré una confirmación de Nyro, así que lo dejo como lectura. Hay una demo de piano de 1967. 10. Woman's Blues (★★★☆☆) -Contexto: Tono de lamento y blues, desde la voz de una mujer. No tengo certeza sobre el argumento puntual. 11. Once It Was Alright Now (Farmer Joe) (★★★☆☆) -Contexto: Tono vivaz. El título habla de algo que antes estaba bien y ya no. No puedo precisar quién es "Farmer Joe" ni qué pasa en la letra. Fue lado A del single de abril de 1968. 12. December's Boudoir (★★⯨☆☆) -Contexto: La más larga del disco (más de 5 minutos). Tono nocturno, íntimo y jazzístico, con imaginería invernal. No tengo certeza del argumento. 13. The Confession (★★★☆☆) -Contexto: Cierra el disco (2:50). En los créditos, Nyro figura como "testigo de la confesión". La relación con el título del álbum y con la cantidad de temas (13) es una lectura posible, no algo que ella haya explicado que yo haya podido verificar. -TOTAL = ★★★⯨☆ (3,15)

To me het voice sounds so aggressive, don't like it all, but some of the music is ok

my favorite nyro album!! she’s such a songwriting inspiration for me, such an incredible album ugh

★★★½

I quite enjoyed what I heard here. Soulful singer songwriter pop music from the 60’s. Vocals were good, but a little off from time to time. Liked it though. 3/5 (closer to 3.5)

Вперше чую) А так то красива дівчина)

Laura Nyro has one of those voices that just sticks to your ears and for that, I love this record. Sure, this sounds like a good amount of the music that was being put out by her contemporaries, as well as Motown before her, but I still thoroughly enjoyed this album.

Surprisingly strong album for a figure I've never heard of before - at her best she's giving Carole King a run for her money. Great, wide production and a beautiful voice make this a classic, although it's somewhat marred by the showtunes-esque lyrical work that comes across as campy. I'll give it a three since it's not really my thing (and I think it's relatively directionless), but I respect the effort here. Fav tracks: Sweet Blindness, Eli's Coming

"Her voice keeps switching from annoying to beautiful" is spot on. I wanted her voice to match better music.

oh well

WTF!! This lady cannot sing! I thought this was a joke. Who would want to listen to this? She sings so over the top. It's terrible. She sounds like someone who thinks they are an amazing singer, but in reality they suck.

Laulajalla vahva ääni. Toivoisin kuitenkin kappaleiden kanssa enemmän herkkyyttä kuin vanhvuutta. Muuten musiikki kaunista ja viihdyttävää.

Ooooh! I had Nyro all wrong! For some reason in my mind she was a hippy-dippy, folky type. Not sure where that came from but as I began listening, I got quite a surprise. The surprise (despite Folk somehow being in constant competition with Funk as “favourite genre” on my summary page) was definitely a pleasant one as Nyro lays down some soulful progressive pop with jazzy undertones. I guess I’m thinking of 70s Joni and Carole King but Nyro is doing this back in ‘68. Great singer as well as writing all these great songs (including “Stoned Soul Picnic” who knew? Probably loads of you, but not me). Nod to producer Charlie Calello, who seems to be responsible for arrangements too, which are varied and make particularly great use of horns. The “let’s change the tempo mid-song” trick is overused, but it’s not a dealbreaker. I almost already owned this on vinyl, but a careless move in the record shop meant when I got home I discovered an accidental Little Feat album in my haul instead. I plan to correct this error as soon as possible.

This is a well-done pop album that doesn't really feel like a pop album. It's got a big production and lots of organs and synths but it feels a lot like a jazz or r&b record. I was pleasantly surprised that I enjoyed listening to this.

Campy? Cabaret? Maybe I’m an unsophisticated listener but her voice spent way too much time being over the top. Gorgeous vocals and production, but she wore me out showing off.

I can't help but note how insanely wonderful this sounds, both in terms of fidelity and pop music sensibilities. The music sounds so prescient for its time, like what would happen if Amy Winehouse was born in a different decade. I guess that's just what influential music sounds like highlights: luckie lu sweet blindness stoned soul picnic woman's blues

Quel régal. Encore un banger J'ai passé un SUPER moment Ça groove, c'est entrainant, original, ça me semble pas être du vu et revu, j'adore C'est un 4++ mais je vais pas mettre que des 5..

Je m'attendais à un truc horrible, mais en fait cool

this feels so timeless, and GOD I LOVE HER VOICEEE. easily a 5 star album for me, the way she brings soul + jazz together on this is sooo good. "sweet blindness" and "timer" are my ultimate picks.

I had never heard of Laura Nyro, though this album came out the year I was born. Detecting elements of Joni Mitchell, Tori Amos, Carole King and Kate Bush. She has a beautiful voice but often chooses to hide it with rapid rises and falls and tempo changes that keep you on edge. It was theatrical, experimental and showtune-ish, not an easy listen.

This is very nice! Needs more time to fully sink in, but 8/10 on first listen.

Oh boy. Her voice was painful to get through on some of these. It’s a shame, because sometimes it was good, and I loved some of the jazzy vibes going on, but oof.

This has never been an album i "got". I have listened to it before on the Rolling Stone Top 500 list and it wasn't a favorite of mine then either. On the one hand, I can tell that every female singer in a genre that begins with post- listened to this and used it as a blueprint. However, for this particular album itself, I don't find a lot to recommend it to me. I feel as though the songs on here are very similar to each other. The accompaniment adds little to nothing as well and I always hope I'll find something in here that isn't there for me to find.

I enjoy Carole King and Joni Mitchell and thought I knew that style and approach to music. No. This is a find. And it represents a hole in my musical education. What I appreciate about the two women geniuses I just mentioned, Laura Nyro has as well. Especially the free-from-restraint lyrical and rhythmic approach. This is difficult music because it doesn't reach a place and repeat. It lives and breathes with each phrase. The demands on the musicians are enormous. And the risk is that if you hear the effort, it ruins everything. That doesn't happen here. Timer and Stoned Soul Picnic particularly stood out to me. This is sophisticated and innovative music. It sounds good too. Laura's vocals are compelling. This is absolutely excellent.

Not my type of music usually, but I think I could have enjoyed this if it wasn't for a voice a found right down unpleasant at times.

It had a Jazz club feel which I liked. Also good versatility in both the instrumental and vocals. I really enjoyed the song intros. There was a bit of nice piano work. I also liked how soulful her singing was.

Zieht sich leider 3/5

This album is quite indicative of what women were producing in the late '60's. It has hints of Carole King, Joan Baez, and Linda Ronstadt; soulful, jazzy, but unlike those icons, annoying at times. I didn't hate it but I'm not rushing out to buy every Laura Nyro record either.

Good album I didn't know she had written those songs

I want to like this more than I actually did, the mix of soul, jazz, and folk just doesn't quite mesh completely

It’s nice to be able to listen to an album on wax for a change. This is such a dynamic album, both in its range from soft to powerful, but also in its dramatic combination of musical motifs, time signatures, and vocal arrangements. Listening to it, I have an entire movie playing in my mind.

If you judge an album by its cover, this one looks like it could have been released anytime within the last 50 years. I had never heard of Laura Nyro until now, so I didn't understand the background of this songwriter. Without any research prior to listening I'm left with the impression that this was a mature release swept under the rug for its universal sound. It doesn't strike me as "1968" (although now that I think about it there is a certain underlying 60s pop throughout the entirety of it). That's one of the reasons I like this album. It's not boxed in. Good for a casual listen but that's about it.

Never heard of her before, great voice and really interesting material

Enjoyable, reminded me of Carole King, and now I see there are parallels.

oh ok intriguing. got a strong soul influence right outta the gate it's tapestry but not as good. gotta echo the other reviewer who said that whenever it gets all brassy and soul-y it's good. otherwise, eh

Quality album that we shall be sure to repeat, love her voice.

Her voice is good, and there are lots of good moments. This music is too noodle-y, even slippery for me, though. I couldn't get a hold of any of the songs. It would sound nice and then sound like something else. Didn't hate it, but found it quite frustrating. 2.5, rounding down.

5/10

The earlier songs were some really fun jazzy numbers

Already heard bought it when in my singer songwriter phase - didn’t buy anything else by her! Think it’s the juxtaposition that can happen in the same line that I struggled with. This may have been the 1st time I had heard the whole album in 1 go and have to admit it helped acclimatise and was a much better listen than I remembered. She can still be lovely then in the same line lean into melodrama show tune land, which continue to grate. Hold with my original view, 3 Star.

Sånn passe spennende.

Nyro sings with an almost preternatural exuberance and confidence, a fitting match for her blown-out maximalist soul-inflected pop songs. Calling them "songs" might be a little generous though - they seem more like exercises to test the range of the human voice rather than efforts to convey actual feelings.

It wasnt for me. Her voice was irritating and the tracks dull.

I felt nothing at all during this. I didn't like it, I didn't dislike it. Literally, nothing. The style (or perhaps lack of a fixed one) sort of grew on me toward the middle, but it still left me empty. Hard for me to rate to be honest.

Wow wow! Fantastic vocals. Had never heard of Ms. Nyro before the challenge. She’s an obvious influence on female pop singers who followed— Rickie Lee Jones & Carly Simon, for instance. The songs on the album are varied and fun. An easy 4, perhaps a future 5?

Was looking forward to this, haven't listened to it previously but know of it's reputation. Disappointing to be honest, a fine singer but mostly everything here sounds like a show tune from a musical, which isn't great because the accompanying vocal inflections get annoying quickly. Woman's Blues was great for a minute and then... She might have been hugely influencial but this isn't for me and definitely wouldn't bother listening to this again, twice was enough. 3/10

Wow.. awesome voice. thx

I think the music made my bagels better

More album art that fooled me. This time I'd have thought it was a 1980s/1990s album, instead I got something from 1968.

1. luckie - 1 2. lu - 1 3. zuueet - 2 4. train - 2 5. lonely - 2 6. eli - 1 7. timer - 0 8. ztoned - 1 9. emmi - 1 10. bluez - 1 11. nouu - 0 12. december - 2 13. confezzion - 0

[here begins a series of catch-up micro-reviews] Very cool early art-pop. ML398

It grew on me. Not sure I'll listen again though

This was very cool. Had never heard of this before, thought it must be a modern album, the cover looks very modern. But then it ends up being from the 60s! It’s just very ahead of its time! I am a sucker for a woman and a piano! And what a voice! She is SANGING! I heard traces of so many artists I love that came after her - Judee Sill, Joni Mitchell, Kate Bush, Fiona Apple, etc, etc. Really cool album here. Glad I got to listen to it.

Like it 3/5

Pretty ok

What a discovery! So many amazing and diverse sounds forming an utterly singular voice.

it was okayyy eh

I wasn't so sure about this at first but I warmed up to it as the album progressed. She tends to go a bit off tone (stylistic choice?) and at times her voice can be annoying when she goes into her upper register. Not especially my thing but not bad.

Eh... No, it was a little overwhelming, I don't know if it was the sound mixing of her voice. I usually like this kind of music, this didn't click for me. Still can't call it bad.

Musically this is well-crafted, but I absolutely cannot stand her voice. It's way over the top and it's migraine inducing to the nth degree. Couldn't handle more than a couple songs of it.

actually pretty nice, wasnt expecting that

I'd imagine that if you like Jodie Mitchell you'll enjoy this. I don't

The Good: We finally get the truth! The Bad: It took 13 tries… The Ugly: The previous twelve lies!!! Never ever heard of this lady. What a inspiring, yet sad story. When the first song kicked in my instant reaction was “WTF am I being forced to listen to now?” That feeling really didn’t leave after the second song… as a matter of fact, when I was done with the record, I was kind of happy… However, as I was on my morning walk, and the walk lasts about 80-85 minutes, and I only had this album uploaded on my smart-watch, well… I had to listen to it again. Some how, the album actually started growing on me. Then, 1 day later, now that I know the trick of listening to the next album without having placed a review of the previous one, I decided to listen to the new album… this morning… during my walk… That fucking album was a nightmare… so I listened to this album again. Congrats Laura on these 4*

Another one I've never heard of - late 60's, what Wiki calls blue-eyed soul & New York pop. 3 songs in, I find the tempos (and tempo changes), and voice quite aggressive. Poverty Train is not *as* bad and has a flute...Stoned Soul Picnic tolerable as well. Otherwise I gotta cut off this album early and move on.

The most liked review for this album says something like, "her voice alters between annoying and beautiful," which is a really good summary. I'd slow down and examine that a bit...she's got a great voice, 100% no doubt about it. But it's what she does with the voice that's annoying..she's all over the goddamn place and it's just a bit too much. It's not the substance that she has, it's the style she incorporates that's driving me nuts here. The band behind her really grooves. The production is legit, the recording is great but she's a bit to much. She eases up a bit on the Poverty Town song and you can see, for a few seconds, maybe, if she tried a Janis approach this could be a lot better. In some places on this album, I think she needs to show some restraint...the music doesn't breathe. There's no time to think "damn, what a voice" because she's warbling all over the place.

“I don’t want to sock it to the people. I just want to put my music out there and if they like it they’ll come to me.” Laura Nyro, to producer Bones Howe, June 1968 (source: The Laura Nyro Experience (Part One) By Robert C. Gilbert) In a nutshell: creativity unleashed. When one would zig, Laura zagged. It's part jazz pop, part blue-eyed soul, part experimental piece. I couldn't make sense of it but I concede that it did lead to artists covering her work and did inspire many artists. Overall: 4/10

76

There’s something I find rather irritating about this.

voice and vitality carries, feels like a good shindig, minus points for the pop lyrics

I've had this on vinyl for about a year now and I am just now giving it a listen. Lots of Rickie Lee Jones vibes, honestly shocked this record is from 1968, sounds about 10 years ahead of its time. Really lovely.

its not bad at all just because its not my style of music its a 2. Could have been a 3 on a different day

.....I don't get it. Laura Nyro has been historically positioned by the press as some kind of unsung heroine of 60s folk pop, but there's little folk or pop to be found here. Instead, Nyro creates this unholy fusion of show tunes, 60s soul and jazz to create...whatever this is. I can't sit here and say the whole thing is irredeemable, because there are genuinely a few good songs on here: the one I liked most was "Sweet Blindness," and that's because it's one of the only songs that doesn't shift into piano jazz halfway through. When I was given Tapestry as my daily listen, I found Carole King's style overbearing at times. Nyro's, by contrast, is outright overwhelming with how overwrought and pitchy her voice is. Unconventional tonality is hardly a dealbreaker for me, but going flat or sharp while playing loud major chords does not a jazz tune make. The show tunes aspect shines the most to my ears. Some of my fondest musical memories came from the theatre, but Nyro seems to have drawn her influences exclusively from musicals attempting to be high art: think something like "Candide" or lesser known Sondheim like "Passion." Those kinds of shows, I think, fundamentally misunderstand the purpose of a musical in the same way that opera is misunderstood today: both show formats are made by and for mass audiences, but retroactive assessments try to position them as elitist and exclusionary, thanks in no small part to the most ardent supporters. This album hardly has that sort of audience assessment, but it was thought of as some sort of high concept piece despite being made up of broad, popular elements, some of which were done much, MUCH better than others. Nyro's voice is probably the most significant detractor for me, as her instrument swings wildly between tones. One minute she sounds quite nice before turning into a fusion of every bad American Idol audition not 30 seconds later. While there's definitely a small handful of gems on this album, they're few and far between, and you have to wade through the rest of this album's mire to get through them. It's far from horrible, but it's very close to forgettable

Sometimes I love her voice, but sometimes I hate it. It's very weird how she uses it, like an out of control Minnie Riperton.

Was Alright (but not for me)

Quite impressive, very diverse and quite visionary. It blends so many genre that it is a bit confusing at times, but it still glides trough quite elegantly for me. Loved especially the feminism angle that feels quite modern. But the thing I'm suprised most is how people were surprised about our bisexuality, Emmie is right there and it's quite cool !