Laura Nyro was, above all, original.
Her unflinching confessional lyrics and audacious rhythmic shifts made her an idol and trailblazer for such stars as Elton John and Kate Bush. Nyro’s commercial success doesn’t reflect her talent, but her work will endure for generations.
Laura Nyro was among the most gifted singer/songwriters of modern times and one of the first female singer/songwriters who didn’t come from the folk-music world.
Her music reflected a combination of spirituality and street smarts. Bursting with talent, she possessed a penetrating, soulful voice, a commanding touch on the piano and an arsenal of impressionistic songs that drew from R&B, soul, gospel, jazz, Brill Building pop and Broadway show tunes. As Jon Pareles wrote in the New York Times, Nyro “linked high-flown poetry to the ecstatic emotions of soul music, and her singing mixed the pure tones of a soprano with the throbs and swoops of gospel and jazz.”
Nyro was not easily pigeonholed and seemed almost too intense and unconventional for mainstream tastes. She never attained a Top 40 single, gold album or Grammy Award. However, she did have a beloved cult following, and other performers found great success recording her songs, including Fifth Dimension (“Stoned Soul Picnic,” “Wedding Bell Blues”), Blood, Sweat and Tears (“And When I Die,” “He’s a Runner”), Three Dog Night (“Eli’s Comin’”) and Barbra Streisand (“Stoney End”). For back-to-back weeks in 1969, three of the Top 10 songs on Billboard’s singles chart were written by Nyro.
One of the anomalies of Nyro’s career was that she was guarded and retiring in her personal life but filled her songs and performances with uninhibited feeling and feverish intensity. She seldom gave interviews, toured infrequently and announced her retirement (which turned out to be temporary) at age 24. Nonetheless, her recorded work—especially a remarkable run of albums in her first half-decade—documented a major talent bursting with precocious soulfulness and a singular musical style.
Driven by an inner flame, Nyro was forthright and independent in her approach to music. “I’m not interested in conventional limitations when it comes to my songwriting,” she contended in the liner notes for Stoned Soul Picnic: The Best of Laura Nyro (1997). “I may bring a certain feminist perspective to my songwriting, because that’s how I see life. I’m interested in art, poetry and music. As that kind of artist, I can do anything. I can say anything. It’s about self-expression.”
Nyro (whose birth name was Laura Nigro) was raised in New York City, where she heard and studied all kinds of music. Her father was a jazz trumpet player. Her mother introduced her to opera and classical music. She attended the High School of Music and Art in Manhattan, where she discovered jazz and folk music. She and her friends sang in the streets of the city during the doo-wop era, furthering her love of soul, rhythm & blues and Brill Building pop music.
Nyro was only 19 when she recorded her debut album, More Than a New Discovery, released in early 1967 on the Verve-Folkways label. David Geffen saw Nyro perform at the Monterey Pop Festival in June 1967; it was only her second real performance. He became her manager and got her signed to Columbia Records.
Three brilliant albums followed in three successive years: Eli and the Thirteenth Confession (1968), New York Tendaberry (1969) and Christmas and the Beads of Sweat (1970). Her piano-driven songs covered a lot of ground and broke with songwriting conventions as Nyro gave free rein to her feelings as a young woman coming of age in the city. Nyro’s commanding energy, passion, poetry and musicality shone through on these albums, the creative core of her catalog.
The vocal trio Labelle—Patti LaBelle, Sarah Dash and Nona Hendryx—accompanied Nyro on her next outing, Gonna Take a Miracle (1971). It was a joyous set of R&B, soul and girl-group remakes that harked back to her teenage love of a cappella. The album was produced by Kenny Gamble and Leon Huff, masterminds of the Philly Soul sound, and endures as a classic piece of urban-soul homage. Nyro then went five years without making a record. (More Than a New Discovery was subsequently re-issued by Columbia with a revised running order as The First Songs in 1973.)
During the second stage of her career, which resumed in the mid-Seventies, the fervid outpouring of her early years gave way to a more contemplative, settled and nurturing spirit. “I’m not a prolific writer now,” she told Rolling Stone in 1976. “I still feel the same feelings as a composer, but I feel them at a slower rhythm.”
There was a brief flurry of releases in the late Seventies: Smile (1976); Season of Lights…Laura Nyro in Concert (1977) and Nested (1978). But then new work came much less frequently. Mother’s Spiritual (1984) was a highly original and heartfelt album that explored such themes as human rights, environmental awareness and universal love. She dedicated the album “to the trees” and the accompanying tour to the animal rights movement. A live album drawn from the tour, Laura—Live at the Bottom Line, appeared in 1989 after another half-decade of silence.
There was no more new work in the Eighties and only one more album of original songs, Walk the Dog and Light the Light (1993), was issued in her lifetime. Nyro died of ovarian cancer in 1997 at the age of 49. Shortly before her death, she compiled a double-disc career overview, Stoned Soul Picnic: The Best of Laura Nyro, for Columbia/Legacy. Four years after her death, an album of her final recordings, Angel in the Dark, was released.
Nyro was a songwriter’s songwriter who lit the way for others. Her memorable songs and trailblazing style have empowered such radically original female artists as Kate Bush, Tori Amos, Suzanne Vega, Jane Siberry, Rickie Lee Jones and many others. Todd Rundgren was a disciple, admitting that he changed his songwriting style after hearing Nyro. Elton John, speaking on Elvis Costello’s interview show Spectacle, confessed that he “idolized” Nyro: “The soul, the passion, just the out-and-out audacity of the way her rhythmic and melodic changes came was like nothing I’d heard before.”
After Nyro’s death, David Geffen remembered her as “a consummate artist...a poet for past and future generations.”
Inductee: Laura Nyro (vocals, piano; born October 18, 1947, died April 8, 1997)