Stephen Grimstead, Editor
Various ArtistsTime And Love -- The Music Of Laura Nyro (Astor Place)
TRUE
PIONEERS NEVER FULLY REalize the effect they have on those they leave behind.
The absolute action of blazing a new trail precludes looking back. The late
musician Laura Nyro was such a prototypical force, and the strongly feminist
(yet deeply spiritual) music she created in the late '60s through the early
'90s opened the doors for a subsequent wave of women singer/songwriters
who otherwise may not have stood a chance of being heard.
The recently released tribute album in her memory, Time And Love -- The Music Of Laura Nyro, exudes a heartfelt poignancy rarely found in other projects of this nature. Initiated over a year prior to Nyro's untimely death from ovarian cancer this past April 8th (some six months shy of her 50th birthday), Time And Love features a diverse cross-section of modern female recording artists following in Nyro's resonant footsteps and making a few new imprints of their own.
To those unfamiliar with Laura Nyro's music, she is primarily (i.e., popularly) known for a string of Top 40 radio hits which were written by her but made famous by other artists (Blood, Sweat & Tears, Barbra Streisand, the Fifth Dimension, Three Dog Night). Yet, to fully experience this significant talent, one must locate and listen to any (or all) of her nine studio albums (More Than A New Discovery, Eli And The Thirteenth Confession, New York Tendaberry, Christmas And The Beads Of Sweat, Gonna Take A Miracle, Smile, Nested, Mother's Spiritual, and Walk The Dog And Light The Light).
The interpretations on Time And Love fall neatly into two categories: the traditional pop versions (Phoebe Snow's "Time And Love," Jill Sobule's "Stoned Soul Picnic," the Roches' "Wedding Bell Blues") and the more adventurous, stark, stripped-down covers (Suzanne Vega's "Buy And Sell," Lisa Germano's "Eli's Comin'," Jonatha Brooke's "He's A Runner"). A pair of anomalies round out the 14-song package: a montage of Nyro trademark songs assembled by Jane Siberry ("When I Think Of Laura Nyro") and an instrumental version of "Upstairs By A Chinese Lamp" by virtuoso guitarist Leni Stern. Although all artists involved acquit themselves admirably, particular attention should be paid to Rosanne Cash's joyous take on "Save The Country," Sweet Honey In The Rock's gospel-flavored "And When I Die," and Dana Bryant's ghetto-rap stylings on "Woman's Blues."
One minor complaint about this album is that the song selection focuses solely on the fruitful period from 1966 through 1971, thereby neglecting the last two decades of her brilliant career. Other than this slight quibble, Time And Love -- The Music Of Laura Nyro is a worthy introduction to Nyro's music, as well as to the artists who assembled to praise her. (A two-CD overview, Stoned Soul Picnic -- The Best Of Laura Nyro on Columbia Legacy, is a good place to continue your journey.)
Other lesser talents fiddled while Nyro burned,
and her contributions still shine on brightly. -- David D. Duncan
Apocalyptica Plays Metallica By Four Cellos (Mercury)
HEARING THESE FOUR FINNISH cellists grind out instrumental versions of Metallica songs is very much like watching a familiar American-made movie that's been overdubbed in another language. At first, one is at least mildly entertained, but prolonged listening/viewing can result in serious mind-expansion.
Apocalyptica's members first hit upon the notion of covering this material several years ago while attending the famous Sibelius Academy in Helsinki. Plays Metallica By Four Cellos is not a whimsical toss-off by some highbrows slumming around on the rocking side of the tracks; these guys have a real respect for the band that resuscitated a lame and ailing genre in the mid-'80s.
Metallica's music (particularly the earlier, pre-Bob Rock stuff) has a modularity about its structure which lends itself well to Apocalyptica's efforts here, at times producing a sort of minimalism, not totally removed from that of composers like Philip Glass, believe it or not. The cellists maintain a reasonable allegiance to the melodic resources, even rendering a fair portion of Kirk Hammett's lead lines, in spots.
When assaulted with aggressive, repetitive bow-action, the cello's lower register actually stands in persuasively for James Hetfield's trademark rhythm guitar locomotion. In fact, most of the album features truly rude tonality from all four performers, scratchy and fearsome.
I doubt that Plays will inspire Carnegie Hall's decision-makers to turn that venue's orchestra pit into a mosh pit, and many of the Metallica faithful simply won't get it. However, dedicated Harvesters of novelty might find this release worthwhile. -- Stephen Grimstead
Whether you record in a pro studio or at home, if you live in or near Memphis and you're marketing your music without the benefit of association with a record label, we want to hear your stuff. Send your self-released CD, tape, or vinyl, along with a black-and-white photo of the band/artist and some written info to: The Memphis Flyer, 460 Tennessee Street, Memphis, TN 38103. On the bottom left-hand side of the envelope write the words "unsigned music." From time to time we will devote the review column to these recordings, although merely getting your music to us does not guarantee a review.