Eli and the Thirteenth Confession
| Eli and the Thirteenth Confession | ||||
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| Studio album by Laura Nyro | ||||
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admission |
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| Label (s) | Columbia Records | |||
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Title (number) |
13 |
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running time |
46:05 |
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Laura Nyro , Charlie Calello |
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Studio (s) |
Columbia Studios, New York City |
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Eli and the Thirteenth Confession is the second studio album by the New York singer, songwriter and pianist Laura Nyro (1947–1997). It was released in March 1968 and was one of the early concept albums in pop history .
In the Billboard Top 200, then known as the “Billboard Pop Albums”, the record only reached number 181, but in the course of 1968 it sold around 125,000 copies. It quickly became an insider tip, especially among musicians and radio DJs , and is still considered a milestone in pop music decades later . In 2002 it was re-released in an expanded version as a CD on Sony's subsidiary label Legacy.
admission
The studio recordings took place around the turn of the year 1967/68, the final versions of the individual pieces were made between January 3rd and February 15th; the record was released on March 3, 1968 in the USA and a little later in Great Britain on the Columbia label . All songs on Laura Nyro has even composed and together with the arranger Charlie Calello produced . She had already recorded the tracks Sweet Blindness and Stoned Soul Picnic in 1967 with her previous record company Verve , which wanted to publish them on the LP Soul Picnic ; Before this album was completed, however, the artist parted ways with Verve and her previous managers.
Calello, whom the singer and pianist would have liked to have included on her first LP, was only 29 years old at the time, but had already produced a number of top 40 hits, including Rag Doll and Dawn (Go Away) by the Four Seasons , with which he had performed alongside Frankie Valli until 1966 , Lightnin 'Strikes ( Lou Christie ), The Name Game ( Shirley Ellis ) and A Lover's Concerto ( The Toys ). Calello later told of the first meeting with Nyro and her new manager David Geffen in the run-up to the recording sessions:
“Except for a few candles, she put out all the lights in her apartment, sat down at the piano and played the entire new album for me from A to Z. When she turned the lights back on, I had tears in my eyes - I was completely, completely, completely blown away. I said to David: I have to make this record! "
The accompanying musicians on the final version include a. Hugh McCracken (guitar), Chet Amsterdam (guitar), Chuck Rainey (bass), Joe Farrell (saxophone, flute), Zoot Sims (saxophone), Artie Schroeck (drums), Bernie Glow (trumpet) and Jimmy Cleveland (trombone), mostly jazz musicians.
One of the technical features of this LP is that two brand new 8-track recording devices were available in the Columbia studios; up until then, four tracks were standard in the studio. Since Nyro insisted on singing the background vocals herself, which she was able to do with her voice spectrum of three octaves, Calello first recorded her background vocals on six sound tracks, then mixed them together on two tracks and thus had enough space for them the instrumentation left. The waiver of foreign background singers was also an absolute innovation at the time. Also very unusual in 1968, manager Geffen pushed through the Nyros record label's request to add an insert with the lyrics to the album, which was also perfumed. Laura Nyro, considered to be “stubborn” in a positive sense, was one of the first women in pop music who, thanks to her multi-layered skills (composition, arrangement, interpretation and choice of personnel, even the design of her record covers) and with the help of Geffens, kept herself in control could create considerable artistic independence from the record industry. Even as a 20-year-old she was not prepared to accept artistic compromises in favor of greater commercial success based on the prevailing public taste (“middle-of-the-road”) . The recordings were correspondingly long and expensive. Charlie Calello later stated that Columbia normally estimated about $ 15,000 to produce an LP at the time ; Eli and the Thirteenth Confession ended up costing around $ 36,000.
After More Than a New Discovery , published on Verve in 1966 , this was only Nyro's second long-playing record. It deals with typical pop topics such as love and passion, drugs and death; However, these are presented in a musical crossover of elements from jazz , soul , blues and gospel , which was anything but typical of the time. The critics particularly praised the lyrical quality of the lyrics. Three of the titles became big US hits in cover versions : Eli's Comin ' by Three Dog Night made it to number 10, Stoned Soul Picnic and Sweet Blindness from the Fifth Dimension made it to number 3 and 13 respectively on the pop charts. That same year, Nyro began recording her third LP, New York Tendaberry , which was released in 1969.
concept
The songs on this LP follow stages on a journey from youth to adulthood, a concept that Laura Nyro had intended from the start: Her songs should form “a musical with a coherent story”. The record shows at least a loose biographical reference to the 20-year-old author. Laura Nyro said to a friend during the recording: "When this album is finished, my mother will know exactly where I've been." The first songs describe scenes from an innocent childhood, go with the curiosity and first experiences of an adolescent the dangers of drugs and the disappointments of insincere lovers and culminate at the end of the record in the reflections of a woman who has also grown up sexually. Love in its different forms ( platonic love , agape , eros and parental love ) is the "common thread" that holds the individual songs together. The texts are written in the first person, so they offer the listener a look through the eyes of the teenager, the adolescent and the young woman one after the other.
This is both a stylistic device and at least partially an autobiography. Laura Nyro did indeed occasionally consume drugs, even if not cocaine (as in Poverty Train ), but alcohol and - for example, in a single recording session of this LP - hashish. The lyrical representation of friendly, platonic and sexual relationships and feelings is also based on the songwriter's rich experience, according to her biographer. Nyro was not raised religiously, but since her father was Catholic and her mother was Jewish, she had personal knowledge of both religions and used them in her texts in numerous religious metaphors and allusions (see below ) . Musically, too, especially in the recurring doo-wop , jazz and soul elements of her compositions, the record shows strong references to Nyro's own life as a teenager: she sang a-capella-doo-wop herself in public in the early 1960s , her father was a jazz trumpeter and in particular soul singers ( Patti LaBelle , The Orlons , Martha & the Vandellas and Nina Simone ) were among her personal preferences.
The album title ("Eli and the thirteenth confession") takes up this concept insofar as it alludes to the song "Eli's Comin '" about a dangerous but irresistible lover and with "Confession" highlights the thirteenth and final song on the vinyl LP . The record sleeve also reflects the aging of the first-person narrator: On the photo montage of the back of the record cover, Laura Nyro kisses a younger Nyro on the head, like adults sometimes kiss a child goodbye. She herself explained the picture by saying that she said goodbye to 17 years of her life. For Nyros biographer Michele Kort, this album "portrayed female sexuality in a way that was hardly heard in [white] pop music before: ... carried, provocative and knowing."
The songs
All songs are penned by Laura Nyro .
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Luckie: A song that starts with a swinging intro, with various Nyro-typical tempo changes, the musical impression is more of a Broadway - or jazz - than a pop song. From the perspective of a teenager, the text describes the male partner of an early friendship, often referred to by Nyro here as in other texts as a “captain” and - nomen est omen - a “lucky charm” with which she personified the problems of the “devil” Life will master. The rhythm spreads a youthful "liveliness".
Lu: Stylistically and thematically similar to Luckie , this title also contains elements of soul and doo wop . Here, too, Nyro celebrates the eternally new experience with a new friend or lover and describes her feelings very graphically: Without Lu the world is cold (“Silver was the color, winter was a snowbell… living off the lovewell”), but with Luie it is warm ("Amber was the color, summer was a flameride ... walking on God's good side").
Sweet Blindness: One of the most famous songs from her pen, this title forms the transition from the rather enthusiastic, naive young girl experiences to the more differentiated, sometimes gloomy echoes of the following titles - and this change can even be recognized in the middle of the song when she is from the carefree, enthusiastic ( "down by the grapevine drink my daddy's wine, get happy") , and musically most likely a pop song appropriate portrayal of an alcoholic, and possibly erotic evening with friends ( "I'm a saloon and a moonshine lover") to a A thoughtful, repentant mood changes, out of which she asks "Please don't tell my mother ... don't let daddy hear it" .
Poverty Train: An almost classic blues part opens this song about the dangers of hard drugs (“I swear there's something better than getting off on sweet cocaine”) . The lecture is characterized by the change between long, sedate a cappella passages and - atypical for the "early Nyro" - relatively lavishly orchestrated, rhythmically strong and jazzy sections. Poverty Train was one of the three songs she sang live at the Monterey Pop Festival in 1967 .
Lonely Women: You could just as easily have heard this title in a smoky night bar in the 1940s: presented in a bluesy and relaxed manner, it outlines the situation of lonely women. The vocals are accompanied by a saxophone, which the jazz musician Zoot Sims plays in a way that Laura Nyro described to Down Beat with the words: “... you can barely hear the air coming out, just a few scratchy, broken notes that belong to the song Convey loneliness ". In the last third of the song, the song suddenly changes to a faster pace with a complete background music by the studio band, without the lyrics assuming a more optimistic mood at the same time - a very young woman expresses her (first?) Romantic disappointments. These breaks and contradictions are typical of Nyro's music of the late 1960s.
Eli's Comin ': The fastest song on this LP with a driving beat can best be characterized as a rocky gospel song, to which not only the background vocals sung by Nyro himself contribute. Lyrically she sings about a dangerous but irresistible lover: "Better hide your heart, girl ... Walk but you never get away from the burn and the heartache" . This recording also changes musically abruptly at the end of the tempo and mood. If she praises Eli (the short form of Elijah ) at first as an approaching prophet, she finally realizes that he is coming to choose her and, having sunk on her knees, gives in resignedly, but no longer euphorically ("He's coming to get me, mama, I'm down on my knees “) , what is to come - it is up to the listener to draw his own conclusions from this mixture of religious and strongly erotic allusions.
Timer: In terms of content, this title deals with people's race against time and the inevitability of death ("Uptown goin 'down ole lifeline ... God is a jigsaw timer") , even if she herself once claimed that she had this song about her cat written. Musically, the intro is reminiscent of a kind of modern opera; Nyro sings in the upper range of her three octaves soprano voice . Then she changes over a Broadway passage performed in the style of Barbra Streisand to a happier pop song with doo-wop echoes; at the same time, stylistically done again in the middle of a song, the second conceptual part of the album with its “darker shades” ends.
Stoned Soul Picnic: Relaxed and catchy, this song describes a situation similar to Sweet Blindness , but this time more distant and less remorseful from a larger life experience. This composition was therefore ideal material for the middle-of-the-road -ophit, which The Fifth Dimension later made out of it in the times of "Love and Peace" by weakening the musical breaks presented by Laura Nyro.
Emmie: In Emmie, the only really romantic, passionate ballad on this LP, Laura Nyro sings about a girl with the words "You are the natural snow, the unstudied sea, ... you ornament the earth for me" , followed by the Neil Diamonds hit Cherry Cherry borrowed the refrain "She got the way to move me, Emmie" , which she replaced in a later remake with "Mother, my friend, Daughter, my friend, Sister, my friend, Lover" . After the album was released, there was much speculation about whether the text was written from a man's point of view, whether she was referring to a specific person (such as her friend, journalist Ellen Sander), indicating her sexual orientation, or whether this was an honor for her soulmate poet Emily Dickinson was supposed to portray. When asked about this, the author herself said that Emmie was the description of the “eternally feminine”.
Woman's Blues: After an intro that sounds as spherical as if Nyro's voice came from the afterlife, a very jazzy melody sung in particularly high notes, using three different bar lengths , increasing in intensity and strange - the one for the average pop music listener musically the most difficult tracks on this album. In direct contrast to the previous piece, it shows the wide range of her musicality. In terms of content, comparable to Lonely Women , she deals with the subject of “disappointed love” completely differently: although she regrets the loss of tenderness (“My lover's mouth has been so good to me”) , “Baby don't love me - shuffle” cause another one [will] do ” shows the abandoned woman more confidently, because the lover has a lot more to lose than she does (“ Go live as long as an elephant but there won't be more loving woman than me ”) .
Once It Was Alright Now (Farmer Joe): In just under three minutes, this song contains so many different musical stylistic elements that it is a small suite that could have been split into three or four separate songs, “but they fit thematically and musically together". The protagonist describes herself in the text as a woman with very different characteristics: as evil, clever and empathetic, impatient and strong-willed - as an adult, self-confident woman who is no longer just a mirror or object of male moods.
December's Boudoir: Musically also anything but catchy, the content of this song again forms a counterpoint to the previous one, almost as if the first-person narrator had found happiness soon after the disappointment with Farmer Joe - even if it warms her for even one December . She only hints at her wishes and expectations ("I take my coffee in the morning and all your love, a spoonful or so make us grow") , drawing more of a mood picture of herself, while the man in this song remains nameless.
The Confession: The LP ends with this fast-paced piece. As if the relationship from December's boudoir had become more intense beyond the winter, the now adult woman expresses her ideas and needs much more clearly ("Do your shoppin 'baby, love my lovething, super ride inside my lovething") , but at the same time confesses also openly their sense of guilt. The contradiction between her sexual needs and the contrary moral norms of both fatherly Catholicism and motherly Judaism is expressed in the fact that she hopes that her parents - not directly addressed for the first time on this record - will give them absolution for what they are in Confessed all 13 songs (English to confess ). She herself justifies this with the words “love is surely gospel” , meaning that love is ultimately the truth and the gospel, but she hears her mother cry while her father forgives her from the grave: “Little girl, of all the daughters you were born a woman not a slave " . In this respect, the protagonist also returns to - or remains in - her childhood, when the parents' words had weight, and the thematic circle of the album closes. The chorus of this title, performed several times ecstatically and “certainly revolutionary for 1968”, was still relevant a decade later: it resurrected in Donna Summer's 1976 disco hit: “Would you love to love me baby? I would love to love you baby ” .
The CD version from 2002
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Bonus tracks
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Eli and the Thirteenth Confession was re-released on Sony's Legacy label in the summer of 2002, a good five years after Laura Nyro's death, in an extended and therefore around eleven minutes longer remastered edition . Al Quaglieri is responsible as the producer.
The CD also contains three previously unreleased demo versions of Lu , Stoned Soul Picnic and Emmie , which were recorded in November 1967 and only feature Nyro's vocals, her piano playing and her own polyphonic background harmonies. The booklet contains the lyrics, photos and other information about the recordings, as well as extensive remarks from the historical review on the classification of the record in the musical context of its creation. Sony / Legacy also re-released Nyro's third and fifth LPs ( New York Tendaberry and Gonna Take a Miracle ) in a comparable version on CD.
reception
| source | rating |
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| Allmusic |
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Both shortly after its release and still three and a half decades later, the album led to some exuberant reactions, both from musicians and from reviewers. Blood, Sweat & Tears drummer Bobby Columby called it “fantastic and one of the best pop albums ever,” Todd Rundgren thought it was “music that I had never heard before in this sincerity and emotional depth… not just a bunch of songs, but an opera, ”and music critic William Kloman wrote in the New York Times on October 6, 1968:“ Laura Nyro is currently the leading musical trendsetter. At the end of the year she could also be the most successful. ”The“ Bible of Jazz Music ”, Down Beat , described Nyro a few months after its publication as“ one of the best jazz singers of the past few years ”. Even later, the trend-setting quality of Eli and the Thirteenth Confession was emphasized, for example by REM guitarist Peter Buck (“Your first four LPs - no one ever created such music!”), Laura Nyros colleague Phoebe Snow (“People those who hear her for the first time in the 21st century often think she's a new, alternative singer. Her music is completely timeless. ") or the reviewers on highbias.com (" One of the most amazing albums from the 1960s. " ) and musicbox-online ("Nyro mixed countless styles to create something that completely deviated from the standards of the time."). Similarly, the New York Times 1997: "Eli was one of the most influential pop recordings of the late 1960s." The Encyclopædia Britannica calls Eli a "cult-classic album" and mentions it as one of only two representative singer-songwriter LPs of the 60s. It also received a place in Robert Dimery's 2006 book 1001 Albums. Music You Should Hear Before Life Is Over. , and six songs from this LP - and thus more than any other - can be found on the compilation Stoned Soul Picnic: The Best of Laura Nyro , which Columbia put together with Nyro's significant participation shortly before her death.
But there were also critical tones, which - in addition to the fact that it is not a pure pop LP, but a style crossover - possibly the discrepancy between the enthusiasm of many experts and the relatively modest success of the record at the till help explain. The 1968 US edition of Rolling Stone complained that the rhythmic breaks were too frequent and that Nyro occasionally misused her falsetto voice with the effect that “these techniques sound like artificial antics” and made it difficult for the listener to listen to the album from beginning to end. On the other hand, the author conceded that the number of strong songs outweighed by far and that the record Nyros showed "independent and brilliant talent, a good voice, great musical and linguistic feeling and a lot of style". The record was also not included in the list compiled by the editors in 2003, The Rolling Stone 500 Greatest Albums of All Time . Rolling Stone listed Eli and the Thirteenth Confession in a list of 40 albums Baby Boomers Loved That Millennials Don't Know in 2014 , and in 2017 Nyro's second LP for British newspaper The Telegraph was one of the 50 Amazing Albums You've Probably Never Heard . In 2016 Uncut magazine voted it 100th of the 200 best albums of all time.
As for the immediate musical impact of the LP, in particular have several female singer-songwriters like Carole King , Joni Mitchell , Rickie Lee Jones or Rosanne Cash Nyros emphasized leading role in their own career, however, without explicitly and exclusively to Eli and the Thirteenth Confession to refer to (see the Nyro article ) .
literature
- Robert Dimery (Ed.): 1001 albums. Music You Should Hear Before Life Is Over. Olms, Zurich 2006, ISBN 3-283-00526-5 , p. 137
- Michele Kort: Soul Picnic: The Music and Passion of Laura Nyro. Thomas Dunne Books / St. Martin's Griffin Press, New York 2002, ISBN 0-312-20941-X (biography)
- Laura Nyro: Lyrics and Reminiscences. Cherry Lane Music Company, New York 2004, ISBN 1-57560-648-8 (Nyros texts)
Remarks
- ↑ Kort, p. 62f.
- ↑ Song-by-song recording data from the CD booklet, pp. 6–10
- ^ Kort, p. 51
- ↑ Kort, p. 51f .; on Calello see also the article in the English language Wikipedia
- ^ Kort, p. 52
- ↑ Whether the statement by fans that the sheet still exudes a weak scent (Kort, p. 57) corresponds to reality remains to be seen.
- ↑ "I love art, not show business" was her motto. - Kort, p. 227
- ^ Kort, p. 57
- ↑ “Her multi-layered songs fuse melodies from Tin Pan Alley , the blues and folk music with jazz harmonies and Motown rhythms. Add her inward-looking texts, which are fed by both romantic poetry and the language of the blues, and you have the recipe for a combination that was completely unique at the time. ”(“ Her complex songs meld melodies derived from Tin Pan Alley, blues and folk music to jazz harmonies and Motown rhythms. Add to this her introspective lyrics, which draw equally from Romantic poetry and the language of the blues, and you have what was then a totally unique combination. "- Quote from highbias.com ( Memento des Originals from October 30, 2006 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this note. ); similar to CD booklet, p. 3; further criticism on the quality of her texts in Kort, p. 58; Lyrics and Reminiscences, p. 40.
- ^ "Nyro created her own sort of musical ... within an overall story structure." - Kort, p. 57; on the concept also p. 59ff.
- ^ Kort, p. 62
- ↑ "Nyro sang about love, inscrutably enigmatic, romantic daredevils, drunkards, lonely women and sensual desires with an infectious joie de vivre." ( "Nyro sang of love, inscrutably enigmatic romantic daredevils, getting drunk, lonely women, and sensual desire with an infectious." joie de vivre. " - quote from allmusic.com )
- ↑ Charlie Calello described the autobiographical aspect with the words "The songs always had some underlying meaning about her own life" - Kort, p. 62
- ^ Kort, p. 55
- ↑ "Both her lyrics and her musical performance move between the sensual and the spiritual, the sacred and the profane, ... with numerous references to God as well as hints of the more physical aspects of relationships." ( "Both her lyrics and singing find the middle ground between the sensual and the spiritual, the sacred and the profane, if you will, with numerous references to God as well as intimations of the more physical aspects of romance. " - Quotation from highbias.com ( Memento des Originals vom 30. October 2006 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. )
- ↑ see details in Nyros biography
- ^ "Nyro herself said that she was kissing seventeen years of her life - her childhood - goodbye." - Kort, p. 57; the photo can be found here ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. .
- ^ "Nyro had displayed female sexuality on Eli in a way rarely heard in pop music ... languorous, provocative, and knowing." - Kort, p. 61
- ↑ All text quotations in the chapter “The Songs” after Lyrics and Reminiscences, pp. 41–66
- ↑ "thumping, R & B-inflected ... groove" - Booklet for the CD, p. 5
- ^ "The next two songs take a somber turn." - Kort, p. 59
- ↑ The rock lexicon counts this song - like Eli's Comin ' and Stoned Soul Picnic - among Nyro's "erotic intoxication fantasies". - Barry Graves / Siegfried Schmidt-Joos / Bernward Halbscheffel (eds.): Rock-Lexikon. Rowohlt, Reinbek 2003 (one-volume special edition) ISBN 3-499-61588-6 , p. 658
- ↑ Rick Petreycik refers to this as "clean played fun" ( "good clean fun") , which engages in a "gospel-like fervor" ( "gospel-like fervor") merges and "surprising change of pace" ( "surprising tempo changes") is characterized . - Booklet for the CD, p. 2
- ↑ "He did a thing with his sax, where you just hear the air coming out and, like, it's all scratchy and broken and he communicates his loneliness into the song." - Kort, p. 53f.
- ↑ “irresistible, but menacing” - Kort, p. 59
- ↑ Kort, p. 59 f.
- ↑ "The Fifth Dimension had smoothed out Nyro's intensity while emphasizing the song's lilting quality" - Kort, p. 64f.
- ↑ On this website, for example , Emmie from the LGBT movement is referred to as the “first lesbian love song in pop music” .
- ^ Kort, p. 60
- ^ Kort, p. 61
- ↑ “but they all… fit from a thematic as well as an orchestral standpoint” - Booklet for the CD, p. 4. On musicbox-online the result is even compared with the best works by Brian Wilson : “Here, she seamlessly merged three separate themes into a three-minute musical suite that's as perfect as anything Brian Wilson ever composed. " - Record review on musicbox-online
- ↑ "soul-baring wail" - booklet for the CD, p. 5
- ↑ "certainly a revolutionary notion in 1968" - booklet for the CD, p. 4
- ↑ Review by Richie Unterberger at Allmusic (English) on AllMusic.com (accessed on February 9, 2017)
- ^ Kort, p. 69
- ↑ “It was a kind of music I hadn't heard before in terms of honesty and emotional depth. It was not a bunch of songs. It was an opera in some ways. ” - Lyrics and Reminiscences, p. 52
- ^ "Laura Nyro is now the hippest thing in music. By the end of the year she may be the hottest as well. " - Kort, p. 66
- ↑ "one of the finest jazz singers of the past several years" - Michael Cuscuna in Down Beat from July 24, 1969, quoted. in Kort, p. 105f. and 295
- ^ Kort, p. 269
- ↑ Liner notes on the rear CD cover
- ↑ "One of the most astounding albums to come out of the 60s." - Disc review on highbias.com ( Memento of the original from October 30, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. in July 2002
- ↑ "Nyro blended a myriad of styles together to form something did was quite different from standard fare circa 1968" - Panel discussion on musicbox-online.com
- ^ "Especially her 1968 song suite Eli and the Thirteenth Confession ... was one of the most influential pop recordings of the late 1960's." - Online version of the NYT article from April 10, 1997
- ^ Encyclopædia Britannica DeLuxe Edition 2004 on CD, keywords "Laura Nyro" and "Singer-songwriters - Representative works". The second representative LP of this decade is Songs of Leonard Cohen .
- ^ "When she breaks her rhythms too much and misuses her falsetto ..., both techniques begin to sound like artificial gimmicks. The cumulative impact of Laura's excesses make this a difficult album to listen to all the way through. ... The strong cuts (which far outnumber the weak ones) ... reveal the mark of an original and brilliant young talent. … Laura Nyro has… a fine voice, a great melodic and lyrical sense, and plenty of style. ”- Rolling Stone, issue 18; available here
- ↑ Rolling Stone's list of the 500 best albums
- ↑ 40 albums Baby Boomers Loved That Millennials Don't Know on rollingstone.com, accessed November 9, 2017
- ↑ 50 amazing albums you've probably never heard on telegraph.co.uk, accessed November 9, 2017
- ↑ Uncut: 200 Greatest Albums Of All Time on rateyourmusic.com, from: Uncut 02/2016 (accessed June 20, 2018)
Web links
(Websites viewed on April 1st, 2018)
- Eli and the Thirteenth Confession on Allmusic (English)
- Disc review on highbias.com ( Memento from October 10, 2008 in the Internet Archive )
- Audio samples at napster
- Official Laura Nyro site (English)
