LAURA NYRO NY TENDABERRY INSANELY RARE ORIG '69 LP w/WITHDRAWN COVER+BOOKLET NM

$

876

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·       LAURA NYRO – NEW YORK TENDABERRY - ORIGINAL 1969 COLUMBIA RECORDS STEREO LP CS-9737 (THE COVER IS CS-9737 ON THE FRONT PANEL; KCS-9737 ON THE BACK PANEL AND THE SPINE; THE RECORD IS KCS-9737)

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED & WHITE "360 STEREO" COLUMBIA LABEL

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       THE COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP WITH A NIFTY STICKER STILL AFFIXED TO THE WRAP.

·       INCLUDES ORIGINAL BOOKLET (FOLDABLE BROCHURE WITH THE LYRICS)

·       CLEAN, WEAR-FREE LABELS

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-2B/-2B'.

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·       *** INSANELY RARE ALTERNATIVE COVER SHOWING LAURA NYRO SITTING ON THE BALCONY OF HER VERY DARK, GHOSTLY AND EVEN MENACING-LOOKING MANCHESTER HOUSE (145 WEST 79TH STREET), UPPER WEST SIDE, NYC PENTHOUSE OVERLOOKING THE CENTRAL PARK, WITH THE VIEW, IN THE DISTANCE, OF NEW YORK CITY'S UPPER EAST SIDE. THIS IS NOT A VERY COMMON, LATER COVER SHOWING THE LARGE BLACK AND WHITE IMAGE OF LAURA NYRO.

·       YOU ARE LOOKING AT ONE OF THE DARKEST, MOST MYSTERIOUS AND MOST ENIGMATIC COVERS IN ALL OF ROCK MUSIC, AND QUITE POSSIBLY THE RAREST COLUMBIA COVER EVER RELEASED, WITH SURVIVING SPECIMENS NUMBERING PROBABLY LESS THAN 50 KNOWN COPIES (ALTHOUGH WHETHER THE ALBUM WAS EVER ACTUALLY FORMALLY RELEASED IN THIS FORM OR NOT REMAINS A BIG QUESTION, WE SUSPECT THAT THE COVER YOU SEE HERE WAS EITHER AN AFTERTHOUGHT OR SOME SORT OR A HUMAN ERROR/CORPORATE MISTAKE); THE BACKGROUND INFORMATION ON THIS RELEASE IS VIRTUALLY IMPOSSIBLE TO FIND, BUT - COURTESY OF YOURS TRULY AND HIS HARD-WORKING LIAISON AT SONY/COLUMBIA MUSIC AND OUR LABORIOUS JOINT GUMSHOE WORK, THE LUCKY VISITORS OF THIS PAGE GET TO READ THE FIRST AND THE MOST DETAILED AND ACCURATE ACCOUNT EVER PUBLISHED ON HOW THIS CRYPTIC AND INSCRUTABLE COVER CAME ABOUT. READ ON (AND GET YOUR BEER AND POPCORN READY)!

·       TO UNDERSTAND THE GENESIS OF THIS MONUMENTALLY RARE COVER, A FEW LOST PIECES OF THE PUZZLE, SCARCE INFORMATION AND MISSING CONTEXT MUST BE PROVIDED AND PROPERLY UNDERSTOOD. THIS IS WHAT WE WILL NEED: (1) THE TIMELINE OF THE ALBUM'S RECORDING (2) THE NATURE OF LAURA NYRO'S CREATIVE PROCESS (3) THE TRILATERAL RELATIONSHIP BETWEEN LAURA NYRO, CLIVE DAVIS (PRESIDENT OF COLUMBIA RECORDS AT THE TIME) AND BLOOD, SWEAT & TEARS, THE GROUP THAT SINGLE-HANDEDLY MADE LAURA NYRO A HOUSEHOLD NAME; AND, FINALLY (4) COLUMBIA RECORDS' CATALOGING, NUMBERING AND PRICING CONVENTIONS AT THE TIME.

·       SO, LET'S START WITH THE TIMELINE:

1. 6/68: Nyro releases the original (single) version of Save the Country (which, 51 years later, still eagerly awaits salvation, but that's a different subject matter altogether).

2. 9/68: recording sessions for the album begin.

3. Columbia initially assigns prefix and number CS 9737 (not, repeat: NOT KCS-9737) to the album and creates a cover for the album that features a photo of Laura's apartment as the front cover (the rare "apartment" cover we have here).

4. The recording sessions drag on until 7/69 during which time Columbia upgrades the catalog prefix to KCS (signifying one dollar more in list price). Do note that BOTH Columbia albums that bookend the New York Tendaberry (Columbia CS-9736 and CS-9738) were released in November 1968; in contrast, Nyro's album was released completely out of sequence, almost a year later, in September 1969; in essence, for almost a year Columbia catalog number 9737 went unutilized.

6. Circa 5/69: Columbia then completely reworks the cover with the later (KCS) prefix and scraps the previous artwork, probably based on the Nyro's objection to the gloomy and depressive photo.

7. 9/24/69: Columbia releases the album with the second, more common cover and recycles the known cover as packaging material. Believe it or not, most of the front slicks - already affixed to the cardboard base - ended up shredded and as packaging fodder.

8. 1/70: Columbia releases  a re-recorded (album) version of Save The Country as a single (this time to be saved from Richard Nixon in lieu of LBJ, whom the country needed to be saved from when Laura Nyro released the first version of the song as a single, in 1968 )

9. A few leftover copies of the original (apartment) covers (apartment cover with CS 9737 spine and KCS 9737 back) are left undiscarded. In addition to being used as packing material, a very small number of "apartment covers" are used for the actual distribution to the retailers, almost all shipped to the US military bases overseas.

·       NOW, LET'S MOVE ON TO THE NATURE OF LAURA NYRO'S CREATIVE PROCESS.

Laura Nyro was known for possessing one of the most crippling cases of the writer's block in the entire show business and would spend countless weeks and months mentally paralyzed, devoid of inspiration, drained of energy, somewhat slightly neurasthenic and unable to continue where she'd left off. She would take all the time in the world to continue writing and nothing and no one could push her to expedite her work. Not even an irresistible force could move this immovable object. As you can see from the album's timeline, the recording sessions dragged on forever and must have made some Columbia's executives downright suicidal in the process. If one includes the recording sessions for the first version of 'Save the Country' (June 1968) in the album's recording timeline, it took no less than 13 (count 'em!) months - more than a year - to complete the recording of the final product, a time-span so bizarrely and scandalously long, that it made the Beatles' Sgt. Pepper recording sessions of six months (a gold standard for excessive studio time) look like a fleeting moment in time.

·        ON TO THE RELATIONSHIP BETWEEN LAURA NYRO, CLIVE DAVIS AND BLOOD, SWEAT & TEARS

While all this procrastination, creative agony and recording stops-and-gos were going on, much was happening in the background that really had nothing to do with Laura Nyro per se. Firstly, in December 1968, Blood, Sweat & Tears - then in the throes of inter-group squabbling concerning the status of Al Kooper - the group's founder and creative dynamo (as well as The Biggest Ego) - released their legendary, self-titled second album (Blood, Sweat and Tears II), which contained no less than three (3) near-chart-topping hits (all three reaching the # 2 spot on the Billboard's Top-10 Pop chart), of which the third ("And When I Die") was penned by Nyro (the group would subsequently record more of her songs,  but none were as successful and none charted).  The sudden and unexpected chart success of the Blood, Sweat & Tears Nyro cover (plus their Grammy Award for the album as well as explosive appearance at the Woodstock Festival the next year), as well as Nyro covers by multiple other artists such as 5th Dimension, Aretha Franklin, Barbra Straisand and others suddenly made Laura Nyro a household name and truly one of the most influential and in-demand singer-songwriters of the era.  Because, just as Nyro was beginning to record 'New York Tendaberry' (late 1968) the members of Blood, Sweat & Tears found themselves in the middle of the internecine war between Al Kooper (the founder of the group and the group's spiritual leader) and Bobby Colomby, the drummer and the second-in-charge, the departure of Al Kooper from the group was all but done deal by the end of 1968.  While the recording sessions for BS&T II were going on in the midst of all that internal rancor (mid-to-late 1968), Al Kooper was concurrently working on recording his first solo work, I Stand Alone (notwithstanding his collaborative work with Mike Bloomfield and Stephen Stills - Super Session - which was released some six months earlier), so, while Kooper did technically participate in the recording and arranging of BS&T II (we believe that he actually played on three songs and did much of the album's production and sequencing, but the exact details remain a little murky), his departure was a foregone conclusion and everyone knew he was leaving (which was a doggone shame - had I Stand Alone been recorded by Blood, Sweat & Tears, it would undoubtedly have become the greatest BS&T recording, astounding commercial success and Al Kooper's personal triumph; alas, as things went, it merely became everyone's minor cult favorite,  and the group itself descended into a rapid artistic and commercial free-fall and irrelevance). The remaining group members briefly contemplated keeping Kooper solely as an organ player - a demotion of the most humiliating kind - but everyone quickly realized that the arrangement wasn't going to work, and so the idea was promptly euthanized. By February of 1969, Al Kooper was formally gone and no longer a member of the group.

Sensing a good marketing opportunity (and the chance to push Nyro to finish her long-awaited album), Clive Davis, the then-president of Columbia Records, unleashed a clever media rumor that Nyro would replace Al Kooper as the new vocalist - and, presumably, a keyboard player - of Blood, Sweat & Tears. Whether the position in the group was ever actually formally offered to Laura Nyro or it merely remained a media gossip, nobody knows for sure. What we do know for fact is that, at some point following Al Kooper's departure (most likely around March-April 1969) , Laura Nyro abruptly put an end to all that gossip, expressly ruled out any possibility of joining the group and decided to remain a solo artist.

·       WHICH THEN TAKES US TO THE FINAL CHAPTER OF OUR TENDABERRY SAGA: COLUMBIA RECORDS' CATALOGING, NUMBERING AND PRICING CONVENTIONS AT A TIME.

Although Nyro never became a BS&T member, the frenzied rumor fed a cottage industry of media speculation about Nyro's eagerly awaited album and pre-release orders went through the roof, prompting Columbia records to upgrade both the class of the album (to "special price release") and the catalog number (from CS- to -KCS, thus reflecting the change in the album's suggested retail price class).  This was only the fifth Columbia's KCS release, following Bob Dylan's Greatest Hits (March 1967), Simon & Garfunkel's Bookends (April 1968), Janis Joplin's 'Cheap Thrills' (August 1968) and Johnny Cash's Holy Land (January 1969). One should note here that Columbia's CS- releases (regular price albums) and KCS- releases (special price albums, with $1.00 added to the suggested retail price) did not run in sequence. There were quite a few regular, CS- releases scattered in between the first five KCS- releases (Bob Dylan, Simon & Garfunkel, Joplin, Cash, Nyro). It is entirely possible that the reason for the increase in the album's suggested retail price (and, therefore, a change in the catalog prefix), was merited by the increase in the production costs: all four preceding KCS- albums had something extra that the other (regular) CS- releases did not: Bob Dylan's Greatest Hits and Simon & Garfunkel's Bookends had oversized posters which must have cost a bundle to print; Janis Joplin's album had a gatefold cover - rather unusual for single-LP Rock albums at the time - which required extra material and artwork (plus the production overhead); Johnny Cash's album had a fairly expensive inlaid 3-D card of him standing on top of the Mount of the Beatitudes and looking positively hallo(w)ed (thereby also increasing the production cost) and, finally, Laura Nyro's album had an elaborate, foldable pocket-sized booklet illustrated by her then-boyfriend David Geffen, which was a rather unusual addition  to the album's cover (at least according to the period standards) and clearly contributed to the increase of the production costs. We can therefore deduce that, early in the album's inception, when the dark "gothic apartment" artwork was created and assigned the CS- number, Columbia did NOT anticipate that it would include the booklet and that the subsequent addition of the booklet - most likely prompted by the media frenzy - triggered the change in the price class and - ipso facto - a catalog number.

What happened then is a typical corporate comedy of errors. In rapid sequence, around June 1969, just as the album was about to hit the market, Columbia finished a completely new, reworked version of the cover, this time with the new-and-revised KCS- catalog number. Alas, this created a new problem: what to do with thousands of already printed paper slicks and finished covers with the "dark apartment" covers showing the outdated CS- catalog number, which - if shipped to the retailers - would cause the stores to charge less than Columbia suggested and create a galactic vendor-invoicing problem. The solution was promptly found in a brilliant corporate decision to destroy all known copies of the already produced "dark apartment" covers and replace them with a today much better known black & white photo covers with Laura Nyro's hair whirling in the wind. Unlike Capitol, which actually dumped the withdrawn copies of the Beatles' Butcher Cover in a landfill and then flattened them with bulldozers, Columbia thought it would be a brilliant idea to actually shred unwanted original covers and use the shreds as a packaging filler for their mail orders. So, poor Laura Nyro sitting on her balcony looking rather despondent ended up as a shipping fodder. The album's rare original cover had officially met it's,  pardon the pun, miserable Stoney End.

But the few copies of the "dark apartment" covers did remain intact, and WERE shipped to the customers, almost all military bases overseas, which is probably the reason why most of the surviving copies turn up either in Japan or in Germany. These are now some of the most coveted and prized possessions in the record-collecting hobby. We have a high pleasure and privilege of presenting one of the best-preserved copies (and only the second) we have ever come across. If you are a Laura Nyro fan, missing out on this beautiful specimen of her rarest release would truly be an act of utter foolishness.

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Nyro's starkest, most personal album, and it rewards repeated listening. While Nyro is often lumped with other late 1960s/early 1970s female singer-songwriters like Janis Ian, Carly Simon, and the legendary Joni Mitchell, none, including Nyro herself, ever recorded an album this emotional or musically stark. It is easily her finest work, if not as immediately accessible as the two albums that flank it, Eli and the Thirteenth Confession and Christmas and the Beads of Sweat. While the former is a masterpiece of blue-eyed soul and pop, and the later a shining example of folk-rock, Tendaberry remains an extraordinarily unique recording, impossible to categorize, a product both of Nyro's stunning songwriting and personal vision. There is no other album like it, neither from the artist or any of her contemporaries.

 (EXCERPT FROM AN ONLINE REVIEW BY TIM BURKE, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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Laura Nyro’s third album (New York Tendaberry) was released in late September 1969 and has been hailed for decades as her finest and her most enduring and endearing (albeit not her most accessible) work. Ricky Lee Jones, for example, cites this album as her all-time favorite. The influence of this album on the numerous generations of New York (and non-New York) rockers and singers-songwriters, particularly female ones, cannot possibly be overstated. There would never be any Patti Smith without Laura Nyro, or, for that matter, without this particular album.  This is Laura at her most personal and idiosyncratic, baring her soul for the whole world to see, and some of the lyric imagery is close to uncomfortable. If you are wondering where Joni Mitchell got the idea for her “Blue” album two years later, look no further. This is it.

The album was one of the last albums to be released on the Columbia’s classic red-and-white “360 Stereo” label The original pressing of this album came with a nifty, foldable brochure with the song lyrics and album credits (this has got to be the first on-record mention of David Geffen ever – he is credited in the brochure as a “manager and friend”).  The front page of the brochure showed late-summer afternoon view of New York City skyline from Laura Nyro’s apartment on the Upper West Side, overlooking the Central Park.

The brochure showed a very bleak, and somewhat desolate and gothic view of Laura Nyro’s balcony, shot from somewhere inside the completely dark and dreary apartment; the image on the brochure showed NO human or animate figures on the balcony. It only presented the view of the New York skyline in the early evening hours (you will note that the city lights are ON). The balcony shows a puddle of water, as if the photo was taken after one of those all-too-frequent late-summer New York showers.

The better know, commercially reelased cover (the one released in September 1969) showed black-and-white photo of Laura Nyro, her long hair tossed by the wind. Now, here’s where the mystery begins and the plot thickens. The cover we have here is COMPLETELY different. The known, common version of the cover is not there. What is there is the “balcony” image found on the brochure -  BUT ! -  with some major and quite significant modifications.

-        Firstly, the “balcony” shot shows a sitting figure of Laura Nyro, leaning against the fence, facing camera, accompanied by her German shepherd. This is NOT the same photo found on the brochure. We have no recollection of seeing this photo ANYWHERE ELSE before.

-        Secondly, the front cover photo was taken in the late afternoon hours (the city lights are NOT on and the daylight is clearly visible), apparently captured a few hours BEFORE the brochure shot.

-        Third; the large glass vase shown on the brochure photo is missing (deliberately removed? broken?).

-        Fourth, the puddle of water shown on the brochure is also missing (clearly, the front cover photo was taken BEFORE the shower).

We are not big on symbolism and cryptic esoterics of any sort – perhaps we should have summoned C.G. Jung instead of our faithful Dr. Watson for this occasion -  but we could not help noticing that the two images are clearly of a pair and in some mysterious ways related, as if begging to tell an untold (or untellable?) story. They are inseparable and interconnected in more ways than one. Obviously, there is a hidden message of some sort in these two before-and-after images, waiting for the viewer to discover it.  And we feel – and feel very strongly – that the cryptic message is one of depression and (perhaps) impending suicide, perhaps Laura Nyro’s scream for help. One moment, Laura Nyro is barely there and the next moment the summer shower washes her away into a sea of silent darkness and gloom. To paraphrase Richard and Linda Thompson, "did she jump or was she pushed?"

Why would Columbia (or Nyro?) change the original cover artwork? Perhaps the artwork was deemed too unflinchingly depressive and gloomy for the mass consumption? Perhaps it was seen as too dark, sinister and demonic for such a spiritual and uplifting artist? Perhaps Columbia didn’t want to be seen as endorsing the artist’s depression. Perhaps it was seen as lacking commercial appeal. We don't know and we may never know.  Whatever the story, Laura Nyro took it to her grave, and neither Clive Davis nor David Geffen are talking.

And so, my friends, the Great Nyro Tendaberry mystery lives on.

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(?PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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·       CONDITION:

·       THE RECORD

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record comes in the original stock inner sleeve.

(c)           The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

COVER IS (WEAK) NEAR MINT,  STILL IN ITS ORIGINAL ?SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 2.

-        Minor shelf wear noted on the opening side (nothing significant)

-        Cover has two corners slightly worn / dinged (nothing significant)

-        Cover has a few tiny wrinkles along the seams   (VISIBLE ON BACK SIDE ONLY)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

We offer THREE postage rates for both Domestic and International Mail: Media Mail, Priority Mail and Express Mail for domestic, and First Class, Priority International Mail, and Express International Mail for international orders. INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND (BUT DO NOT INSIST) that you select USPS International Priority Mail OR International Express mail when making a payment.

INTERNATIONAL POSTAGE rates vary from one region of  the world to another. For SPECIFIC international and domestic postage rates ?click here. While you can be rest assured that our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

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OUR REFUND POLICY :

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED; Still sealed items MUST be returned sealed in order to be eligible for a refund Some restrictions apply. Please read our complete refund policy before placing a bid. ?Click here  for the full text of our policy

FINE (BUT IMPORTANT!) PRINT

 (1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored  (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever;  Thank You & Good Night!

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