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Soul Man

I call singer-songwriter Tim Dillinger a soul man in a blurb I did for his memoir that was just released, Snapshot . It’s a collection of lyrics and poems and stories and pictures, and it’s full of heart.

Tim can flat-out SING, in a voice that ranges from tenor-husky to mountaintop-falsetto. And although he’s white on the outside, he channels the black church in his spirit and vocals. Can I get an Amen, sisters and brothers! 

I met Tim through my Laura Nyro book–he’s a bigtime Nyro fan who contacted me, shared his music with me and invited me to guest on his radio show. I was impressed by both his talent and his good vibe. He’s also one gutsy young man, coming out as gay amidst the Nashville soul and gospel music scenes (he’s now moved to New York–smart move, Tim!). Among other things, he runs an entertaining blog which I really need to catch up on.

Here’s something that Tim wrote in his new book, picturing Laura (a huge source of inspiration to him) on a celestial plane:

I imagine Laura Nyro.  She flies in a black lace gown, her dark hair, still adorned with hints of gray, dancing around her waist.  Her sanctuary is lit with thousands of candles and the back wall is a window that overlooks the greenest forest.  She has a cat and a dog—maybe more than one of each.  The space boasts murals of goddesses, created as a favor by Frida Kahlo.  Her piano is covered with compositions that are in various stages of completion. 

 

The space has been acoustically designed to re-create the echoes of the subway stations she sang doo-wop in during her teenage years.  Her harmony group visits daily and together they bask in the glory of the sonic synergy that happens when women converge in song.  She titillates them with her memories of collaborating with Labelle, three women held with the utmost regard in this tomorrowland of sorts. 

 

They have concerts as the mood strikes for an audience of the notorious women of the ages. Like her concerts on earth, they are events, but these are of even greater epic proportions.  The women are still whispering about the night Nina Simone came and they sang “He Was Too Good To Me” together…or when she, Miles Davis and John Coltrane came together.  That evening redefined the word improvisation.

 

There is a crystal ball in the middle of the room and she sees artists, yet mortal, on planet earth.  Her assignment is to send inspiration, song ideas and warmth to the artists of her choosing. At times, she flies back to earth, as there are some who are aware that she is with them.  Those are the ones with whom she spends extra time. 

 

Even in her afterlife, she is employed by the muse…or at least, that’s how I like to think of her.

Up top is a video of Tim performing–it’s kind of crude visually, done to a backing track, but I particularly like his singing here. You can hear more of his music on his blog. Enjoy!

Elvis and Elton and Laura

Who knew that Elton John was influenced by Laura Nyro?

But early descriptions of Elton’s upcoming appearance on the new show Spectacle: Elvis Costello with … on the Sundance Channel point out that he discusses the artists who impacted his life and career–including our Laura. The show airs this Wednesday night at 9 p.m., then repeats on subsequent days and times.

Laura and Elton will always be connected for me by one special place: the Troubadour in West Hollywood. I saw Laura for the first time there, in 1969, and the next year Elton had his historic American debut there as well. I had to bribe my sister to come with me to see Elton–I had just heard his songs on the radio and was smitten by “Border Song” and “Take Me to the Pilot” as I recall–and we still marvel to this day that we managed to be there on that historic night. When you read histories of the Troubadour, they gush about Elton’s gig (and it was fantastic)–but, as is so frustratingly typical, those remembrances  leave out Laura’s equally magnificent series of performances at the club.

I’m curious to hear what Elton has to say about Laura. Was he encouraged to perform at the piano because of her? Did her rich combination of musical sources inspire him to throw everything into the mix as well?

I’m not such a big Elton John fan these days, but he can still put on quite a show–and I love the song above, which is his mature version of the 1977 recording he did with Philly producer Thom Bell (who was a string and horn arranger on Laura’s Gonna Take A Miracle). Looks like Elton was trying to do his own Miracle-type soul album, but it didn’t work out, and in 1979 he released just three of the remixed songs, including the irresistible “Are You Ready for Love.”  

I’m thrilled to introduce you to an excellent cover version of “Poverty Train” by a band called What Time Is It, Mr. Fox? (I know–oddball name!). The lead singer/songwriter is a Nyro fan named Brian King, and after he sent me an mp.3 of the song I asked if I could post it–and he was kind enough to create a YouTube video to go with it. Mr. Fox deserves your attention: When I listen to their album, I feel like I’m hearing a soundtrack of musical theater. Clever, outre, cool strings, hot vocals…

Here’s what Brian has to say for himself:

What Time Is It, Mr. Fox? is a cabaret-noir band fronted by myself on voice, guitar and piano; Nathan Cohen on violin, and Mike Leggio on upright bass.  In one set, our eclectic ensemble can travel from New Orleans soul to a dark acoustic coffeehouse, from a Middle Eastern desert to the woods of medieval France. Our songs are bustling with memorable characters, like the boy who turns into a cartoon from watching too much TV or the woman who rescues herself from the tower. Others explore themes of love, sexuality and identity. We got our start as a trio in the seaport town of Gloucester (where Laura Nyro lived when she was married to David Bianchini). A night at the bar where we had a weekly residency would not be complete without my solo rendition of “Poverty Train.”  

I was introduced to the music of Laura Nyro through my friend Joanne Schreiber, who toured with the all-women band ISIS in the 1970’s. [Note from Michele: Nydia Mata and Jeanie Fineberg, who played in the Season of Lights band with Laura, were also ISIS members. Nydia was a longtime friend of Laura’s and played on Gonna Take a Miracle as well.] I bought a copy of New York Tendaberry at a yard sale and was immediately struck by the pure artistry of Nyro. It’s like there is no space between Laura and the song. Everything she has done feels so immediate and honest, and yet the arrangements are delicate and intricate but always feel natural, never contrived.  She’s had a huge impact on me, and I strive to be as true to the muse as she was. I even have her picture above my piano to remind me to listen to the soul of the song.  

I also feel there is special connection among Laura fans.  My car once broke down in winter in Provincetown and I had little money. I had stayed the night at a bed and breakfast, and sat down at the piano and played ‘The man who sends me home.’  The manager came up to me with tears in his eyes and said, ‘Keep playing Laura Nyro and you can stay here as long as you need to.’ 

Laura’s touched so many people.   

In 2007, Scott Billington (who produced Laura’s posthumous album Angel in the Dark) heard me play my song “Cold Rain” at a party, which led to the Soul Queen of New Orleans, Irma Thomas, to record the track for her 2008 release Simply Grand.  What Time Is It, Mr. Fox? has become a staple in the Boston underground cabaret scene, and grown to include Nate Greenslit on drums, Courtenay Vandiver (Jethro Tull, Dave Stewart) on cello, and Lori Perkins on hammond organ. Our first full studio CD, And Other Stories, has just been released and is available for sale on CDBaby.com, eMusic.com and iTunes.

By the way, Desmond Child sang “The man who sends me home” at the Laura Nyro Memorial Concert in October of 1997 and it was extraordinary–there’s something about a man singing that song that makes it extra sexy, IMHO…

And I kissed him on Thursday

I don’t know much about Jenny Lewis, but I’d like to hear more from her. Especially since I found out that the ex-Rilo Kiley singer was inspired by Laura’s Gonna Take A Miracle album when she did her first solo undertaking, Rabbit Fur Coat.

Here, she and the Watson Twins perform the Laura-and-Labelle version of “I Met Him on a Sunday,” originally recorded by the Shirelles in 1958. (There’s another quite-different version they recorded in 1966–check out this rather hilarious playing of it by an audiophile.)  Jenny and the Twins leave out the “doo-sun-day-run-day-run-day-run-day-papa-doo-ron’s”–which I do miss.

So many things to be grateful for tomorrow. My family, partner, friends, doggies, house, city, world, president-elect and so much more. One special gratitude: The Internet. Can you even remember what our lives were like without it? The connections with people, the instance access to information and culture, the commerce, the depth of it all….

Have a wonderful Tofurkey day, Tribe!

I guess someone thought it was funny to mash up The Orlons’ song “Envy” with a horrifying scene from Fatal Attraction.

I don’t. But I didn’t want y’all to miss out on the song, which, as I mentioned in Soul Picnic, sounds like a direct influence on Laura’s “Blowin’ Away.” Agree??

The Orlons were one of those great Philly vocal groups, precursors to those produced by Gamble and Huff, who also produced Laura’s Gonna Take a Miracle. Kenny Gamble was also married to Dee Dee “Mashed Potatoes” Sharp, for whom The Orlons sang backup on some records.

Flim Flam Hip Hop Man

This is pretty infectious. I guess it’s meant to be rapped over (hey, Gil-T, check this out!).

Hey Love

Does this remind you of “Stoned Soul Picnic” or what?

The chording, the syncopation, the harmonies…

I guess Laura loved her a little Stevie.