With the 1971 release Gonna Take a Miracle, pop composer and vocalist Laura Nyro completed her four-album/four-year deal for Columbia. Nyro's passion for R&B can be traced back to some of her earliest compositions, such as "Wedding Bell Blues" and "Stoned Soul Picnic" - both of which were covered by the R&B vocal quintet the Fifth Dimension. More recently, her version of "Up on the Roof" was one of the highlights of Christmas and the Beads of Sweat. So, enthusiasts who had paid any attention at all to the course of Nyro's career would not have been surprised by her direction on this project. As much as Gonna Take a Miracle is indeed a Laura Nyro album, it could likewise, and perhaps more accurately, be described as a collaborative effort between Nyro and the female soul trio LaBelle - featuring Patti LaBelle, Nona Hendryx, and Sarah Dash - as well as producers Kenny Gamble and Leon Huff…

This entry into the Japan-only Premium Best series highlights the recordings of composer/performer Laura Nyro. Unlike other single-CD North American compilations, this 16-track disc gives sufficient time to her tragically underappreciated post-Smile recordings. Several of these titles are not even available on CD in the States, which is perhaps correlated to the seeming lack of interest. There are actually numerous advantages to this collection – not the least of which is the artist-sensitive track list. Presumably the Premium Best series is aimed at the casual enthusiast, as the hardcore collector would either already own the contents or buy it anyway if they were a completist. By including seminal album sides such as the imperially haunting "New York Tendaberry" and "Upstairs by a Chinese Lamp," a more accurate overview of Nyro's career is presented here.

This ten-track budget-priced collection, excerpted and resequenced from a longer version released in Japan, presents Laura Nyro at the piano along with a female vocal trio, performing a combination of the hit songs she penned, some 1950s and '60s hits of others she loved, and some of her newer material of the early 1990s. Four rock & roll oldies, the Shirelles' "Dedicated to the One I Love," the Miracles' "Ooh Baby Baby," Dionne Warwick's "Walk On By," and the Everly Brothers' "Let It Be Me," are interrupted by three of Nyro's own oldies, "And When I Die," "Save the Country," and "Wedding Bell Blues." This abbreviated version of the set then concludes with three then-recent songs, "Light a Flame (The Animal Rights Song)," "Louise's Church," and "Woman of the World," songs that continue to seem more preachy and less personal than her earlier work.

Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her song writing and distinctive arrangements fuel Christmas and the Beads of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B – which would inform Nyro's next album ,Gonna Take a Miracle, featuring the soul vocal trio LaBelle. Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas and the Beads of Sweat features two inclusive and distinctive sides of music – with different musicians and producers for each.

Nyro peaked early, and Eli and the Thirteenth Confession, just her second album, remains her best. It's not only because it contains the original versions of no less than three songs that were big hits for other artists: "Sweet Blindness" (covered by the 5th Dimension), "Stoned Soul Picnic" (also covered by the 5th Dimension), and "Eli's Comin'" (done by Three Dog Night). It's not even just because those three songs are so outstanding. It's because the album as a whole is so outstanding, with its invigorating blend of blue-eyed soul, New York pop, and early confessional singer/songwriting. Nyro sang of love, inscrutably enigmatic romantic daredevils, getting drunk, lonely women, and sensual desire with an infectious joie de vivre. The arrangements superbly complemented the material with lively brass, wailing counterpoint backup vocals, and Nyro's own ebullient piano.

After a five-year hiatus, singer/songwriter Laura Nyro returned with Smile in 1976. On this disc, Nyro's somewhat idiosyncratic writing and performance style is decidedly subdued. In its stead is a light pop and jazz feel similar to that of Maria Muldaur's mid-'70s recordings. Supporting Nyro instrumentally is virtually a who's who of New York and Los Angeles studio stalwarts. While the prowess of folks like Will Lee (bass), brothers Randy Brecker (trumpet) and Michael Brecker (flute/sax), Hugh McCracken (guitar), and Rick Marotta (drums) certainly strengthens Nyro's already laid-back material, it likewise reduces her to sounding like a Joni Mitchell ripoff. The undeniable highlight of Smile is the maturity in the songwriting. It becomes obvious that the half-decade away has done some significant good in revealing a decidedly positive evolution in Nyro's approach to her own life. What's more is that the material on this album seems to come from a place of contentment.

These 12 sides represent singer/songwriter Laura Nyro 's earliest professional recordings. More Than a New Discovery was originally issued on the Folkways label in conjunction with Verve Records in early 1967. The contents were subsequently reissued as The First Songs in 1969 after she began to garner national exposure with her first two LPs for Columbia – Eli and the Thirteenth Confession (1968) and New York Tendaberry (1969), respectively. Many of these titles became international hits for some of the early '70s most prominent pop music vocalists and bands. Among them, "Wedding Bell Blues" and "Blowing Away" were covered by the Fifth Dimension . "And When I Die" became one of Blood, Sweat & Tears signature pieces. Likewise, "Stoney End," as well as "I Never Meant to Hurt You," are both arguably best known via Barbra Streisand 's renditions. Accompanied by a small pop combo, Nyro 's prowess as both composer and performer are evidence that she was a disciple of both Tin Pan Alley as well as the Brill Building writers. Additionally, Nyro was able to blend the introspection of a classic torch ballad with an undeniable intimacy inherent in her lyrics.

Angel in the Dark is a lovely recording featuring the graceful vocals and finely crafted songs that everyone expects from Laura Nyro. These sessions were completed in the summer of 1995 and represent the last music Nyro recorded. The title cut and "Sweet Dream Fade" mine the same soul terrain as her late '60s recordings, featuring horns and underlined by heavy guitar riffs. These upbeat pieces perfectly integrate voice, arrangements, and lyrics to create an organic whole, and are two of the best cuts on the album. Slower, piano-based songs like "Triple Goddess Twilight," "He Was Too Good to Me," and "Serious Playground" are mixed in-between these songs. These pieces are quieter and introspective, with Nyro's voice more intimate. It is almost as though she was sitting at the piano, late at night, and singing to herself. There are also several covers including "Will You Still Love Me Tomorrow" and "Let It Be Me." The first of these is over five minutes and has been slowed down so much that it drags. In fact, she slows down all of the covers as if to convert them into heartfelt ballads.

A member of both the Songwriters and Rock & Roll Halls of Fame, Laura Nyro not only wrote songs that became hits for acts including The 5th Dimension, Blood, Sweat & Tears, Three Dog Night, Barbra Streisand, and many more, but has been cited as a major influence by Kate Bush, Elton John, Elvis Costello, Cyndi Lauper, Todd Rundgren, Broadway composer Stephen Schwartz (Godspell, Wicked), and countless others. She recorded 10 studio albums (one released posthumously), but a live performance from Nyro was always an event.

Walk the Dog and Light the Light is the ninth studio album by Bronx-born singer, songwriter, and pianist Laura Nyro. It was released in the late summer of 1993, more than nine years after its predecessor, Mother's Spiritual. It followed Nyro's 1989 live album Laura: Live at the Bottom Line, and the atmosphere here is similarly laidback and easygoing. It was the last album of new original material that Nyro released during her lifetime, although she began recording another album in 1994, which was released in 2001 as Angel in the Dark. Walk the Dog and Light the Light received positive critical notices, and Nyro supported the album with a string of intimate dates with a harmony vocal group.