Who Could Deny You A change of pace and another gorgeous vocal from Tim. This lyric is very personal and raw. Tim's wife Judy lost her first husband in bizarre circumstances following a traffic accident in Mexico. Tim says that she is unable to let go of her "first love" and focus on her new marriage. Tim is waiting in a state of torment for her love. Again, I wonder what Judy would have made of this.
track 8) Mexicali Voodoo (Buckley) Another great vocal performance, an unusual melody in the minor key that is pretty cool with some voodoo funk. The lyrics vary quite a bit on this one, from various online sources, so any help... Down to Mexicali And by the crack of midnight You've got that border town fever Well down in Madam Wu's cafe In back of She Cat Alley Madam Wu mix some Mexicali voodoo Mexicali Bella Bella voodoo Americanos Don't know what he do Three days later In an elevator Three days later You done met your maker Mexicali Bella Bella voodoo Americanos Don't know what he do
track 9) Down In The Street (Buckley) This one jarred at first with the unusual (for Tim) horns intro, but then Tim kicked in and the fine backing backup singers...pretty fine. Love it! A lot. "Oh no you can't sit down!" Funk, rock n' soul...as good as it gets. Some social unrest, revolution in the streets, and riotous kind of lyrics we don't usually hear Tim tackle....and some "Festivals for rock and roll season Beach talk baseball and a handy household hymns" Down in the street There's a gunshot warning Here comes that blue parade Ready to save the day Down in the street There's a whole block burning Shout out for rent control I ride the gang patrol Oh it's just another sign That summer's coming City wars and flash floods and tornados Festivals for rock and roll season Beach talk baseball and a handy household hymns Yes it's true in the U.S. of A. There's lots of room at the top Oh but you can't sit down On, no you can't sit down And don't you know that boudoir Looks just a ball and chain Oh but you can't sit down Oh, no you can't sit down All through the nightYou hear gunshot warnings This time it wasn't you The devil paid your dues All through the night You hear the city moaning Must be a tomcat prowling Baby, your stomach's growling Oh, it's just another sign That summer's coming, City wars and flash floods and tornados Festivals for rock and roll season Beach talk baseball and a handy household hymns Summertime... and the living is easy
We'll complete this fine final album forom Tim with a funky toe tapper that reminded me right away of "Hang On Sloopy"... but with much more funk n' style. Just love it! Great vocals, harmonies and searing guitar! Wish this one was twice as long and never faded out. track 10 Wanda Lu (Buckley) Wanda Lu could you ever be true Wanda Lu could you ever be true You're the only Mexican girl in town I know honey I know good and well we're gonna fit it like a glove now I got a hand full of Spanish flies and wine We're gonna get it in the back seat honey Wanna make you mine Wanda Lu could you ever be true Wanda Lu could you ever be true Well I've been watching you all week honey Walking up and down the hall I got one to think about honey And I know it ain't wrong Why don't you come here while I watch you boogaloo Just let me get next to ya darlin' Wanna try and tame you Wanda Lu could you ever be true Wanda Lu could you ever be true
I plan on getting to his live releases et, but need a break -- a bit burned out what with four album by album threads going at once! Thanks for all the loyal Buckley fan participation, and keep posting any live or rare stuff you have to share here! Cheers!
In the meantime, a wonderful review by Eight Miles Higher: Album Review: Tim Buckley Remembered TIM BUCKLEY: ‘PHANTASMAGORIA IN TWO CD’s’ Album Review of: ‘STARSAILOR: THE ANTHOLOGY’ by TIM BUCKLEY (Rhino Music Club, 2011) www.demonmusicgroup.co.uk by Andrew Darlington Tim was the wild card in the singer-songwriter pack. On album sleeves he’s the angel-headed hipster, with clouds of matted curls protectively tousled around his head. The pay-off line to “Song Of The Magician” from his debut LP invites ‘listen to my magic voice’, and it’s a voice that rises plaintively pure with a vocal range spanning all the way from aching baritone to strident tenor. It’s a waltz-time track, and perfect sixties pastoral psych-Folk rhyming ‘as I walk across the sky’ with ‘the clockwork of your eye’ before offering ‘you will be love and your love will live’. Ideally adapted to the wandering Folk-Poet role, Tim is caught soft-focus in a photo-still rainbow haze, the sweet pretty-boy, sensitive, vulnerable and androgynous. A ‘loving vandal’ both precious and precocious. But, as friend and biographer Lee Underwood insists, he was also a fighter. And before he’d properly allowed time to work himself into the troubadour thing, too impatient and creatively restless to allow audiences to catch up, he was the ‘velocity addict’ too, slanting off into other continuums, bending his sound into alternate dimensions of jazz and avant-garde, hunting purer distillations of musical expression. Dylan was allowed periodic reinvention and career-phases. Soon, Bowie would too. While the other Tim – Tim Hardin, had Gary Burton in to embellish his jazzier excursions. But Tim travelled a long way in a short time. Too far and too fast for many. Born in Washington DC on Valentine’s Day 1947, he and school-friend poet Larry Beckett formed Rock group The Bohemians and played with acoustic folkniks The Harlequins Three while they were still pupils at Anaheim Loara High. By his late teens Tim had moved on to the fringes of the LA Folk circuit. It was there he hooked up with manager Herb Cohen, and found a record company, Jac Holzman’s ultra-cred Elektra. It was Holzman, with Paul A Rothchild (fresh from working with the Doors) who produced Tim’s first album ‘Tim Buckley’ (October 1966) which – like the three that followed, is firmly Folk-rooted in ways that seem supernaturally suspended above the often harsh world beneath him. No-one would want it any other way. “Song Slowly Sung” is virtually moveless, lustrous slivers of electric guitar, a shimmering wash of cymbals, with bare breaths of motion, as skinny and threadbare as his cover-photo. An impossibly romantic declaration in whisper-quiet intimacy aimed at a vision of fleeting loveliness, of beautiful hair and sixteen years. Of the twelve songs, seven were written to Beckett’s poem-lyrics. Although not the failed single, “Wings”, which defines Tim as ‘flying on wings of chance’. The regular Byrdsian jangle-template is only partially offset by Jack Nitzsch’s irritating strings which Elektra insist on, yet the track is elevated by his distinctive voice. By the time of second-album ‘Goodbye & Hello’ (August 1967, co-produced by Holzman with Jerry Yester) it’s as though something of life’s protective shrink-wrap is coming adrift, he wears a Pepsi bottle-lid like a prosthetic eye for the gatefold cover-shot. Life is getting at him. He was young, but maturing fast, with something of the beautifully pure choirboy of its predecessor eroding in the process. With ten new songs, five written with Larry, it’s his breakthrough LP – peaking no higher than no.171 on the ‘Billboard’ album chart. Larry’s inner liner-notes form an artful acrostic poem to ‘Tracy’. And his lyrics frame the baroque “Goodbye & Hello” itself, one of Tim’s best early songs – a manifesto of sorts, as much innocence as it is experience, its orchestrated segments forming an ambitiously complex structure of switches from mood to mood. You say Goodbye and I say Hello? Not exactly. It was a goodbye to everything false, outmoded, impure, corrupt, the ‘antique people’, the ‘sexless directionless loons’, and a hello to all the coming age has to offer, the ‘new children’ with the new-generation explanation. A goodbye to speed, to Mammon, to murder and to ashes. A hello to the rose, the stream, the rain, and to a girl. And finally a goodbye to America itself, in favour of embracing the world. It’s a major song. Elsewhere, for the dream-tale of an elusive phantom-girl on the edge of reality, the unusual extended phrasings of “Hallucinations” mirror the shimmering clattering instrumentation. While the instantly attractive troubadour-image of “Carnival Song” is enhanced by the intelligent use of fairground effect. It portrays ‘the singer’ who ‘cries for people’s lies… and for a while you won’t know my name at all’. A harpsichord intro and Carter Collins’ Yardbirds’ pattering congas lead into “Pleasant Street” with Tim’s high almost female voice becoming increasingly strident, rising into falsetto, then deepening into the suggestive descent ‘down, down, down’ in descending chord progression. Here, the Icarus image ‘you thought you were flying, but you opened your eyes and you found yourself falling’, inhabits a kind of symbolist location of twilight lovers and concrete skies. An eerily unreal ‘Desolation Row’, or a similar alternate-zone to label-mates The Doors’ “Love Street”, a place half-mythic escapism, half geographical reality. His most famous song of this period is also from the album. “Morning Glory” – what’s the story? This was also the first Buckley track I ever owned, as part of the ‘Select Elektra’ sampler-compilation – sleeve-notes by an effusive John Peel, on a raft alongside other esoteric out-there artists, Love, Doors, Clear Light, the Incredible String Band. And yes, I was captivated by its big-choir choruses and repeated beseeching pleas to the ‘hobo’. Although the ‘choir’ actually consists of just Tim & Yester’s multi-tracked harmonies. Tim shared manager Herb Cohen with Linda Ronstadt, and her first group, the Stone Poneys, featured some of his songs (on their ‘Vol III’ LP (1968), “Aren’t You The One”, “Wings” – & “Hobo (Morning Glory)” which also features on her 1974 ‘Different Drum’ compilation). She told ‘Zig-Zag no.65’ that ‘that song was about our house, you know… the first house I lived in when I moved to LA was in Ocean Park – this groovy little beach house, which I really loved. Anyway, after I moved out, Tim moved in… and he wrote “Morning Glory” about it’. Well, maybe. On his live ‘Dream Letters’ album Tim himself introduces the song as being about ‘a hobo beaten up outside of Dallas, Texas’. Again, “Morning Glory” was written with Beckett, but it was a partnership that continued more sporadically from now on. Tim intended his voice to be more than just a vehicle to carry lyrics. Instead, his head should serve his heart, the better to feed his more Dionysian side. In total, the more cerebral Beckett – ‘The Word’, would remain a presence on all but three Buckley albums. Of course, lyrics are vital. I’ve always related to songs through their lyric content. Does the exact ratio of input matter? After all, Brian Wilson didn’t remotely understand what his lyricist Van Dyke Parks was getting at with all that ‘sunny-down snuff it’s alright’ stuff, but that doesn’t stop “Heroes & Villains” being a great single. Buckley wrote lyrics too, but maybe it was the fact that initially it was Beckett who was responsible for the words that freed Tim up to concentrate on the more musical aspects of the sound. And at last, it was time for Tim to go with what his senses were telling him. After all, it was the richness and variety of his vocal delivery that did much to establish his reputation. Not so much a voice, more an instrument in its own right, an instrument of incredible range and sweetness. To Robert Shelton of the ‘New York Times’ he was ‘not quite a counter-tenor but a tenor to counter with’. Where Tim did write, he wrote with considerable personal power. With the fierce, urgent Stephen Stills-style strummed-intensity of “I Never Asked To Be Your Mountain” (on ‘Goodbye & Hello’) he portrays himself as the ‘scoundrel father’ vehemently disclaiming responsibility for the wife and child he’d left to pursue his muse. Even though it shares melodic changes with Chet Powers’ “Let’s Get Together”, his drive is assertive and free, combining pathos and transcendent emotion, his voice soaring with new strength, power and grace. So why the marital parting? because, after all, he was young, talented, bursting with music. But, more eloquently and concise, because ‘I can’t swim your waters, and you can’t walk my lands’. She was Pisces, the water-sign. And if the next LP (‘Happy Sad’, July 1969, produced by Yester with his Lovin’ Spoonful partner Zal Yanovsky) is the product of experience, it’s as if, not much liking the world outside, Tim was opting to retract into the various warmths the Californian life-style had to offer. Commercially, it went further, all the way up to no.81. And there are new influences. A Miles Davis ‘Kind Of Blue’ track directly inspired “Strange Feelin’” with its resonant stand-up bass and sweetly chiming vibraphones. With space for a follow-on to his earlier theme too. The terminally-slow “Dream Letter” is a more apologetic ode to wife Mary Guibert, and infant son Jeff, the lyrics lamenting ‘is he a soldier, or is he a dreamer?’ and ‘does he ever ask about me?’ In fact it would be over five years before Buckley spent time with his son again. While the song-name would be used to sub-title the posthumously issued album recorded ‘Live In London 1968’ (May 1990, Enigma), using much the same personnel, including David Friedman’s chiming vibraphone. Segueing into “Happy Time” the live “Dream Letter” is one of the set’s most moving tracks. Meanwhile, a further album – ‘Blue Afternoon’ (November 1969) took Tim onto Straight, a label set up by Cohen with Frank Zappa, with Tim’s own production, and (like ‘Happy Sad’) all his own songs, untempered by Larry Beckett’s creative input. “Chase The Blues Away” is a meandering Blues with moody bass interplay which dissolves into shade-textured sound beyond lyric or melody, while “Café” is all smoky languid slurred voice offset by Tim’s twelve-string guitar, and a lyric portraying himself as ‘just a curly-haired mountain-boy on my way passing through’. Then a couplet from “Happy Time” encapsulates one of his finest expressions of the carefree creative process, ‘it’s a happy time inside my mind, when a melody does find a rhyme’. Yet the next phase of his career charts him moving towards John Coltrane-style jazz on ‘Lorca’ (May 1970) and ‘Starsailor’ (November 1970), two albums recorded during the same months and issued within six months of each other. “Lorca” is strange, not easily accessible, downright unlistenable in places – even while you admire his high-wire juggling bravery in performing it. The obvious literary title-reference to Andalusian ‘gipsy-poet’ Federico Garcia Lorca signposts the impressionistic free-form fades into abstraction. Although the shifting chromatics of “I Had A Talk With My Woman” retains an attractive informality, from the ‘alright?’ intro to the conversational fade. He croons ‘I wanna sing it high, and sing it down low’ his voice contouring it accordingly, with his flattened and elongated vocals stretched across his two-octave range. Another long-term associate, guitarist and later Rock journalist and Buckley biographer Lee Underwood, plays on nine of his albums. Older than Tim, it was he who mentored his taste towards Roland Kirk, Miles Davis, Charlie Mingus and Olivier Messiaen, as well as Lorca. Moving into what Underwood terms ‘sonic textures above and beyond conventional words and melodies’. With former Mothers of Invention woodwind-player Bunk Gardner on board, and the return of Larry Beckett – absent for the last few albums, ‘Starsailor’ takes it further. The title-track itself opens with dissonant voices recalling Berio or Gyorgy Ligeti, then shoves conventional song-structure out through the airlock, so the atonal clusters and arrhythmic counterpoints of its flexible tempo are deformed by quantum effects. Here, whirling within its subatomic particle-spins, you glimpse the music of the spheres, a continuum where ‘circuits shiver’ and ‘oblivion carries me on his shoulder’. Yet it’s here, on the same album, that Tim’s best-known piece – the haunting “Song To The Siren” is located, its poignant displaced atmospherics charting spectral Odyssian imagery as his lower-register vocals push bizarre voice-tricks to extremes. Oddly, it appeared in the final episode of ‘The Monkees’ TV show screened on March 25, 1968, but it’s likely through the ethereal This Mortal Coil version etched by Elizabeth Fraser’s remarkable voice-interpretation that it achieved its greatest cross-generational recognition, laying renewed veneers to the Tim Buckley legend. On “Jungle Fire” his voice is deeper, more grittily resonant, interspersed by unexpected vocal swoops. “Come Here Woman” is another exercise in the manipulation of sound and voice-acrobatics. Then listen to “I Woke Up” with its muted Miles Davis-style horn, and “Healing Festival” with a roaring Free-Jazz horn blowing and dissonant backing voices, to appreciate what journalist Lillian Roxon means. She says that ‘nothing in Rock, Folk-Rock, or anything else prepares you for a Tim Buckley album, and it’s funny to hear his work described as Blues, modified Rock & Roll, and Raga-Rock when, in fact, there is no name yet for the places he and his voice go’. In a live context too, his shows were becoming increasingly unstructured, more intuitive. Dropping rehearsals so as to become less pre-conceived, less mind-music. These free-form scat diversions provoked mixed reactions, and ‘Greetings From L.A.’ (October 1972) saw further metamorphosis, turning Tim towards more accessible urban R&B styles, singing of lust rather than romance. “Move With Me” shifts dubiously into the more fleshy concerns of dirty-sex Funk and infidelity. Adopting this new, less cherubic identity he ambles down to the ‘meat-rack tavern’ with sensual intent in mind. A black woman is drinking alone, ‘what a waste of sin’. Girl back-up vocalists soulfully croon around honking sax as he offers to be her ‘back-door man’. Until her real man arrives, he ‘filled up the doorway’ and bounces poor Tim all the way down the stairs, breaking every bone in his body, but – hey, it was worth every second because ‘I loved me a black woman’. Whether the comic-absurdity of this Bukowski-like low-life tale is what you expect from the romantic promise of earlier Tim Buckley albums is something else entirely. But he extends it into “Make It Right” by pleading ‘beat me, whip me, spank me’. Beyond the scope of this 2CD anthology, ‘Sefronia’ (1973, on another Cohen-Zappa label, DiscReet) is a synthesis of this later hard-edged style with the earlier more lyrical singing, including his well-liked covers of Fred Neil’s “Dolphins” and a maudlin “Martha” from the pen of Tom Waits, another Herb Cohen client. Then ‘Look At The Fool’ (November 1974, DiscReet Records). But for Buckley his adventuring style-shifts had served only to confound and confuse fans and press alike. In his own words, he’d ‘been out fighting wars that the world never knew about’ (“Dream Letter”), serving only to blur his identity, leading to declining sales and ultimately the heroin o/d snowball that killed him. He died on 19 June 1975 in Los Angeles. It sounds trite to say he never sold out. That he followed his muse relentlessly with scant regard to hits or radio-plays. If chart success had been an option, he’d probably have taken it. On his own terms. There was no shortage of pretenders to the Wandering Folk-Poet role he epitomised so well on his first album-trilogy, yet it was the later extreme-detours that makes Tim Buckley stand out from that crowd. He’d come a long way in a short time. Too far and too fast for many. In “Strange Feelin’” he portrays himself as ‘a lonely guitar-picker with a wicked wandering eye’, one who will ‘make you happy, then he’ll leave’, but once he’s gone ‘there’s a song in your heart, and I don’t think it’s gonna leave’. Well, he’s gone, and the songs are still here. Now, with the advantage of perspective and within the context of this fine anthology, his restless changes make more sense.
I wonder if this would have the direction he would have continued with? This last track is great for sure.
Mate, thank you so much! It’s been a great experience for me exploring the world of one of my all time favourite artists and wouldn’t have been possible without all your efforts. So, much appreciation and many thanks. And thanks also to mameyama - you guys have so much knowledge. If I ever back over to US it’s my shout!
Live Buckley...track by track Live albums Dream Letter: Live in London 1968 (1990) Peel Sessions (1991) Live at the Troubadour 1969 (1994) Honeyman: Live 1973 (1995) Once I Was (1999) Copenhagen Tapes (2000) Live at the Folklore Center 1967 (Tompkins Square, 2009) Venice Mating Call (Edsel Records – EDSL 0009, 2017) Greetings From West Hollywood (Edsel Records – EDSL 0010, 2017) This is gonna be a fun ride...hope you all join in for the trip!
Dream Letter/Live In London 1968 (1990) Dream Letter: Live in London 1968 is a live album by Tim Buckley. The album was recorded in Queen Elizabeth Hall, London, England on October 7, 1968 (mistakenly credited as being recorded on July 10 due to a confusion between American and British formatting of dates). Due to a lack of available funds Buckley was unable to tour with regular bass player John Miller and conga player Carter "C.C." Collins.[3] The concert instead features bassist Danny Thompson (from British folk group Pentangle), guitarist Lee Underwood and vibraphone player David Friedman.[4] The concert features songs from Buckley's second album, Goodbye and Hello and the soon to be released Happy Sad. Also featured are the songs "Happy Time", which appeared on the 1969 album, Blue Afternoon, and a cover of Fred Neil's "Dolphins", which would appear on Sefronia in 1973. The "Carnival Song" which appears here is not the song of the same name from Goodbye and Hello, but an entirely different composition. Five other tracks from this set had, at the time of Dream Letter's release in 1990, never been heard on record before. In 2000 it was voted number 756 in Colin Larkin's All Time Top 1000 Albums.[5] Track listing[edit] All tracks composed by Tim Buckley; except where indicated Disc 1 "Introduction" – 1:06 "Buzzin' Fly" – 6:13 "Phantasmagoria in Two" – 4:41 "Morning Glory" (Larry Beckett, Buckley) – 3:43 "Dolphins" (Fred Neil) – 6:39 "I've Been Out Walking" – 8:18 "The Earth Is Broken" – 6:59 "Who Do You Love" – 9:27 "Pleasant Street/You Keep Me Hanging On" (Buckley; Holland, Dozier, Holland) – 7:58 Disc 2 "Love from Room 109/Strange Feelin'" – 12:18 "Carnival Song/Hi Lily, Hi Lo" (Buckley; Helen Deutsch) – 8:50 "Hallucinations" (Larry Beckett, Buckley) – 7:14 "Troubadour" – 6:04 "Dream Letter/Happy Time" – 9:25 "Wayfaring Stranger/You Got Me Runnin'" – 13:08 (Traditional; Buckley) "Once I Was" – 4:29 Personnel Tim Buckley – vocals, 12 string guitar Lee Underwood – guitar Danny Thompson – bass David Friedman – vibraphone Introduction by Pete Drummond of BBC Radio 1.
AllMusic Review by Steven McDonald This, like so many Enigma releases, was literally a dream project, and carries a lot of energy and love with it, in the music and the performance. Recorded in London in 1968, when Buckley was just beginning to be really successful and had yet to move out of his folk-oriented phase. The band he's working with here is simple -- Buckley's voice and fairly simple guitar; Lee Underwood providing subtle, almost jazz-like electric accompaniment; Pentangle's Danny Thompson sitting in on bass (with a minimum of rehearsal); and vibraphone player David Friedman. There's an assortment of songs from the three albums Buckley had released up to then, plus a couple that would turn up on later albums, and six songs that he never released in any form. This album, however, was released for the first time in 1989, and what you get is the complete concert -- no cuts, no edits, no rearranging. It's a spectacular piece of work, too. It's difficult to believe that the tape was made in 1968 -- there's almost no noise, the music seems perfectly recorded, and the ambience is breathtaking. Buckley's voice is right up front, hovering over the acoustic guitar, clear as a bell. It's a tribute to CD mastering wizard Bill Inglot, who co-produced the release, that it has such a gorgeous, broad sound. The instruments are carefully separated, clean, and glitch free; if there are tape dropouts here, one can't hear them. Musically, it's a spirited affair. Buckley is a beautiful singer, and had a broad selection of excellent, often breathtaking, songs. Even when the songs are a bit of a mish-mash, as happens with the unfortunately over-energetic "Who Do You Love" (one of the unreleased songs), you're caught by the vocal pyrotechnics he displays -- he can be seductive, and he can be a shouter, and he's always very, very good. Other than this, there's very little to say about Dream Letter. If you're at all interested in Buckley, or in various hybrids of folk music, then this album is a must. If you just want to hear one of hell of a good CD, check it out.
track 1) Introduction track 2) Buzzin' Fly Oh to have seen and heard this unfold, live! The only thing lacking is to have the complete concert, filmed live... and now on DVD! Dream on...
"You take the train from Yuma, down to Mexicali," "Americano, Yankee dollar, brown skin lady, and tequila," Mexicali Voodoo- great groove, strange chorus, then this one really takes off. Tim is clearly enjoying himself. It's hard to make out some of the lyrics- what is the eagle doing "Down by the borderline,"? Screaming? "Man, the whole block's burnin' How's that for rent control? High rise and gang patrol," The punchy Down In The Street has always been a favourite for me. Unusual for Tim to take on social commentary. It's just a shame it's so hard to make out all the lyrics, and as with nearly all the tracks on this album the internet lyric sites don't help. I was thinking I could correct all the obvious errors in the lyrics for this album on the lyric sites- but then where would I start as there seem to be dozens of lyric sites all with the same errors. "You're the only Mexican girl in town I love honey" The final song Tim ever released, Wanda Lu, was also the A-side of the only single released from this album. This track in particular gets quite a lot of hate from those who think he was washed up and out of ideas because it's based on the chord progression of Louie Louie. Both Tim and Larry were big fans of Louie Louie, and when they hung out at the Troubadour to watch Judy Collins, or some other folk act, Tim would disguise his voice and shout out, "Play Louie Louie". Sounding like a Tijuana garage band, with Tim's tongue-in-cheek lyrics, this is a wonderful, fun track; and the fadeout somehow seems appropriate this time. It also kind of completes a circle finishing his final album with a garage rock number- he only ever did one other and that was the last track on his first album. Seems to be 3 tracks on the album with a clear Mexican border town feel. Tim was reading a lot of Latin American fiction in his last years- he particularly liked Borges and Carlos Fuentes. He was planning a trip to Honduras when he died.
Lemonade Kid- thanks so much for starting this thread and keeping it moving along so sweetly. I'm glad I spotted it by chance during the debut album and signed up to this site. The music, and all the great insight from everyone, has been a source of real comfort and engagement during a tough time. I'm glad we made it through to the end of the studio albums and can understand why you want to take a break. I'll keep an eye out for Tim Buckley live postings, and do let me know if you ever start threads on Fred Neil or Judee Sill. Cheers.
I like this one a lot...and the social commentary is what I like too. Wanda Lu grabbed me right away...guess I loved hearing Tim take on a Louie Louie/Hang On Sloopy chord progression. Just wish it was twice as long! Thanks, @mameyama !
You are welcome. As you can see, i couldn't stay way from Tim for long! I am starting a Fred Neil album by album thread today. Just one new one so I stay focused. Remind me, please, to do a Judee Sill thread if I forget down the road.
Wow, you have started already! This one should be on the list too, released in 2019: Live at the Electric Theater Co Chicago, 1968 And perhaps also Newport '68 for completeness.
Note to all who love Fred Neil. New thread. Join in. Fred Neil: Album by album/track by track appreciation
Indeed! I don't have the Electric Theatre set...please remind me! Cheers! I also have Live at the Santa Monica Civic Auditorium, presented by KRLA 1969..an unofficial release I believe. Not a great recording but historically important.
Dream Letter: Live In London Justifiably Tim's most highly rated album, and a magical performance from the then 21-year old. Were the stars in special alignment this night, or was he this good every night? The fact he couldn't bring over two of his regular band to the UK doesn't seem to have affected him at all- he could easily adapt to lineup changes- and the stand in bass player Danny Thompson does a fine job. Tim's between song banter can seem a little strange. I haven't listened to it all the way through since October 7th 2018. Buzzin Fly Lyrically almost identical to the version he would record in the studio for Happy Sad soon after returning from Europe, though his 12-string is much more prominent on this live version and it will feature strongly throughout this concert.
track 2) Phantasmagoria In Two As good as it gets -- Tim, lovely, live. Tim Buckley - Acoustic Guitar, Vocals Lee Underwood - Guitar David Friedman - Vibraphone Danny Thompson - Bass
Phantasmagoria In Two Very beautiful, very moving- this live version has me close to tears. Identical lyrics, but completely different feel, to the studio version- with drums and piano that one is quite bouncy.
