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Goodbye and Hello
(1967)
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Tim Buckley
Often cited as the ultimate Tim Buckley statement, Goodbye and Hello is indeed a fabulous album, but it's merely one side of Tim Buckley's enormous talent. Recorded in the middle of 1967 (in the afterglow of Sgt. Pepper), this album is clearly inspired by Pepper's exploratory spirit. More often than not, this helps to bring Buckley's awesome ...
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Happy Sad
(1969)
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Tim Buckley
Easily Tim Buckley's most underrated album, Happy Sad was another departure for the eclectic Southern California-based singer/songwriter. After the success of the widely acclaimed Goodbye and Hello, Buckley mellowed enough to explore his jazz roots. Sounding like Fred Neil's Capitol-era albums, Buckley and his small, acoustic-based ensemble weave ...
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Dream Letter: Live in London 1968
(1990)
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Tim Buckley
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 ...
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Tim Buckley
(1966)
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Tim Buckley
Buckley's 1966 debut was the most straightforward and folk-rock-oriented of his albums. The material has a lyrical and melodic sophistication that was astounding for a 19-year-old. The pretty, almost precious songs are complemented by appropriately baroque, psychedelic-tinged production. If there was a record that exemplified the '60s Elektra folk ...
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Greetings from L.A.
(1972)
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Tim Buckley
Stepping back from the swooping avant-garde touches of Starsailor for a fairly greasy, funky, honky tonk set of songs, the opening lines of Greetings from L.A. set the tone: "I went down to the meat rack tavern/And I found myself a big ol' healthy girl." Sassy backing vocalists, honking sax, and more add to the atmosphere, while Tim Buckley ...
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Sefronia
(1973)
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Tim Buckley
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Best of Tim Buckley
(1983)
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Tim Buckley
While there are numerous Tim Buckley compilations, this is the one that tells a real story of restless artist hard at work in pursuit of that slipstream where the Muse resides, album by album -- and this latter point cannot be overstated. Buckley was, in fact, an album-driven artist who saw his work in terms of set pieces rather than collections ...
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Lorca
(1970)
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Tim Buckley
Buckley stunned and, to a rare degree, alienated fans with the dissonant, at times wearying, avant-garde exercises in vocal gymnastics that took up the entire first side of this LP. Side two was far more accessible, though Buckley's fusion of folk instrumentation with jazzy improvisation on extended compositions continued to take him further away ...
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Live at the Troubadour 1969
(1994)
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Tim Buckley
A previously unreleased, recently unearthed recording that catches Tim Buckley at the time he began to incorporate jazz-influenced vocal improvisation and dense, impressionistic lyrics into his recordings. Backed by a small combo, Live at the Troubadour 1969 features loose numbers with bloodcurdling vocal scatting and instrumental jamming. The ...
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Troubadours of the Folk Era, Vol. 2
(1992)
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by
Various Artists
Here are some of the performers and their signature songs on which the '60s folk revival were based. Pete Seeger's rendition of "Turn, Turn, Turn" and Tim Hardin's "Reason to Believe" remind the listener that contemporary performances have a vital history. Other strong cuts are "There but for Fortune;" Phil Ochs, "Who Knows Where the Time Goes," ...
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Morning Glory: The Tim Buckley Anthology
(2001)
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Tim Buckley
Buckley whizzed through a bunch of different styles in his approximately decade-long career, and was always an album-oriented artist. That makes the assembly of a best-of collection a difficult task to fulfill without omitting much of the context of what made the singer special. Still, Morning Glory does a pretty good job of touching upon ...
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The Dream Belongs to Me: Rarities & Unreleased 1968-1973
(2001)
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Tim Buckley
The folks at Manifesto have done an excellent job in keeping the music of Tim Buckley on the market over the past ten years, even going so far as to release three highly revealing new discs of live recordings. Nicely bookending Buckley's most productive years, The Dream Belongs to Me continued that streak. Split between two 1968 demo sessions and ...
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Look at the Fool
(1974)
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Tim Buckley
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Honeyman
(1995)
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Tim Buckley
Honeyman is a previously unreleased live 1973 radio broadcast in excellent sound, that offers a valuable supplement to Tim Buckley's often disappointing final albums. Buckley's last LPs were marred by unsympathetic L.A. production, and this presents the material with much sparser, focused, and appropriate arrangements. As the songs originate ...
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Peel Sessions
(1991)
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by
Tim Buckley
Recorded in April 1968 for the BBC, these five songs -- a short album, or long EP's, worth -- show Buckley at his most melodic and intimate. As on his posthumously issued 1968 concert recording Dream Letter, the instrumentation is sparser than on his Elektra albums. On these sessions, he was backed only by longtime guitarist Lee Underwood and ...
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American Beauties
(1994)
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The Blow Pops
One of the great indie power pop albums of the '90s, the Blow Pops' second and final album is a bit harder rocking than their psych-influenced debut. Produced by Jeff Murphy of the diehard Illinois power poppers Shoes, American Beauties turns up the distortion pedals just a hair, while also refining the Raspberries-style harmonies of guitarists ...
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Oh! Turpentine
(2000)
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by
Koester
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Works in Progress
(1999)
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Tim Buckley
Previously unreleased 1968 sessions (with the exception of an instrumental track from 1967) that, for the most part, are a missing link between his second and third albums, Goodbye and Hello and Happy Sad. The process through which Happy Sad evolved was not a smooth one, entailing a few tracks in New York in March 1968 and more unused sessions in ...
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The High Highs the Low Lows
(2002)
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by
Koester
Led by Steve Koester, Koester's sophomore record, The High Highs the Low Lows, is a contemporary space rock trip through territory similar to that covered by Spiritualized, Radiohead, and Sparklehorse. Even when traversing the self-described "high highs," the music tends toward the mopey side of things. Koester's voice rides atop a dark band, with ...
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Charmed, I'm Sure
(1993)
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by
The Blow Pops
One of the key albums of the early days of the '90s power pop renaissance, the Blow Pops' 1993 debut is one of those rare contemporary power pop records that both salutes its '60s and '70s influences and delivers the songs with a crisp freshness that makes it sound like more than another attempt to be the next Raspberries. Plasticland's John ...
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Blue Afternoon
(1969)
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by
Tim Buckley
Blue Afternoon was Tim Buckley's first self-produced record and his debut for Herb Cohen and Frank Zappa's Straight label. Buckley's first two albums were very much of their time and place, with their psychedelically tinged folk-rock compositions; naïve, romantic lyrical content; and moments of earnest protest. The introduction of acoustic bass ...
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Starsailor
(1970)
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by
Tim Buckley
After his beginnings as a gentle, melodic baroque folk-rocker, Buckley gradually evolved into a downright experimental singer/songwriter who explored both jazz and avant-garde territory. Starsailor is the culmination of his experimentation and alienated far more listeners than it exhilarated upon its release in 1970. Buckley had already begun to ...
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Step Right Up: The Songs of Tom Waits [1996]
(1996)
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by
Various Artists
Fifteen-song tribute album to Waits, dominated by alternative rockers, although a couple of previously released items (Tim Buckley's 1973 cover of "Martha," and 10,000 Maniacs' 1992 cassette single B-side "I Hope That I Don't Fall in Love with You") were licensed for the project. It's above-average as tribute discs go, with a diverse lineup (Alex ...
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Tim Buckley/Goodbye and Hello
(2001)
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Tim Buckley
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