by
Jim Doss
Recently I have been doing a lot of thinking
about the 60’s and the 70’s, those years when
my generation came of age. I have been reading the
literature of that period as well as listening to the
music from the widely popular to the obscure.
In my wanderings through these years I have re-discovered
three artists who have cult followings to some degree,
but still remain relatively unknown to the general public.
Each is utterly unique, no imitations possible.
They
refused to pay attention to popular trends and pursued
their art wherever their muse led. Yet they were flawed
men who lives ultimately ended in tragedy before they
were 30 years old. But in their all too brief time on
earth, each produce an impressive body of work, and their
art lives on. Thirty to forty years later there’s
no more compelling argument I can make for today’s
generation to listen to these artists than they deserve
it.
Dream Letter: Live in London finds Tim Buckley
at the height of his powers. Recorded October 7, 1968
at Queen Elizabeth Hall when he was 21, this musical chameleon,
whose short but prolific career took him from folk to
improvisational jazz to white hot funk, is captured here
between his folk and jazz phases. Live albums either tend
to be dull and uninspired efforts or bright, vibrant affairs
filled with spontaneity and excitement. Fortunately, this
album falls into the latter category. Buckley delivers
a soaring two hour performance that surpasses just about
all of his studio material, and the sound quality is the
best I’ve ever heard on a live recording.
The
main instrument in Buckley’s repertoire has always
been his 3 ½ octave voice. It’s full range
is on display from caveman-like guttural growls to high
notes held longer than one can imagine. His tenor is not
something that would be described as angelic; rather it
is earthy, experienced, twisting and turning with emotion
as he rides the roller coaster of melodies from one song
to another. The sound quality of the recording is so good
its easy put the headphones on, close your eyes, imagine
yourself in a smoky nightclub watching the spotlight on
the famous Buckley trance as he immerses himself totally
into the music, delivering phrases in flowing laments
or waves of joy.
The
band consisting of Lee Underwood on lead guitar, Danny
Thompson on base, and Dave Friedman on virbraphone provide
a perfect complement to Buckley’s vocals and keep
the songs lively and fresh. Album standards such as Dolphins,
Buzzin’ Fly and the medley of Happy Time/Dream
Letter are delivered with an energy unmatched in the
studio. But more interesting to me are the songs that
are unique to this album such as The Earth is Broken,
Carnival Song/Hi Lily, Hi Lo, Troubadour, an inspired
Wayfaring Stranger/You Got Me Running, and the Supremes’
You Keep Me Hanging On.
The
only annoying thing on the album is Buckley’s difficulty
in keeping his twelve-string guitar in tune throughout
the concert. Several extended pauses between songs are
required for him to retune, but this is understandable
given the force with which he plays his instrument. If
you own only one album by Buckley, this is the one. Other
recommended albums are Goodbye and Hello (though
some tracks are clearly outdated and the album as a whole
is overproduced), Happy/Sad, Blue Afternoon, and
for the more adventuresome the experimental Lorca and
Starsailor.
