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
is the culmination of his experimentation, and alienated far more listeners than
it exhilarated upon its release in 1970. Buckley had already begun to delve into
jazz fusion on late-'60s records like Happy Sad, and explored some fairly
"out" acrobatic, quasi-operatic vocals on his final Elektra LP, Lorca.
With former Mother of Invention Bunk Gardner augmenting Buckley's group on sax
and alto flute, Tim applies vocal gymnastics to a set of material that's as avant-garde
in its songwriting as its execution.
his most anguished (which is often on this album), he sounds as if his liver is
being torn out -- slowly. Almost as if to prove he can still deliver a mellow
buzz, he throws in a couple of pleasant jazz-pop cuts, including the odd, jaunty
French tune Moulin Rouge.
lyrics, heavy on landscape imagery like rivers, skies, suns, and jungle fires,
top off a record that isn't for everybody, or even for every Buckley fan, but
endures as one of the most uncompromising statements ever made by a singer-songwriter.
1995 Unterberger/The All-Music Guide to Rock - Backbeat