Au Go Go, N.Y.
disker Tim Buckley registers in a traditional folk groove
with his acoustic guitar and conga embellishment by Carter C.C. Collins, complemented
by the modern touch of Lee Underwood's electric guitar. The singer-songwriter
impresses as a unique, gifted artist who is challenged by the choice of one of
two roads to take.
is, Buckley's dramatic, emotional treatment of his material merits the utmost
respect of those inclined toward his farfetched folk amblings. His numbers contain
the sensitive, touching movements and passages borrowed from classical forms of
music. Indeed, his own voice is near-operatic and reaches finely-controlled, yet
seemingly spontaneous, exalted heights.
his artistry, however, Buckley tends to leave no room for auditors' own emotional
entrance that would signal a higher commercial potential. Buckley commands intellectual
respect, but only sporadically displays the power to lift his audiences to heights
of emotional involvement even approaching his own.
alternate road, then, contrasting perpetuation of the--granted, creative--status
quo, is to simplify his compositions' construction just a mere bit so as not to
sacrifice his own deserved self-satisfactions while contracting more people.
his name for the game is the pursuit of artistic perfection, then he will do well
in the secluded position that that approach will place him. If he names the game
communication, then he'll modify his course for the end of reaching more. The
latter will make his talents desirous by more clubowners in turning his act into
a b.o. pull for those other than the limited segment of disk purchasers.