| October,
1975 |
A
Fleeting House The Music of Tim Buckley: A Retrospective
Mick
Houghton, Idris Walters, and Dave Downing by
Mick Houghton Tim
Buckley was the creator of beautiful things.
A multi-faceted beauty -- delicate, intricate, languorous, harrowing, sexually
vibrant. But these are mere words. Inadequate adjectives. They pale insignificantly
against the real thing. Listen to the eight albums from Tim Buckley to
Sefronia. They are the reality.
You owe it to yourself to listen to them. You owe it to him. Tim Buckley's music
existed in a highly personalized isolation, but with a tangible wider context,
and throughout the cycle of albums completed by Sefronia offered a special glimpse
of a rare talent unfolding. It's not difficult to discover the context -- folk,
rock, jazz, funk -- but when Tim Buckley brought his extraordinary gifts to bear
he reduced all previous propagators to hackneyed levels, by his own degree of
style and sense of purpose. Nothing
in rock so succinctly divulges the development of such a truly innovative and
keen intelligence at work. Of such a flowering artistry. And one blessed with
a complementary unique voice and musical understanding. "When
I sing I can bring/ Everything on the wing/ Flying down from dizzy air/ To the
ground because I care." He could. And did. In
the days before they were dubbed singer/songwriters those of Tim Buckley's ilk
were pure and simple folk singers. Tim Buckley was lumped together with all the
other Tims and Toms -- Rush, Rose, Hardin, Paxton et al. Were they all one and
the same working a tax fiddle? Tim
Buckley's first album, Tim Buckley, stands apart from the other efforts
by folk singers dabbling with electric backings. It remains one of the most fully
realized group albums/rock albums to come out of the west coast we were so obsessed
by in 1966 and 1967. It was with Goodbye And Hello that he stepped back
into the folk métier. And then only partly. He was seeking a direction.
There's much that might have found its way onto Tim Buckley. It
wasn't to be. And Tim Buckley himself is no more either. It hardly seems possible
when he was so alive in his music. But it is true and the loss of potential is
quite tragic. We can scarcely begin to imagine where he might have taken us in
the future. | There's
Goodbye And Hello, a poetic masterstroke, a near overblown/overdramatic
hymn to youth and innocence. There's the mysterious metaphysical Morning Glory
and the haunting love song Once I Was. They posit the mood and spirit of
the next two albums. Goodbye And Hello is an in-between album, overshadowed
by his first, hinting at what was to be. His albums continued to fall into pairs:
Happy Sad/Blue Afternoon, Lorca/Starsailor, Greetings From LA/Look At The Fool
and Sefronia, back to the beginning. The
rock end of folk again -- the full turn of the circle. Tim
Buckley contained the seeds of a lot of what was to come.
On "Understand Your Man" Buckley yelps and hollers in the later style
of Greetings From LA, though without the overt lyrical sexual expressionism, and
with Byrd-like jangling electric rock in place of the James Brown rhythmic funk
backings. Song
Slowly Song is simplicity itself. The prototype for the lingering love songs
of the Happy Sad/Blue Afternoon period. Spaced out music. The spaces are
as important as the notes that surround them. There's a wider context in the early
music of Country Joe and the Fish (Section 43) or in the acoustic meanderings
of John Fahey's music.
All later created marvelous sound collages using elemental or mechanical effects.
Buckley -- Love Song From Room 109 At The Islander; Country Joe -- Grace,
Magoo; John Fahey -- The Last Steam Engine Train, The Singing Bridge Of
Memphis Tennessee. They all evoke the same mood. Elsewhere
the context is outward-looking and crystallizing in LA rock. It Happens Every
Time opens like vintage Byrds or Fifth Dimension playing English traditional
songs. The Byrds are only twice removed in the typically Love guitar phrases that
mark the intro to She Is and the slow stuttering close to Song Of The
Magician. And it isn't just an Elektra logo that couples early Tim Buckley
and pre-Strange Days Doors. There's a curious affinity to the Doors on tracks
like Strange Street Affair Under Blue or Pleasant Street from
Goodbye And Hello, particularly in the internal musical dynamics. Remember
Tim Buckley was released in 1966. Pre-Da Capo, The Doors, and Electric Music
For The Mind and Body. A folk album? Never. And the group: Lee Underwood,
guitar; James Fielder, bass; Billy Mundi, drums; Van Dyke Parks, keyboards, and
Tim's voice and guitar -- resplendent throughout the album -- could have been
a real blockbuster. It
wasn't to be. And Tim Buckley himself is no more either. It hardly seems possible
when he was so alive in his music. But it is true and the loss of potential is
quite tragic. We can scarcely begin to imagine where he might have taken us in
the future. And there was nothing fatalistic about his death, as he sang on one
of his most beautiful early songs: "On wings of chance we fly."
©
Houghton/Let it Rock
Let
It Rock was a British magazine -#1-35 (Oct 1972 Dec 1975) - that provided
historical analysis and critical comment on the contemporary scene, and
gave more than a passing nod to the early days of rock. |