by
Jon Dale
The
current issue of Uncut – in shops now or available to
buy online by clicking here – includes a six-page feature
on Tim Buckley, taking a deep dive into the making of
his legendary Starsailor album.
Jon
Dale discovers that while Starsailor may now be regarded
as Buckley’s masterpiece, its release in October 1970
put the brakes on a promising, if already unpredictable
career, confusing fans and leaving him in the commercial
wilderness.
“He sacrificed previous audiences, his manager Herb Cohen,
his record company,” says guitarist Lee Underwood. “All
he had left was his vision and his music and a few musicians
who believed in him.”
Buckley
had started preparing the material for Starsailor in late
1969, and his new band had already begun to breathe the
songs into life while on tour. There was also a new member
of the band, Bunk Gardner, joining in on flutes, tenor
saxophone and bass clarinet.
When
he first saw Buckley, he was fixated on his singing –
“one thing for me [that] stood out was Tim’s range. He
could do a lot of things with his voice” – but he soon
learned that Buckley was after the very essence of the
musicians he played with.“Tim
actually gave us free rein to express ourselves musically.
I could see that Tim was going in a more progressive direction.”
In the studio, the music flowed from the players, their
near-telepathic understanding of one another, honed by
time on the road, allowing the music to travel far and
wide. But while Starsailor might sound off-the-cuff at
times – there are moments of improvisatory splendour on
the album, where it sounds as though the musicians are
responding as one, in real time, to Buckley’s cues – it
was also a deeply considered, rigorously planned album,
as Underwood explains.
“Tim
spent a lot of time writing the lyrics, and even more
time working with the odd time signatures and unusual
melodic and harmonic factors as well. Improvisation is
involved on Tim’s part and the other musicians’ parts
as well, but a lot of conscious artistry was involved
on Tim’s part before he and the musicians ever got into
the studio. This was not a slap-dash ‘shot in the dark’
effort. Tim worked hard on every aspect of it.”
“Song
To The Siren” was almost three years old by the time it
appeared on Starsailor. It made its first public appearance
on the final episode of The Monkees television series,
in 1968 – typical of Buckley to use a high-profile promotional
appearance to debut his latest song, as yet unavailable
on any album.
“No thought of merchandising whatsoever,” laughs lyricist
Larry Beckett. “Let’s do the edgiest, strangest thing
we have. That was beautiful.”
The
version of “Song To The Siren” that appeared on Starsailor,
though, had changed a little since its premiere, given
Buckley’s embarrassment over the first line of the final
verse, “I’m as puzzled as the oyster”.
“He
was sensitive about criticism of that line,” Beckett sighs.
“He always believed the worst.”
He
changed “oyster” to “newborn child” and then botched the
second line, too. “Though
it’s a very strong song, he ruined the last verse,” Beckett
told me. “I’m standing right there as he’s recording the
song, but his performance was so outstanding that I thought,
‘I’m just gonna let it ride.’ Let’s just let that be the
take, because I don’t think he can sing it any better.”
“I
really had high hopes after that session,” Gardner adds.
“It looked like Tim was starting to be recognised as somebody
to check out, because he was so different and was really
radically going in another direction. But I know that
it felt very comfortable because we had been playing together
a while before we made Starsailor. It was just so good
in the studio, that feeling of even though you’re recording,
let’s go for it, no holds barred – anything that you can
come up with, as far as being fairly wild and experimental
in your approach, the better!”
You
can read much more about Tim Buckley and Starsailor in
the September 2020 issue of Uncut, out now with Peter
Gabriel on the cover.
©
2020 Dale/UNCUT