Compare Offers on Amazon
+ CDN$ 3.49 shipping
+ CDN$ 3.49 shipping
+ CDN$ 3.49 shipping
BUCKLEY,TIM - LIVE AT THE TROUBADOUR 1969 Live
Customers Who Bought This Item Also Bought
|1. Strange Feelin'|
|2. Venice Mating Call|
|3. I Don't Need It To Rain|
|4. I Had A Talk With My Woman|
|5. Gypsy Woman|
|6. Blue Melody|
|7. Chase The Blues Away|
|9. Nobody Walkin'|
This previously unreleased live set features Tim in a small combo setting, doing material drawn chiefly from the Lorca and Blue Afternoon albums, with two never-before-heard songs.
The posthumously released Live At The Troubadour 1969 is the second of a trio of well-produced live albums (alongside 1968's Dream Letter-Live At London's Queen Elizabeth Hall and 1973s Honeyman) to be unearthed and packaged to feed Tim Buckley myth. One of the greatest rock voices ever, Tim Buckley drew from folk, psychedelic rock and progressive jazz. His multi-octave range was capable of powerful expressiveness and his restless evasion of any kind of self-definition always cast him as an outsider talent, a maverick. By the time of the Troubadour set, Buckley's improvisational technique was sensual, feverish and utterly unique. The music, mostly taken from 1970s Lorca and Blue Afternoon albums ekes out the kind of truly blitzed existential avant-garde blues you get from Buckley on a good day but it's the twists and turns of that "voice" that really startles. Whether ripping up the hood of the tender "Strange Feelin'", stretching, cajoling and scatting "I Don't Need It To Rain", prowling around the notes of "Nobody Walkin", Buckley's soul-soothing, vocal gymnastics are always perfect for an exploration of your imagination. Supported by a band willing to drift into moody epic plateaus, Buckley delivers a righteous fusion of lazy rhythms, junk-waffle jazz and soul with gutsy depth of emotion and empathy. --Reuben Dessay
Top Customer Reviews
Most Helpful Customer Reviews on Amazon.com (beta)
........well, here is an instance when someone like me who writes a lot about music wonders if he has not been doing so just a bit too much. You use words like "amazing" "classic" "stunning" a lot. It happens by reflex when describing the music you are passionate about, especially when you are super-passionate about music.
Are you throwing those words without thinking? Trying to find the quikest term instead of the one that fits best?
Well, sometimes. But when I use the words "absolutely searing" here, I know I have gotten it, meticulously, surgically correct.
This rendition of Buckley's "Gypsy Women," may be one of if not the best live musical performance I have ever listened too, and this is drawn from a 7000 album collection.
This track is transformed from a experimental piece of folk to a jazzy masterpiece--yeah, I thought that overused term out for this review too.
Buckley starts with a minor, mediteranian sounding scale and strums to the drums. He changes his guitar from a folk instrument to an exotic one. He sets the chords up. He repeats. He waits. He sings, a slow deep moan--a little up, further. A climax?
No. He waits some more. He lets the music bubble, varries his voice-- understanding pacing the way Coltrane did with his sax. Buckley uses his voice, in fact, as a jazz instrument, a horn that is in his vocal chords. It is sexual. It is full of suspence.
Finally, after more than ten minutes, Buckley rises to the top of his octive range, and his operatic voice sings, in a blues scale, nailing you to the wall. He has given you everything, and I mean everything, a singer ever could
The rest of the album--as if you needed anymore- is full of Bitches Brew like keybords, jazzy folk experments, and performances, that in general, trump the origonal album versions
So, no, you are not by a mile buying this for one track. Everything here is top notch.
But if you were, "Gypsy Women" would make even the worst music worth the price.
The only thing I miss in this is his earlier simpler presentation. I remember the best shows as just being himself on guitar, Mr. Carter on the Congas and other percussion, and this fabulous vibraphonist. Nope, I dont remember his name. I have yet to hear this vibraphonist on any recording, but I really thought that he was an important element in making the ethereal and almost other-worldly sounds that Tim Buckley spun. The guitar and keyboards are just an approximation, and too frequently overdriven, muddy, and too intrusive.