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TIM BUCKLEY

Prog Folk • United States


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Tim Buckley biography
Young rebellious and fatherless lad that grew in the shade of Dineyland in Orange County in LA, Tim discovered soon enough his excellent vocal properties and he was soon enough managed into a folk singer/songwriter by one of the specialist label in LA, Elektra, a mould that didn't sit right with Buckley himself. Reluctantly married way too soon to Mary Guibert (that is Jeff Buckley's mother), Tim never really accepted that "ball and chain" family as he had his own vision to become a jazz musician, despite his label's intent to get him in folk circles with his debut album (he's got songs telling his wife off and one for his lover Jainie) and later with the chart-breaking Goodbye And Hello.

This second album started cementing a young future singer/songwriter star reputation, one that Tim did everything to destroy, starting no sooner than with his tremendous Happy Sad album (which built on its predecessor's success to shoot up the charts, even though the public didn't like it) where the short songs disappear for lengthy jazz-blues tracks where Tim almost improvises with his voice using it as an instrument.. As some concerts started to become heckling matches between the crowds wanting folk songs and Tim playing jazz-oriented semi-improvised jams, Elektra started renouncing on this "self-sabotage" doomed artiste. This would lead to a separation between Elektra and Buckley, where Tim recorded his darkest album yet, Lorca for Elektra and recorded just after it Blue afternoon with his new label Straight Records, which ironically enough was a bit of a return towards the more commercial earlier stuff. Both records where released within four months but inversely chronological, leaving Elektra wondering how they got stuck with Lorca as Blue Afternoon would be the last of Buckley's album hitting the charts, Lorca being the first missing it.

With Elektra out of the way, Tim rebuild his disintegrating jazz-group and forged on ahead, listening to classical music and other avant-garde artiste, and with the help of Zappa acolytes (the Buzz and Bunk Gardner brothers), he would record his utmost stupendous Starsailor (released in late 70 and now long OOP), which very few would ever top. Tim's concerts at the time would only feature songs from this and Lorca, some tracks being drawn out to 45 minutes jams, the halls where not being filled and the albums were not selling, leaving few income. Fortunately Tim's attention would once again be drawn by the movies a...
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Original Album Series - Tim BuckleyOriginal Album Series - Tim Buckley
Box set · Import
original album series 2015
Audio CD$9.94
$10.41 (used)
Morning Glory: The Tim Buckley AnthologyMorning Glory: The Tim Buckley Anthology
Elektra / Wea 2001
Audio CD$6.00
$3.95 (used)
Goodbye & HelloGoodbye & Hello
Import
Imports 1989
Audio CD$5.21
$0.48 (used)
Lady Give Me Your Key: The Unissued 1967 SoloLady Give Me Your Key: The Unissued 1967 Solo
Remastered
Future Days Recordin 2016
Audio CD$16.14
$21.03 (used)
Dream Letter (Double CD)Dream Letter (Double CD)
Manifesto Records 2010
Audio CD$12.95
$4.40 (used)
Greetings From L.A.Greetings From L.A.
Import
Warner Bros UK 1999
Audio CD$4.99
$3.98 (used)
Best of Tim BuckleyBest of Tim Buckley
Elektra / Wea 2006
Audio CD$3.76
$4.90 (used)
Wings: The Complete Singles 1966-1974Wings: The Complete Singles 1966-1974
Omnivore Recordings 2016
Audio CD$9.49
$8.27 (used)
Tim BuckleyTim Buckley
Import
Warner Music 2011
Audio CD$9.91
$9.90 (used)
Live At The TroubadourLive At The Troubadour
Manifesto Records 2010
Audio CD$6.98
$1.75 (used)
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TIM BUCKLEY discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TIM BUCKLEY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.83 | 30 ratings
Tim Buckley
1966
3.41 | 43 ratings
Goodbye and Hello
1967
3.63 | 40 ratings
Happy Sad
1969
3.71 | 27 ratings
Blue Afternoon
1969
3.83 | 35 ratings
Lorca
1970
4.05 | 67 ratings
Starsailor
1970
3.38 | 21 ratings
Greetings from L.A.
1972
2.17 | 11 ratings
Sefronia
1974
2.03 | 10 ratings
Look At The Fool
1974

TIM BUCKLEY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.32 | 12 ratings
Dream Letter: Live in London 1968
1990
4.03 | 10 ratings
Live at the Troubadour 1969
1994
3.92 | 7 ratings
Honeyman, Live 1973
1995
4.33 | 3 ratings
Once I Was
1999
4.67 | 3 ratings
The Copenhagen Tapes 1968
2000
3.17 | 5 ratings
Live at The Folklore Center, NYC: March 6th, 1967
2009

TIM BUCKLEY Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
My Fleeting House
2007

TIM BUCKLEY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.96 | 4 ratings
The Dream Belongs to Me - Rare and Unreleased Recordings 1968 / 1973
2001
4.50 | 2 ratings
Original Album Series
2011

TIM BUCKLEY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

TIM BUCKLEY Reviews


Showing last 10 reviews only
 Happy Sad by BUCKLEY, TIM album cover Studio Album, 1969
3.63 | 40 ratings

BUY
Happy Sad
Tim Buckley Prog Folk

Review by Suedevanshoe

4 stars This is Tim Buckley's high water mark, his right of ascension. The childish tomfoolery is gone, what this record brings to bear is a mature, focused artist whose voice is so powerful Paul "Earthquake" Pena called him "The Dinosaur Exterminator".

This is a record for a sunny day sitting by a lake. Progressive in nature yet subtly influenced by current pop and jazz trends, Happy Sad starts and stops and jolts and winds and meanders until all you hear is Buckley's voice ringing in your ears. "Buzzin' Fly" is worth the price of this disc alone, and is one of my favorite tracks of all time.

 Greetings from L.A. by BUCKLEY, TIM album cover Studio Album, 1972
3.38 | 21 ratings

BUY
Greetings from L.A.
Tim Buckley Prog Folk

Review by the philosopher

4 stars Normally I'm not too fond of vocal solo's, but for Tim Buckley I'll make an exception. We'll find Buckley standing without money and forced to make a record with more commercial potential after two avant garde records ("Lorca" and "Starsailor"). Well, I don't know if it was a commercial succes, but in my opinion it is a succesful record!

With a total new band sounding between Traffic (On the Road) and David Bowie (Young Americans and Station to Station) Tim Buckley made this "Greeting from L.A." showing the city in smog. The cover is a postcard with a stamp showing Tim Buckley with a gas mask and information about the smog in L.A. city. The songs vary from rock 'n roll with female choirs ("Move with me" and "Night Hawking") to funky rhythm and blues ("Get on top", etc..) to blues (Hong Kong Bar). I can understand that this sounds less attractive to a prog community then the more avant garde period, but Tim Buckley did this with a lot of enthousiasm and his band did really know how to play and jam. The atypical use of vocals and smart song writing with (sexual) provocative lyrics made this a very good record, although not as experimental as his previous records.

Although I'm more impressed by Starsailor this record is often seen at my turntable. Four stars for sure for this nice room chamber music! This record is advised for fans of the funky and bluesy period of Bowie, fans of Tim Buckley in general and for fan's of slightly experimental but good performed music.

 Lorca by BUCKLEY, TIM album cover Studio Album, 1970
3.83 | 35 ratings

BUY
Lorca
Tim Buckley Prog Folk

Review by Kotro
Prog Reviewer

3 stars Haze

Arriving at the this album straight from his sophomore effort, it's only natural we get the bejesus scared out of ourselves once the first few notes of Lorca flow from the speakers, a real feel of "ah, nothing like a nice piece of bucolic psych-folk mus? WHAT THE HELL IS THAT?". That, my reader friend, is one of the eeriest organ openings to an album I've had the pleasure of listening. Which, frankly, weren't that many, but that's not the point. The point is that opening title track sounds like nothing you've ever heard before, and hardly will again, a sombre and languorous love song that will hold the bar for the remainder of the album. Lorca features electric pianos swirling around pipe organs with Tim singing all over the place with John Balkin's bass line providing a shivering rhythm more reminiscent of Black Sabbath and Jacula that American folk.

The remainder of the album doesn't do as good a job freaking you out as the opening title track, but we're still miles away from the conventional pop-folk song structure of earlier albums. Anonymous Proposition features a lazy "Jazz Club at 3 a.m." kind of sound, more soothing that somber, still featuring flourishes of instrumentation running wild in the background, as if each musician was doing his own thing. At around 6 minutes, I Had A Talk With My Woman is the shortest track on the album, and the one that wouldn't sound awfully out of place on Buckley's earlier albums. It's a slow gospel-like piece, sprinkled with some delightfully discrete electric guitar. Driftin' resumes from the second track, back to a more slow-paced rhythm & blues sounds, but there's not a speck of uncontrolled jazz improvisation on this one, apart from Tim's unconventional vocal deliveries. Finally, Nobody Walkin' ends the album on a high note, with the faster- paced track on the album, carried by the almost tribal drumming of Carter Collins and his congas and another super bass line. There is even space for some jamming midway.

So, conclusions. Lorca is not your everyday listen ? it's an album you should prepare yourself for, be in the right mood. It's a hard album to get into, but one shouldn't be discouraged if it doesn't click on the first listen. Like it's grey cover almost seems to indicate, this album is a hazy affair, where you feel lost amid a fog of the mind. A quiet environment is best to fully appreciate the intricacies of the music delivered by this excellent set of musicians. Regarding lyrics, words are relatively sparse considering the length of the tracks, but they completely fill the songs due to Tim's slow and languid delivery, often stretching syllables beyond reasonable. But that, like most things about this album, is an acquired taste, and one should probably not tackle this album unprepared. Listen before you buy.

 Starsailor by BUCKLEY, TIM album cover Studio Album, 1970
4.05 | 67 ratings

BUY
Starsailor
Tim Buckley Prog Folk

Review by the philosopher

5 stars Vocal extravaganza Tim Buckley had lost all of it's fans with Lorca, an avant-garde record, with almost no folk influences anymore. This didn't change his direction however and here we are standing at the highlight of Tim's career; Starsailor. This was not a commercial succes, but fans and Tim Buckley - the man himself, see this record as his peak. The songs are shorter and somewhat more effective then it's predecessor: a masterpiece was created!

"Come here Woman", "I Woke up", "Jungle Fire" and "The Healing Festival" are all avant-garde songs, which show some rare mixture in sound of Capain Beefheart and Klaus Schulze a-like space music. Buckley's acrobatic vocals are free to attack the listener and to make weird voice effects. In comparison with Don van Vliet, Arthur Brown and Peter Hammill, Tim Buckley surely wins the price of the most extreme vocalist with it's high range and daring experimentation. The instruments are dark and brooming and have a very loose structure.

Not all of the songs are as extreme as those I have mentioned. On Starsailor we do also find a semi-french chanson, which is actually really good and brings some rest for the ears. "Song to the Siren" is a nice ballad to close the first side.

The titletrack may be the most experimental track of the record. This is a spacetrip created with echoing vocals, panicky vocals and weird/insane vocals: the total expression of Tim Buckley's vocal ideas. The performing is excellent!

The ending track reminds me of Pulp Fiction's starting track, but rapidly changes into a happy latin-rock song with a free-role of a trumpet. This works out really great and doesn't left you with the - sometimes heavy - feelings.

This is an avant-garde masterpiece. It surprises me how so many crazy ideas on one record does not sound so difficult and leaves me behind with a big smile on my face. Maybe the first time listening was a bit disturbing, but now it is one of my favourite records: five stars!

 Starsailor by BUCKLEY, TIM album cover Studio Album, 1970
4.05 | 67 ratings

BUY
Starsailor
Tim Buckley Prog Folk

Review by Marty McFly
Special Collaborator Errors and Omissions Team

3 stars Album that's not for enjoying, but for appreciating. Like a perfect clean, dust-free museum, where you can admire exhibitions, "Starsailor" shows what can be done when you experiment with Folk (and mixture of other, uncommon genre-connections). But you have to love the guy for trying, for creating something that weird. It's certainly mark in history of music, even it's very small mark (because this album won't win you as much fans as mainstream music would). Can you enjoy mainstream album more ? I think so, but is it better ? Well, that's the tricky question. I don't know.

I just listen to this "effort", sometimes in horror (obviously), sometimes trying to survive through its painful dissonant twists, sometimes appreciating its harmonies (in a dark sense of this word) and trying to understand its hidden message. Will I be successful ? I don't think so.

OK, you may think that there goes barbarian Marty and stomps on all "higher" culture. Or I don't ? Think of this as sober man's thinking, not hardcore weirdo music lover, but average Prog listener point of view, opinion of not music expert, but just someone, who likes to try a lot of different music (and let it make an effect on me).

3(+), why not give lesser rating ? Because of its quality, because of how it feels. Weird, but also like something out of this world. Unique. Why not more ? Well, because weirdness doesn't equal quality. I'm giving average rating, because that's how I feel about it, torn between need to enjoy something in order to like it, but also torn from opposite side - wanting more, something daring and unbound - THIS.

This is a masterpiece, for lovers of this genre. I'm afraid others will be disappointed. But if you aren't, count yourself lucky that you can enjoy this. I can, but only partially. And how else should I rate, when I feel about this album that way. I gave it second chance (after initial TOTAL disappointment) and this time, I listened with ears wide ... open ?

Music just for special occasions.

 Blue Afternoon by BUCKLEY, TIM album cover Studio Album, 1969
3.71 | 27 ratings

BUY
Blue Afternoon
Tim Buckley Prog Folk

Review by EatThatPhonebook
Prog Reviewer

4 stars There is no doubt Tim Buckley's third album is wonderful and beautiful in many moments. The album is more folk and psych than prog, like the first part of the album. "Blue Afternoon", is a calm, mellow, gentle album, with a nice touch of autumn melancholy and lyrical profoundness. The first part of the album is beautiful, each song is memorable and touching, especially the opener "Happy Time" which has a melody that reminds me of "Song for The Siren" The second part isn't quite as beautiful; it's more reflexive, even more calm and generally slower. Consequently, the music has a lower tune in this second part. Anyway the album is excellent, highly recommended.
 Goodbye and Hello by BUCKLEY, TIM album cover Studio Album, 1967
3.41 | 43 ratings

BUY
Goodbye and Hello
Tim Buckley Prog Folk

Review by Kotro
Prog Reviewer

3 stars No, seriously, who is she?

Goodbye and Hello is a much stronger output than its predecessor. This is even clearer when, like me, you get to hear them one immediately after the other: the edition I'm reviewing comes with Tim's self-titled debut album in the same disc. The booklet, while not vast, includes complete artwork and credits for the albums, as well as a critical review of the period in Tim's career when they were recorded.

In contrast to the songs on the previous album, the opener No Man Can Find The War is quite a change, introducing some sounds effect emulating explosions, featuring some great harpsichord ant Tim's vocals toned down (less dramatic, but much more melancholic). Carnival Song perfectly conveys the sense of a fair, with the circus- like atmosphere music being once more delivered by the keyboards and sound effects. A lovely piano tune opens Pleasant Street, accompanied by the again beautiful harpsichord and electric guitar strumming, in a delicate tapestry of sounds, before the outburst of the chorus. Tim's vocals are very "feminine" in this track. Hallucinations has a certain British Isles folk feel to it, again featuring some interesting use of eerie sound effects and percussion. I Never Asked To Be Your Mountain is a return to the vocal style and melody of the first album, but the ending is wilder than anything on Tim Buckley. Once I Was sounds like an old country western ballad. Phantasmagoria In Two follows in the same mood, again appearing to cross the Atlantic towards the electrified medieval troubadorism of Albion, a strategy repeated for the slightly cheesy but fortunately short Knight-Errant. The epic Goodbye And Hello mixes much of the styles that have been presented throughout the album, with the added benefit of the presence of a backing orchestra. It is more a collage of different tunes than a proper epic construction over the same base tune, but it works excellently. Morning Glory wraps up the album, another short and sweat ballad.

If you wish to find out why Tim Buckley is listed in ProgArchives, the first few albums are not the place to look. However, Goodbye and Hello is a much more varied and interesting album than Tim's debut, with longer and more complex compositions, featuring some great folk-pop tunes, with occasional glimpses of 60's early American psychedelia. Buckley's voice is still an acquired taste (and if you arrive unprepared, sometimes you will swear it's a woman singing), but if you can take it, this album might be a good place to start looking for the roots of the eclectic experimentalism that will be heard in his later works.

 Tim Buckley by BUCKLEY, TIM album cover Studio Album, 1966
2.83 | 30 ratings

BUY
Tim Buckley
Tim Buckley Prog Folk

Review by Kotro
Prog Reviewer

2 stars So here we have Tim Buckley's self-titled debut - not the kind of thing one would expect to find on ProgArchives. But since it's here, and given the magnitude of the name Buckley, one might as well give it a spin. The edition I'm reviewing comes with Tim's sophomore album, Goodbye and Hello, in the same disc. The booklet, while not vast, includes complete artwork and credits for the albums, as well as a critical review of the period in Tim's career when they were recorded.

There are very few highlight, as most of the tracks sound too similar, relying too much on the work of the rhythmic section of bass, drums and a mostly discrete guitar. Musically the only true good aspects to stand out are some of the keyboards and, of course, Tim's sometimes overtly dramatic teenager vocals. Some songs work rather well and can remain stuck in your head for a while (like the beautiful Song Of The Magician, Song For Janie and the out-of-place soulful rocker Understand Your Man) but the rest is quite simply all too forgettable.

If you wish to find out why Tim Buckley is listed in ProgArchives, the first few albums are not the place to look. You do, however, get some soulful songwriting walking the line between Dylan's folk and beat-pop, but nothing to be excited about.

 Live at The Folklore Center, NYC: March 6th, 1967 by BUCKLEY, TIM album cover Live, 2009
3.17 | 5 ratings

BUY
Live at The Folklore Center, NYC: March 6th, 1967
Tim Buckley Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

3 stars While living In NY for a while and having renewed with pal and lyricist Larry Beckett, Tim hung out at all the folkies' local points and soon got engagements like this one. And we are between the first album's release and the second being a few (my guess is 7) months away from the release of the magnificent G&H. Tim is playing alone here as was still normally the case and his singing is the normal folk kind, but you can hear his unusual power, yet unexplored. So most of this set comes from the debut, but you'll quickly notice four tracks that really stand out from the rest of the set list, stupendous tracks that will propel G&H to national attention.

If tracks like Song for Jainie and What You Do are regulars from his recent debut album, the set features also a bunch of never-heard elsewhere tracks, which were mostly run-of-the-mill stuff tha will never see further work on them past this period. So these 5 curiosities end-up rather deceiving if you were hoping for real gems. Along with the charming Dolphins, the anti- Nam track I Can't See You or No Man Can Find The War, the amazing I Never Asked To Be Your Mountain is certainly one of the stunner of that night, witnessed by a rather small crowd. Sonically speaking, the sound is good considering this sat for almost 40 years on a reel to reel tape. Hardly essential to the Buckley casual fan, but to the enthusiast, no doubt this reissue was 2009's major event.

 Lorca by BUCKLEY, TIM album cover Studio Album, 1970
3.83 | 35 ratings

BUY
Lorca
Tim Buckley Prog Folk

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Lorca" is the 5th full-length studio album by US experimental folk rock artist Tim Buckley. The album was released through Elektra Records in May 1970. Tim Buckley had intentionally begun to explore experimental ideas, free form mellow jazz and loose jamming, on his previous two albums "Happy Sad (1969)" and "Blue Afternoon (1969)" in an effort to move away from his original more traditional folk rock sound. Both of those albums are however still what I´d characterize as transition albums, as they feature elements from both his early mainstream oriented folk rock style and his future more experimental/avant garde folk rock style. With "Lorca" the transition to an experimental/avant garde folk rock artist is complete. While never completely forsaking his folk rock roots Tim Buckley takes you on an very different journey with "Lorca".

"Lorca" only features 5 tracks but most of them are relatively long with space for free from structures (Buckley deliberately tried to avoid vers/chorus structures at this point in his career) and innovative jamming. The album opens with the eerie sounding title track. The most avant garde oriented track on the album. Haunting vocals and experimental use of instrumentation but still with a folky edge. "Anonymous Proposition" is if possible an even more inaccessible track with Tim Buckley´s strong, melancholic and soul searching vocals in focus. What he does with his voice on this track is simply amazing, using it more like an instrument than as "regular" vocals. "I Had A Talk With My Woman" takes us back to more familiar ground with it´s bluesy folk rock style and the same can be said about "Driftin´" (the latter is still rather experimental though) and "Nobody Walkin´". Great intriguing tracks but not as experimental or innovative in style as the first two tracks on the album.

As on the previous albums the instrumentation is mostly acoustic and the use of drumkit is limited. There are a few more electric instruments used on this album than usual though. The main instruments are acoustic and electric guitar, organ, upright bass, electric piano and congas. The sound production is quite brilliant. Organic, detailed and warm. There is a rare authenticity about it, that makes you feel like you are a part of the experience instead of just being a listener.

If "Happy Sad (1969)" and "Blue Afternoon (1969)" were beautiful, melancholic and predominantly mellow trips, "Lorca" is in contrast the frightingly bad acid trip. It´s dark and emotional, twisted, and at time even unpleasant with it´s odd chromatic and non melodic vocal lines. Tim Buckley really challenged himself on this release and it´s hard to believe that "Lorca" was actually recorded simultaniously with "Blue Afternoon (1969)". They share some similarities but the addition of avant garde ideas and experimental vocal styles really set "Lorca" apart from "Blue Afternoon (1969)". A 4 star (80%) rating is deserved. A very dark and unique album this one.

Thanks to Sean Trane for the artist addition.

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