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Morning Glory - The Tim Buckley Anthology
Just like a buzzin' fly
I come into your life I'll float away
I come in the sun
Wasn't right or wrong
I couldn't sing that song anyway*
The voice of Tim Buckley was angelic.
His unique sound came from the upper register and was one virtually bell-like in quality. His vocal timbre was so breathtaking that anyone who heard his first two Elektra records was entranced.
Buckley wasn't content to stay within the confines of the traditional folk styling of his period. He preferred to be his own man regardless of any commercial trends. As his later recordings became more abstract and dissonant, Tim appeared to be turning his back on his folk roots. In reality he was turning more inward, listening to his own voice. Because of that lack of consistency, his work was often overlooked. In today's climate of categorizing artists for marketing purposes, Buckley would have been impossible to put a handle on.
Certainly he lost some of his followers with the later recordings. Those who preferred the near perfection of "Morning Glory" came to see him as unpredictable. But this was an artist who sang colors onto a canvas. Sometimes exquisite and vibrant, often dark and moody, the rendering was always a Tim Buckley original.
His voice throughout his career was haunting, sometimes shimmering as on "Buzzin' Fly," while other songs such as “Happy Time" were delivered with crystalline brilliance. When Tim covered a song like "Sally Go 'Round The Roses," it showcased his ability for making everything his own in stunning and interesting ways.
Buckley sang songs of both love and protest But he sang mostly for ·the freedom of his own soul ... that was the freedom Tim Buckley so longed for.
James Austin, Sr. Director
A&R Special Products
For all of his adult life, Tim Buckley was a man on the edge – on the precipice of fame, on the fringes of the record charts, on the far borders between conventional musical categories, He occupies no comfortable place in the pop/rock history books. His career took him through the folk, jazz, avant-garde, and R&B realms; he didn't remain long in any of them. Buckley's road was one of the most difficult of any of the singer/songwriters of his generation and among the most fascinating. The music he left behind is both hauntingly lovely and disquietingly personal and still challenges the listener 26 years after his death. There have been no "New Buckleys" since he left us – he was su generis, one of a kind.
What set him apart, first and foremost, was his voice. No one has ever sounded quite like him – the span of his vocal range, his delicacy and control, and his willingness to take extreme risks were all exceptional. He could soar to sentimental heights like a classic Irish tenor, play with rhythm and phrasing like a master jazz stylist, strut and testify like a born soul-shouter. More than all this, he sang with a palpable intensity of emotion that few recording artists have ever approached. His singing was passionate in the most literal sense of the word, conveying lust, suffering, and rapture in a single line. "He had the most amazing voice, even beyond the range," says his first bass player, Jim Fielder. "It was the clarity and purity of his tone. Even when he screamed, it sounded like singing.”
Buckley's reckless pursuit of artistic freedom is part of his enduring legend. So is the price he paid – he has been eulogized as a victim of the marketplace, a martyr to his own muse. There's much to feed this view – even his album covers seem to tell this story. There's a striking difference between the handsome 19-year-old on the cover of Buckley's 1966 debut LP and the defeated-looking figure staring out of the photograph on the back of his final studio album, 1974's Look At The Fool. Old friends talk about the air of melancholy that hung over him from his teenage years onward. He wasn't cut out for the greed and the hustle of the music biz, and, by the time of his death from a heroin overdose in 1975, his promising moments as a folk-rock golden boy were long behind him.
It would be a great mistake, though, to deem Buckley's career a failure because of his record sales and tragic end. His music remains beguiling, puzzling, irreplaceable. At first his body of work seems to take wild swings of direction, lacking a center. But his music didn't change as much as unfold – there was an artistic unity to it overall, even when you include the so-called "sell-out" phase of his latter days. The disparity between the archly romantic poetry of his first LP and the bump 'n' grind sleaze of his last several albums is admittedly hard to reconcile. But a note of longing for unattainable love was a constant theme from the beginning to the end. And as literally true as many of his lyrics seemed to be, it was the ache and desperation in the voice itself that expressed the highest truth...
The maverick streak in Buckley ran all the way back to the beginning. Born on Valentine's Day, 1947, in Washington, D.C., Tim moved with his family to Anaheim, California (in the heart of infamously conservative Orange County), about ten years later. His first gigs were as a teenage folk singer, playing traditional material around local coffeehouses. As a junior at Loara High School, he became pals with bassist Jim Fielder and aspiring poet Larry Beckett, fellow students who shared his diverse musical interests. "His taste in listening was extremely cosmopolitan," Beckett remembers. “At his house you'd see Johnny Cash and Frank Sinatra records, but then he subscribed to [the folk magazine] Sing Out!"
Fielder and Beckett were struck early on by the power of Buckley's voice and his desire to experiment. ''We'd sit there and go, 'Oh my God! I've never heard anything as beautiful as this voice,''' says Beckett. "He was always stretching his limits, always working on extending his voice. I remember very early on we discovered Yma Sumac, who had this colossal, almost carnival voice. We'd listen to her, and Tim's eyes would light up – he just wanted to go higher and lower and cover all those octaves.”
The folk boom was about to give way to incipient psychedelia when Tim and his two pals formed a pair of bands in 1965. The Bohemians were the more conventional, mixing up folk and rock cover songs with the original tunes that Buckley and Beckett were beginning to write. The Harlequin 3 were zanier, allowing the trio-Buckley on guitar, Fielder on bass, and Beckett on percussion – to launch into comedy skits and poetry recitations between tunes. These freewheeling teenage combos attracted notice in Orange County and L.A.; by 1966 Tim had signed as a solo artist with manager Herb Cohen, who helped him land a deal with Jac Holzman's Elektra Records.
After a stint playing in New York (where he hooked up with guitarist Lee Underwood), Buckley returned to L.A. to record his eponymous Elektra debut The Tim Buckley LP was the culmination of a year's worth of writing and performing. If this had been Buckley's only album, he would be remembered for releasing a charming, if somewhat self conscious collection of songs. Tim's precocious talents as a melody writer are evident and such tunes as "Song Slowly Song" are ambitious for a teenage composer. The lyrics (particularly those written by Beckett) have a medieval courtly-love feel to them, emphasized by Buckley's Old-English pronunciations. On the whole, Buckley never sounded quite as serious as he did on this record – he started to cut loose on his next album and found a more relaxed, natural stride on his third.
The songs on Tim Buckley have an innocence to them that would gradually fall away on succeeding albums. The formalism of some was no accident; Beckett's lyrics for "Song Slowly Song," for instance, were derived from ancient Greek poetry. Tracks like "She Is" and "Aren't You The Girl" are more in a conventional folk-rock mode. The best fusing of these two sensibilities is the gorgeous "Wings" (which, oddly enough, was completed lyrically by Beckett while he was attending a UCLA/USC football game).
Buckley's first album was an auspicious start and everyone concerned had high hopes for his next release. The suggestion was made that Beckett and Buckley try to write an obvious hit single, which in 1967 meant either an idyllic love song or something hippier, with a drug reference or two slipped in. The pair came up with "Lady Give Me Your Key" (apparently retitled "Lady Give Your Heart"), a psychedelic-styled number that Beckett feels proud of today. A less well-realized song, "Once Upon A Time," was also churned out. Both tunes were recorded, but never released.
The true test of Buckley and Beckett's mettle was Goodbye And Hello. Released in the fall of '67, its tasteful production by Jerry Yester combined orchestral touches with a baroque brand of folk-rock. This LP was probably the closest Buckley ever came to matching his art with the fleeting tastes of the pop marketplace.
Tim and Larry had worked hard on the arrangements, and Yester pushed Buckley to exceed himself in the studio. “Throughout his whole career, Tim was Mr. First Take," says Beckett. "He was so completely capable a singer that you didn't need a second take. But Jerry would say, 'You were great the band was a little off, let's do Take Two,' and Tim would give him this evil look. He understood that much more passion would be drained out of every subsequent take.”
Goodbye And Hello feels like a major artistic statement – a little too much so at times. Tracks like "Hallucinations"- inspired by an album of Turkish music Buckley had discovered – set him apart from predictable folkies of the era. Even more important than such exotic influences was the greater emotional abandon Buckley was showing as a singer - "Pleasant Street" hints at depths that the callow romanticism of the debut album couldn't touch. "Once I Was" finds him portraying the archetypal lover with greater self-assurance. "Morning Glory" is a return to the bookish poetics of his previous LP, but with more delicacy and less effort on Tim's part.
Two of Goodbye And Hello's Beckett/Buckley songs tapped into the rebellious zeitgeist of the time. The vivid (if strident) "No Man Can Find The War" is sung with all the solemnity Tim can muster. More sweeping still is the title track, an eight minute-plus manifesto of anti-establishment defiance that sounds fairly dated today. Its vocal counterpoint and rich arrangement is impressive, but it's probably best that Buckley didn't pursue this direction further.
Rather than politics, Buckley had become enamored with the dark-tinged folk-blues of fellow Elektra artist Fred Neil. Tim and Larry attended one of Neil's sessions in 1966 and were struck by the mesmerizing, sensual flow of his music. Buckley was also inspired by the older musician to develop the lower end of his range, to striking effect.
His songwriting was also taking a new turn at the start of 1968. Buckley began to write all of his own lyrics, avoiding the classical precision of Beckett's approach in favor of simpler emotional expressions. "His lyrics are not really those of anybody who knows what they're doing with rhyme or stanza or form," says Beckett of the songs Tim wrote after Goodbye And Hello. ''The words on the next three albums are almost interchangeable. I think it was his way of loosening the texture, not having a song be quite so structured, and concentrating more on the sound.”
What he was evolving toward is evident on the tracks included here from his October 1968 London concert (recorded and released 22 years later in complete form as Dream Letter). Performing with Underwood, recently recruited vibraphone player David Friedman, and guest bassist Danny Thompson, Buckley had stripped down and opened up his music. You can hear the difference on his treatment of "Phantasmagoria In Two," a tune cut with a tighter folk-rock arrangement on Goodbye And Hello. 'Troubadour" likewise breathes fresh life into the slightly dissonant medievalisms of Buckley's first two albums. Most indicative of music to come is "I've Been Out Walking," a genial number that ambles through a gamut of emotions. Tim yodels, scats, and serenades at a leisurely pace, finally declaring, “Ain't it great bein' alive?" Taken as a whole, the music captured on Dream Letter is as satisfying as anything Buckley released in his lifetime.
Tim had reason to be pleased – he was about to put out Happy Sad in early 1969, one of his best-realized efforts. In sharp contrast to his second LP, this one was more about atmosphere than immaculately crafted songs or social relevance. Tim's British inflections and poetic filagree of a year earlier seemed long behind him. Key to his new sound was Friedman's rippling vibraphone, an unusual color in pop records at that time if not in jazz. The title of the album was appropriate – there's a wistful melancholy to much of the record, heard in "Buzzin' Fly" (an old song from the Harlequin 3 days), "Strange Feelin'," and "Sing A Song For You:' Buckley is still the young knight-errant, beseeching his lady-love to hear his prayers, but with a bit more maturity and acceptance of loss.
Happy Sad was Buckley's highest-charting album (#81), and its introspective folk-jazz might've been a good musical place for him to remain.
With a little more cheerfulness, he might've even scored a hit single the next time around. But playing it safe was the last thing on Buckley's mind. From this point on, he followed a career path that confused his management, record labels, and audience alike. Tim asked those who believed in him to give him the freedom of a jazz artist or a classical composer; in the pop marketplace of the 1970s, this was courting career suicide.
Whatever the risks he was taking, Buckley was in high gear musically, releasing three albums in a little over a year's time. Blue Afternoon appeared as 1969 shaded over into 1970, released on Herb Cohen's newly launched Straight label. In some ways, this is the most comfortable of his LPs, a refinement of his previous album rather than a clear advance. The songs are a little more reined in than on Happy Sad, the ensemble playing less expansive. Tunes like "Happy Time" are more conventional and a bit brighter in mood. "So Lonely" is playfully morose, with Buckley's voice dipping low for an almost comic effect. "I Must Have Been Blind" and "The River" are more unfettered, and overall Blue Afternoon is true to the spirit of its predecessor. Still, it lacks the groundbreaking thrill of Tim's other albums from this period.
Things began to shift once more after Blue Afternoon was recorded. Friedman left, and Buckley signed up bassist John Balkin, who helped him delve into the extremes of free jazz and avant-garde classical music. Live At The Troubadour 1969 (released in 1994) captures the sound of Tim's group at this point. Blue Afternoon's "Chase The Blues Away" is representative of the brooding, lovelorn material that dominated his set list; if the lyrics are a little thin, Buckley's evocative vocal brings out meaning beyond the words.
Buckley increasingly sang of love with an obsessive, masochistic twist. It was fitting, then, that he was drawn to the doomed romanticism of Spanish poet Federico Garcia Lorca and would name his next album after him. "He liked Lorca's duende," says Beckett. "That is, that sort of mad possession and extreme intensity that Lorca recognized in himself. I think Tim felt a profound connection to that:'
Lorca was released in 1970, satisfying a contractual obligation to Elektra. The album is decidedly darker in tone and more intense in mood than Blue Afternoon. The sound is even more unfettered than on Happy Sad, with Underwood's electric piano daubs taking the place of Friedman's vibes. Lorca is a bridge between the dreamily introspective tunes on Happy Sad and the unnerving jazz/avant-garde excursions on his next release, Starsailor. Buckley's lyrics here express conflicted, ambiguous emotions, directed at women equal parts goddess and streetwalker. The tunes on Side Two - "I Had A Talk With My Woman," "Driftin,'" and "Nobody Walkin"'- flow into each other, riding Carter C.C. Collins' simmering conga groove. Buckley moans and murmurs his way through, a choirboy caught in the throes of carnal knowledge.
If Lorca had its disquieting moments, Starsailor (released November 1970) was downright intimidating and scary. Anyone who thought that Buckley was content to be a Fred Neil understudy was profoundly shaken up by this album. In part because of Balkin's influence, he had investigated the works of Krzysztof Penderecki, Gyorgy Ligeti, and other avant-garde composers. New atonalities and advanced musical theories were combined with progressive jazz and used to test Buckley's vocal capabilities still further. On Starsailors most extreme tracks, his throat seems to have seized control of his mind, spurred on by the controlled cacophony of Underwood, Balkin, and members of Frank Zappa's horn section. Few supposedly "pop" singers have ever confronted their fans with a record as difficult to grasp as this one.
After an unhappy stint in the U.S. Army, Beckett had begun cowriting with Buckley once more and contributed several lyrics to Starsailor. Among these is "Monterey," a vignette of spurned love that Buckley interprets with demonic wails and preternatural held notes. By contrast, "Moulin Rouge" is a dainty cabaret number, an elegant interlude in the midst of the madness.
The key Starsailor track is "Song To The Siren," arguably the most beautiful and important song Buckley ever wrote. Beckett's exquisite lyric provides Tim with his ultimate expression of self-destructive love, the Freudian eros/Thanatos urge that ran through so many of his songs. ''The imagery comes from Homer's Odyssey," says Beckett. "I brought him my copy of the lyrics and put them in front of him while he was eating breakfast. There was a pause, he looked at them, picked up his 12-string guitar, and more or less played the song that you hear. There were three or four of us around the table in complete amazement that something so beautiful could be born as we sat there.” [Footnote: "Song To The Siren" was written in 1967 and first performed by Buckley on The Monkees television show; the initial version released on record in 1969 was by – no kidding – Pat Boone.]
Starsailor's lack of commercial acceptance proved pivotal. By all accounts, Tim took it hard, fighting depression and dabbling in drugs more seriously than in the past. He made forays into stage and film acting while trying to find a place for himself in the pop scene. Tim's band dissolved during this time, and he eventually connected with producer Jerry Goldstein, at the time scoring hits with the band War. What Buckley recorded next was even more startling to his fans than Starsailor had been (if that's possible). The last vestiges of the genteel troubadour were shed, and Tim re-emerged on 1972's Greetings From LA. as a howling, horny wolf on the make, sexually desperate to the point of absurdity.
Such blatancy seemed a commercial move – or was it? "Tim had always told me, 'If they don't like me anymore, I'm just gonna drive a bakery truck,''' says Beckett. "I just don't understand why he sort of caved in at this point ... We knew he was just doing it to have a record contract, not out of love, not out of art. That was all gone. [The album's] vulgarity is interesting, his vocal delivery is interesting, some of the lyrics are interesting, but – come on! It's just not him.”
You can take Greetings From LA. in a number of ways. The over-the-top lust and in-your-face funk of its tracks might have been an attempt to grab attention or even a parody of Mick Jagger-esque rock preening. But whatever the intention of these songs, Buckley's singing carries a weird sort of conviction. At the heart of this music is not love or desire, but anguish and self-abasement. This is what waits beyond the Siren's deadly embrace: the Meat-Rack Tavern, the whip, shame, and submission. For all his leer and swagger, Buckley sounds more like a victim than a lover on these tracks. In many ways, this is far more disturbing stuff than anything on Starsailor.
This album has been called an exercise in sexy R&B along the lines of Al Green or Marvin Gaye. Its true that the soul quotient is high on tunes like "Sweet Surrender" – but Buckley's yelps and moans are more tormented than seductive. The quietly acoustic "Hong Kong Bar" provides a more sedate moment, but the album's grand finale, "Make It Right," is a symphonic excursion to some midnight S&M parlor. "Whip me, beat me, spank me ... make it right again," Buckley begs, but there seems little hope of redemption at the close of Greetings.
As a bid for commercial success, Greetings From LA. fell short. Buckley – now on the roster of DiscReet, Herb Cohen's latest label – tried again the following year with Sefronia. This mishmash of an album is as close to selling out as Buckley ever came, loaded down with ill-conceived cover tunes and a general lack of coherent direction. Even so, there were worthwhile moments, including a version of Fred Neil's "Dolphins" and several pleasingly strange Beckett/Buckley originals.
The most curious and revealing track is Tim's version of the 1963 Janynetts hit "Sally Go 'Round The Roses," transformed from a naive teen-pop tune into a slow, steamy account of sexual betrayal.
Sefronia was yet another stiff, but Buckley kept at it, playing live with a new combo centered around guitarist Joe Falsia. Jim Fielder – fresh from a seven-year stint with Blood, Sweat & Tears – was back on bass for a number of dates, including an appearance at the huge Knebworth Festival in Britain in the summer of '74. "Tim still loved performing," says Fielder. "It was when he wasn't onstage that time weighed most heavily on him. I think the things that bothered him had more to do with the business than with the music.”
From his perspective, Beckett couldn't help but notice his old friend's bitterness when Buckley would visit him in Portland, Oregon: "He changed a lot from the person that I'd met in '64 ... If you said anything good about a show, he would think you were full of shit. But if you criticized it, he would take it to heart. He started to refer to his audience as 'lobos,' meaning 'lobotomies' – he considered everybody in the audience not worthy of spitting on ... It was like his heart was broken, and that's the way it had to be.”
There's more than a hint of that heartbreak on what would be Buckley's final album, 1974's Look At The Fool. Though in a similar R&B-rock vein, the album largely lacks the manic spark that gave Greetings From LA its perverse glow. The tunes (all originals this time) had some wit to them, and the musicians backing him played with snap and bite, but an emptiness pervades Tim's singing, evident between the exaggerated mannerisms and false bravado. He puts on his best Memphis soulman clothes for the title song and "Who Could Deny You," and as always he's up to the task technically. You can't help thinking, though, that Buckley was capable of so much more.
Look At The Fool was not intended to be Buckley's swan song. In 1975 he was talking with Beckett and others about rerecording his best songs live, to be hopefully released as a two-record set. Also in the works was a song cycle by Tim and Larry based on the Joseph Conrad novel An Outcast Of The Islands. In addition, Buckley had apparently been chosen to star in Hal Ashby's film adaptation of Woody Guthrie's Bound For Glory. His bad luck was beginning to turn around, it seemed.
It was not to be. On June 29, 1975, Buckley snorted a line of heroin at a friend's house and died of an overdose a few hours later at his home in Santa Monica, California. Those who knew him were shocked – he was reckless, not suicidal. "It was completely out of the blue," says Fielder. "It surprised everyone, including Tim, I'm sure.”
On another level, though, it might've been anticipated, Beckett: "His whole life he had a sense of not living very long and would often threaten to die before he was 30 for no good reason, because of heart failure or something. But I think that bespoke some deeper understanding of his own internal breakage.”
Buckley's music began to be rediscovered after art-rock unit This Mortal Coil earned a British hit with its version of "Song To The Siren" in 1983. By the '90s most of his catalog had been reissued on CD, and a spate of posthumous live recordings began to appear. It wasn't so much that the times had caught up with Buckley as that the context of his music didn't matter anymore; a new circle of initiates appreciated him for his utter uniqueness.
"On wings of chance you fly," Buckley sang at the start of his recording career. Listening to him all these' years later, you can't help but think of the chances for success he missed, the easier roads he avoided. It could've meant hit records, a stable career, a happier life. But it just wouldn't have been Tim. Where he flew, he flew alone.
Barry Alfonso
While some of his fans wanted only pebbles, novelties, and repetition, Buckley gave them jewels of depth and originality that gleam to this day. He did not exploit his talent but served it in spite of inner pain and sometimes popular rejection. Nor did he exploit listeners by pandering to radio conditioned tastes. Unlike some of his so-called "friends," Buckley did not become a cynical Hollywood slickster, slavishly mirroring lower common-denominator mentalities in pursuit of the almighty dollar. He gave the best and highest and most varied kinds of music of which he was capable.
Tim Buckley was an artist of dignity, integrity, and enormous courage. He gave his all to music. There are many, including myself, who say he deserves high respect for that and deep appreciation.
Buckley was a pain to some people, because he knew that if he could do it the way he heard it, he could lift the entire human race up a notch. Music has the power to do that. And so, motivated by creative brilliance and love of human beings everywhere, he dared to fly upward toward the sun. This anthology serves him and the music by celebrating the beauty and passion of the exceptional creations he shared along the way.
These songs stand the test of time. They stretch their fingertips across three decades, touching the hearts and minds of all who are willing to open themselves to the sheer intimacy Tim gave us. Intimacy is not easy. It takes two, and it takes courage. Are we ready? Do we dare? Whispers, sighs, tears, life, love, laughter – shall we take that wondrous leap and join the dance?
Sail on, dear friend, sail on. We are with you always.
Lee Underwood
March 2000
Oakhurst, California
______________________________________________________________________
Disc One:
01. WINGS
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, guitar
LEE UNDERWOOD: lead guitar
JIM FIELDER: bass.
BILLY MUNDI: drums, percussion
JACK NITZSCHE: string arrangement
Recorded at SUNSET SOUND RECORDERS, Hollywood, CA (8/15/66)
Location & date of string overdubs unknown
Produced by Paul Rothchild and Jac Holzman
Production Supervisor: Jac Holzman
Engineered by Bruce Botnick
From the album: Tim Buckley – Elektra #:EKS-74004 (10/66)
02. SHE IS
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, guitar
LEE UNDERWOOD: lead guitar
JIM FIELDER: bass
BILLY MUNDI: drums, percussion
Recorded at SUNSET SOUND RECORDERS, Hollywo0d, CA (8/15/66)
Produced by Paul Rothchild and Jac Holzman
Production Supervisor: Jac Holzman
Engineered by Bruce Botnick
From the album: Tim Buckley – Elektra #:EKS-74004 (10/66)
03. SONG SLOWLY SONG
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, guitar
LEE UNDERWOOD: lead guitar
JIM FIELDER: bass
BILLY MUNDI: drums, percussion
Recorded at SUNSET SOUND RECORDERS, Hollywood; CA (8/16/66)
Produced by Paul Rothchild and Jac Holzman
Production Supervisor: Jac Holzman
Engineered by Bruce Botnick
From the album: Tim Buckley – Elektra #:EKS-74004 (10/66)
04. IT HAPPENS EVERYTIME
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
VAN DYKE PARKS: harpsichord
JIM FIELDER: bass
BILLY MUNDI: drums, percussion.
JACK NITZSCHE: string arrangement.
Recorded at SUNSET SOUND RECORDERS, Hollywood, CA (8/15/66)
Location & date of keyboard & string overdubs unknown
Produced by Paul Rothchild and Jac Holzman
Production Supervisor: Jac Holzman
Engineered by Bruce Botnick
From the album: Tim Buckley – Elektra #:EKS-74004 (10/66)
05. AREN’T YOU THE GIRL
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
VAN DYKE PARKS: harpsichord
JIM FIELDER: bass
BILLY MUNDI: drums, percussion
Recorded at SUNSET SOUND RECORDERS, Hollywood, CA (8/16/66)
Location & date of keyboard overdubs unknown
Produced by Paul Rothchild and Jac Holzman
Production Supervisor: Jac Holzman
Engineered by Bruce Botnick
From the album: Tim Buckley – Elektra #:EKS-74004 (10/66)
06. PLEASANT STREET
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
RAY POHLMAN: lead guitar
DON RANDI & JERRY YESTER: keyboards
JIM FIELDER: bass
JIM GORDON and/or EDDIE HOH: drums
CARTER C.C. COLLINS: congas, Percussion
Recorded at WHITNEY STUDIOS, Glendale, CA (5/10/67); WESTERN RECORDERS, Hollywood, CA (5/15/67)
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
07. HALLUCINATIONS
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string & bottleneck guitar, kalimba, vibes
BRIAN HARTZLER & LEE UNDERWOOD: guitar
JIMMY BOND: bass
Unknown percussion
Recorded at WESTERN RECORDERS, Hollywood, CA (5/18/67)
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
08. NO MAN CAN FIND THE WAR
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JIM FIELDER: bass
EDDIE HOH: drums
CARTER C.C. COLLINS: congas, percussion
Recorded at WESTERN RECORDERS, Hollywood; CA (5/8/67)
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
09. ONCE I WAS
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, guitar, vibes
JERRY YESTER: piano
JIM FIELDER: bass
EDDIE HOH: drums
CARTER C.C. COLLINS: congas, percussion
HENRY DILTZ: harmonica
Recorded at WESTERN RECORDERS, Hollywood, CA (5/8/67)
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
10. MORNING GLORY
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: lead & background vocals, guitar
DON RANDI: piano
JIMMY BOND: bass
JOHN CLAUDER: drums
JERRY YESTER: background vocals
Unknown flute & strings
Recorded at WESTERN RECORDERS, Hollywood, CA (5/9/67 & 5/17/67)
Location & date of orchestral overdubs unknown
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
11. GOODBYE AND HELLO
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JIMMY BOND: bass
Unknown strings & horns
Recorded at WESTERN RECORDERS, Hollywood, CA (5/19/67)
Location & date of orchestral overdubs unknown
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
12. BUZZIN' FLY
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN MILLER: acoustic bass
DAVID FRIEDMAN: vibes
Recorded at ELEKTRA SOUND RECORDERS, Los Angeles, CA (date unknown)
Produced by Jerry Yester & Zal Yanovsky
Production Supervisor: Jac Holzman
Engineered by Bruce Botnick
From the album: Happy Sad – Elektra#:EKS-74045 (3/69)
13. STRANGE FEELlN'
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN MILLER: acoustic bass
DAVID FRIEDMAN: vibes
Recorded at ELEKTRA SOUND RECORDERS, Los Angeles, CA (date unknown)
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
14. SING A SONG FOR YOU
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOHN MILLER: acoustic bass
DAVID FRIEDMAN: vibes
CARTER C.C. COLLINS: congas
Recorded at THE SUNSET-HIGHLAND RECORDING STUDIOS, Hollywood, CA (6/17/68)
Produced by Jerry Yester
Production Supervisor: Jac Holzman
Mixed by Bruce Botnick
From the album: Goodbye And Hello – Elektra#: EKS-75005 (10/66)
15. PHANTASMAGORIA IN TWO (Live)
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: guitar
DANNY THOMPSON: bass
DAVID FRIEDMAN: vibes
Recorded live at QUEEN ELIZABETH HALL, London, England (10/7/68)
Producer & Engineer(s) unknown From the album: Dream Letter/Live In London 1968 – Straight/Retro #:73507 (6/4/90)
16. I'VE BEEN OUT WALKING (Live)
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: guitar
DANNY THOMPSON: bass
DAVID FRIEDMAN: vibes
Recorded live at QUEEN ELIZABETH HALL, London, England (10/7/68)
Producer & Engineer(s) unknown
From the album: Dream Letter/Live In London 1968 – Straight/Retro #:73507 (6/4/90)
17. TROUBADOUR (Live)
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: guitar
DANNY THOMPSON: bass
DAVID FRIEDMAN: Vibes
Recorded live at QUEEN ELIZABETH HALL, London, England (10/7/68)
Producer & Engineer(s) unknown
From the album: Dream Letter/Live In London 1968 – Straight/Retro #:73507 (6/4/90)
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DISC TWO:
01. HAPPY TIME
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-String guitar
STEVE KHAN: lead guitar
LEE UNDERWOOD: guitar
JOHN MILLER: bass
JIMMY MADISON: drums
Recording location & date unknown
Produced by Tim Buckley
Engineered by Dick Kunc
From the album: Blue Afternoon – Straight#: STS-1060 (11/2/69) / Warner Bros. #WS-1842 (1/7/70)
02. CHASE THE BLUES AWAY
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN MILLER: acoustic bass
Recording location & date unknown
Produced by Tim Buckley
Engineered by Dick Kunc
From the album: Blue Afternoon – Straight#: STS-1060 (11/2/69) / Warner Bros. #WS-1842 (1/7/70)
03. I MUST HAVE BEEN BLIND
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOHN MILLER: bass
JIMMY MADISON: drums
DAVID FRIEDMAN: vibes
Recording location & date unknown
Produced by Tim Buckley
Engineered by Dick Kunc
From the album: Blue Afternoon – Straight#: STS-1060 (11/2/69) / Warner Bros. #WS-1842 (1/7/70)
04. THE RIVER
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOHN MILLER: bass
JIMMY MADISON: drums
DAVID FRIEDMAN: vibes
Recording location & date unknown
Produced by Tim Buckley
Engineered by Dick Kunc
From the album: Blue Afternoon – Straight#: STS-1060 (11/2/69) / Warner Bros. #WS-1842 (1/7/70)
05. SO LONELY
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN MILLER: electric bass
JIMMY MADISON: drums
DAVID FRIEDMAN: vibes
Recording location & date unknown
Produced by Tim Buckley
Engineered by Dick Kunc
From the album: Blue Afternoon – Straight#: STS-1060 (11/2/69) / Warner Bros. #WS-1842 (1/7/70)
06. BLUE MELODY
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar, piano
JOHN MILLER: acoustic bass
CARTER C.C. COLLINS: congas
Recording location & date unknown
Produced by Tim Buckley
Engineered by Dick Kunc
From the album: Blue Afternoon – Straight#: STS-1060 (11/2/69) / Warner Bros. #WS-1842 (1/7/70)
07. I HAD A TALK WITH MY WOMAN (Live)
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN BALKIN: bass
CARTER C.C. COLLINS: congas
Recorded live at THE TROUBADOUR, West Hollywood, CA (w/WALLY HIEIDER REMOTE) (9/3/69 or 9/4/69)
Produced and Engineered by Dick Kunc
Executive Producer: Herb Cohen
From the album: Lorca – Elektra#:EKS-74074 (6/70)
08. MOULIN ROUGE
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN BALKIN: bass
MAURY BAKER or ROY HARTE: drums
BUZZ GARDNER: trumpet
Recorded at THE RECORD PLANT, Los Angeles, CA (9/15/70)
Produced and Engineered by Dick Kunc
Executive Producer: Herb Cohen
From the album: Lorca – Elektra#:EKS-74074 (6/70)
09. SONG TO THE SIREN
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
Recorded at THE RECORD PLANT, Los Angeles, CA (9/16/70)
Produced by Tim Buckley
Executive Producer: Herb Cohen
Engineered by Stan Agol
From the album: Starsailor – Straight#WS-1881 (11/2/70)
10. MONTEREY
(Larry Beckett/Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
LEE UNDERWOOD: lead guitar
JOHN BALKIN: bass
MAURY BAKER: drums, tympani
Recorded at WHITNEY STUDIOS, Glendale; CA (9/14/70)
Produced and Engineered by Dick Kunc
Executive Producer: Herb Cohen
From the album: Lorca – Elektra#:EKS-74074 (6/70)
11. SWEET SURRENDER
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOE FALSIA: guitar, string arrangement
CHUCK RAINEY: bass
ED GREENE: drums
KING ERRISON: congas
LOUIS KIEVMAN, ROBERT KONRAD & WILLIAM KURASCH: violins
HARRY HYAMS & RALPH SCHAEFFER: viola
JESSE EHRLICH: cello
Recorded at FAR OUT STUDIOS, Hollywood, CA (5/72)
Remixed at WALLY HEIDER RECORDING, Hollywood, CA
Produced by Jerry Goldstein for Far Out Productions
Engineered by Stan Agol & Chris Huston
From the album: Greetings From L.A. – Straight/Warner Bros. #:BS-2631 (8/15/72)
12. HONG KONG BAR
(Tim Buckley/Jim Falsia)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOE FALSIA: lead guitar
JERRY GOLDSTEIN: hand claps
ALENA: dancer
Recorded at PARAMOUNT RECORDING STUDIOS, Hollywood, CA (5/25/72) Remixed at WALLY HEIDER RECORDING, Hollywood, CA
Produced by Jerry Goldstein for Far Out Productions
Engineered by Stan Agol & Chris Huston
From the album: Greetings From L.A. – Straight/Warner Bros. #:BS-2631 (8/15/72)
13. MAKE IT RIGHT
(Tim Buckley, Joe Falsia, Jerry Goldstein & Larry Beckett)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOE FALSIA: lead guitar. string arrangement
KEVIN KELLY: piano
REINIE PRESS: bass
ED GREENE: drums
LOUIS KIEVMAN, ROBERT KONRAD & WILLIAM KURASCH: violins
HARRY HYAMS & RALPH SCHAEFFER: viola
JESSE EHRLICH: cello
Recorded at PARAMOUNT RECORDING STUDIOS, Hollywood, CA (5/25/72); FAR OUT STUDIOS, Hollywood, CA (5/26/72)
Remixed at WALLY HEIDER RECORDING, Hollywood, CA
Produced by Jerry Goldstein for Far Out Productions
Engineered by Stan Agol & Chris Huston
From the album: Greetings From L.A. – Straight/Warner Bros. #:BS-2631 (8/15/72)
14. SALLY GO 'ROUND THE ROSES
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOE FALSIA: lead guitar
MARK TIERNAN: keyboards
BERNIE MYSIOR: bass
BUDDY HELM: drums
DAVID BLUMBERG & DENNY RANDELL: string arrangement
SID SHARP: concertmaster
Recorded at PARAMOUNT RECORDING STUDIOS, Hollywood, CA (5/31/73) Location & date of string overdubs unknown
Produced by Denny Randell
Engineered by Kerry McNabb, Larry Hirsch, Roy Cicalo, Greg Venable & Roger Dollarhide
From the album: Sefronia – DiscReet #MS-2157 (9/7/73)
15. WHO COULD DENY YOU
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
JOE FALSIA: lead guitar
MIKE MELVOIN: piano, Moog synthesizer, organ
JIM HUGHART: bass
EARL PALMER: drums
GARY COLEMAN: percussion
VENETTA FIELDS, CLYDIE KING & SHERLIE MATTHEWS: background vocals
Basic tracks recorded at WALLY HEIDER RECORDING, Hollywood, CA (7/8/74, 7/24/74 & 7/29/74)
Location & date of vocal overdubs unknown
Mixed at WALLY HEIDER RECORDING, Hollywood, CA
Produced at Joe Falsia
Engineered by Stan Agol
From the album: Look At The Fool – DiscReet #:DS-2209 (9/10/74)
16. SONG TO THE SIREN (From The Monkees TV Show)
(Tim Buckley)
Featuring/TIM BUCKLEY: vocals, 12-string guitar
MICKY DOLENZ: introduction
Recorded live on the set at SCREEN GEMS STUDIO 7, Hollywood, CA (11/67)
Previously Unissued
From the television series The Monkees, Episode #58 “Mijacogeo (The Frodis Caper)”
First broadcast 3/25/68)
Directed by Micky Dolenz
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Compilation Produced by JAMES AUSTIN
Sound Produced by BILL INGLOT
Remastering: DAN HERSCH & BILL INGLOT at DIGIPREP
Discographical Annotation: GARY PETERSON, CHERYL FUGATE & TED MYERS
Session Information courtesy of DAVID BROWNE
Editorial Supervision: JULEE STOVER
Editorial Research: DANIEL GOLDMARK
A&R Editorial Coordination: SHAWN AMOS
Art Direction: HUGH BROWN & MARIA VILLAR
Design: MARIA VILLAR
Photos: DAVID GAHR, MICHAELOCHSARCHIVES.COM, LEE TANNER & GUY WEBSTER
Licensing: WENDI CARTWRIGHT
Project Assistance: JO MOTTA, AMY UTSTEIN, RANDY PERRY, DAVID BAKER & THANE TIERNEY
Special Thanks: JUDY BUCKLEY, DONNA YOUNG, BARRY ALFONSO, LEE UNDERWOOD, DAVID BROWNE & GREG RUSSO
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Recommended Web Site: The Tim Buckley Archive http://pantheon.cis.yale.edu/-bodoin/tbarchives.html
Recommended Publication: Dream Brother: The Lives & Music Of Jeff & Tim Buckley - by DAVID BROWNE (HarperEntertainment, a Division of HarperCollins)
Other TIM BUCKLEY Albums Available on Elektra & Manifesto Records: Tim Buckley (Elektra); Goodbye And Hello (Elektra); Happy Sad (Elektra); Lorca (Elektra); Sefronia (Manifesto); Look At The Fool (Manifesto); Dream Letter/Live In London 1968 (Manifesto); Live At The Troubadour 1969 (Manifesto)
Also Available on DVD from Rhino Home Video: The Monkees: Our Favorite Episodes (including "The Frodis Caper")
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All selections produced under license from Elektra Entertainment Group ("PHANTASMAGORIA IN TWO," "I'VE BEEN OUT WALKING," and "TROUBADOUR" ® 1990 Elektra Entertainment Group). except: "HAPPYTIME," "CHASE THE BLUES AWAY," "I MUST HAVE BEEN BLIND," "THE RIVER," "SO LONELY," "BLUE MELODY," "MOULIN ROUGE," "SONG TOTHE SIREN" (1970), and "MONTEREY"; "SWEET SURRENDER," "HONG KONG BAR," and "MAKE IT RIGHT" ®1972Warner Bros. Records Inc., all produced under license from Warner Bros. Records Inc.
"SALLY GO 'ROUND THE ROSES" ® 1973 Bizarre/Straight Records and "WHO COULD DENYYOU" ® 1974 Bizarre/Straight Records, licensed from Manifesto Records. *BUZZIN' FLY -
"SONG TO THE SIREN" (1968) controlled by Rhino Entertainment Co.
This Compilation ® 2001 Elektra Entertainment Group & Rhino Entertainment Company.