GREETINGS FROM L.A.

Having turned his back on virtually guaranteed success and popularity when he metamorphosed from a folk singer/songwriter to an avant-garde musician, by 1971 Tim Buckley found himself bankrupt and at a personal low. His albums were increasingly obscure, alienating the rapidly diminishing number of fans who stuck with him as he challenged their patience further. Buckley's problems were compounded by an increasing dependency on booze and drugs, although these must have offered temporary immunity from the depressive nature of his broken marriage and estranged son.

Having dabbled briefly with an abortive career as an actor, Buckley decided to have another stab at achieving commercial success, this time through experimenting with a bluesy R&B style rather than reverting to the folk of his early albums. The result is something altogether more upbeat and energetic than we had become accustomed to.

The opening "Move with me" is a southern rock number in the best traditions of The Band and their peers, with a strong brass arrangement and female backing vocals. The song is clearly designed as a potential hit single (lyrics notwithstanding), but it is a highly enjoyable foot-tapper nonetheless. "Get on top" moves deeper into funky territories, the sexually explicit lyrics guaranteeing this would NOT be released as a single. Here, we are a significant distance away from the nearest haven of prog, thus the song will only appeal to those in these parts with a specific diverse musical taste. Fans of the likes of Marvin Gaye for example may well be impressed with what they hear here.

"Sweet surrender" alters the mood again, this time moving us into a more reflective mood with a fine string arrangement. Buckley uses his full vocal range here, causing the song to sound like a duet! "Nighthawkin'" has a bit of the Zappa's to it in the rambling narrative and semi-spoken vocals. "Devil eyes" returns us to the blues rock, the funky jazz rhythm allowing Buckley to improvise vocally. The otherwise bland track includes some nice Booker T like organ.

At a shade over 7 minutes, "Hong Kong bar" is the longest track here. The song is much lighter than the rest of the album, being primarily acoustic. It retains the funky element though, the guitar picking and drawled vocals being of the swamp rock type. The song is more in line with the understated numbers which Buckley presented when he turned his back on his folk roots, but it drags somewhat, especially towards the end.

The album closes with "Make it right", a more commercial and accessible number with a strong Motown like string arrangement.

In retrospect, it is perhaps obvious when listening that Buckley would not find the commercial success he needed through to this album. Here, he is reaching out to a whole new audience (once again) while potentially alienating those who had stuck with him thus far. Those who enjoy the funky R&B which this album is heavily influenced by may well find this album to be highly enjoyable. Prog fans, and even those who appreciate Buckley's previous works, should however approach with caution.

Share this TIM BUCKLEY review

Social review comments () BETA

---

---

Review related links

• Send comments to Easy Livin
• Report this review (#180771)
• Buy TIM BUCKLEY music online with PA partners
• Show all TIM BUCKLEY MP3/Stream
• Go to TIM BUCKLEY page for videos, full discography with ratings, reviews and much more
• Go to Greetings from L.A. page for more details, where to buy and ratings/reviews
• Search the Forum for TIM BUCKLEY related discussions