STARSAILOR

Buckley's most bizarre and personal album is also the most difficult to get nowadays, being out of print for many years, most likely for contractual reasons. Indeed, Elektra was rather peeved as Buckley's continued (and wanted) lack of success, especially so that they really believed in his many talents to become a superstar. Frustrations were addressed at the singer's choice of material and in some ways, you can see where they're coming from. So when Lorca came out as sombre much like Happy Sad had, they simply gave up on him and let him go. Buckley's outrageous talents where being kept for producing rather obscure and very personal songs, shying away from commercialism, but in some ways, knowing the era, this album could've sold massively had Buckley's image been handled correctly. So Starsailor is the second album (released in November 70) on the Straight Records label after Blue Afternoon, but also the first without his "jazz group" line-up. In the meantime, over the last three (four) decades, this album has grown to a myth status (almost deserved) partly because of its scarce nature, but it is one of those that deserve its cult status as well.

As announced in Lorca, Balkin was gaining influence on Buckley and, presenting him with avant-garde music, he also hired ex-Zappa collab Buzz Gardner and his brother Bunk on wind instruments, both being part of his Ménage A Trois avant-garde project. Now that Tim was writing once again with Larry Beckett, Starsailor is the album that helped Tim going over the top, reaching deeply in his many angsts and his general restless with his family life certainly not being able to rest him down. Gone are the lengthy tracks of Happy/Sad or Lorca, but this doesn't mean that the music is losing out in terms of depth or adventure, but gains in conciseness, even if the progheads wouldn't have minded the better tracks to last double their length, because they're so beautiful and personal. The young troubadour of the debut album has grown into an estranged, misunderstood and twisted artiste, soon to be irrecuperable for many.

Slowly crawling from the woodwork, the drums, cymbals and bass announce that Tim is in a very moody spirit, and indeed, he comes out smooth but menacing, restraining his horses until the third verse where he can't hide is incredible power and shows no restraint and unleashes all hell, before going madly into dissonant realm, with a weird pipe organ to stop the track from derailing. Luckily for themselves and their sanity, not many women heard this Come Here Women track opening up grandiosely the album, preparing the listener for the even weirder I Woke Up. The second track is really a slow deliria and most likely improvised jazzy, somewhere between Keith Tippet or Julie Driscoll, where Buzz Gardner's trumpet holds part of the blame for the track's bleakness. Just as dark and menacing, but more funky like the future (and excellent) Greetings From LA, Tim's voice haunts, prowls, hunts you down to every corner of your brains, chasing your fears into oblivion, then pulling them into the open. Under a tense guitar riff, with crazy drumming, a haunting bass, Tim unleash all of it, baring it all until his primal scream becomes ape-like. The track ends in an unfortunate fade-out, but I'd give a fortune to hear the next three minutes he would've written. As incredible as the album had started, Tim screws it up with a dumb French-sung Moulin Rouge (he'd done it in Happy/sad already), which he should've abstained altogether. The only good thing is that it's less than 2 minutes. But Tim corrects this blunder by including one of his mist iconic track ever (but not my fave, by far), the famous Song To The Siren, cover by just about everyone that matters. Elsewhere The Healing Festival blows one's mind with a 10/4 rhythm pattern.

The flipside opens in the completely madness of Jungle Fire (in 5/4), where Tim shows that even label- mate Jim Morrison's dark side was not unique, the group is indeed fully aware of Tim's madness and perfectly apt at following his meanders into insanity, managing to pull him back out and into an insane funk groove where Tim's voice tears it all apart and there are unreal screams behind him. Again a real sad and unfortunate fade-out ends it, but the intro of the next (title) track is probably more mind- boggling than Robert Wyatt's Rock Bottom. If we can imagine Robert's madness on his hospital bed, when regarding life without walking, this track's distress is to be multiplied by 100 and would not sound out of place on Ummagumma (next to Eugene) either Not that Healing Festival will pull your sanity in the right direction either. Bunk Gardner's (that Buzz's brother, no kidding) sax leading the way over a wild and all-over-the-place group. The closing Borderline is starting out on Buzz's (that's Bunk's brother) Spanish-sounding trumpet and will soar over another funky track, previewing again Greetings From LA, where Underwood's guitar, Gardner's trumpet and Tim's wailings are exchanging wild solos.

As far as personal albums go, I don't think that there is a rock artiste that went as far as Buckley in the present or Wyatt in the aforementioned Rock Bottom, and those mentioning Tim's on Jeff's sole official album called Grace, should really listen to Starsailor before opening their mouth. In spite of one false step (Moulin Rouge), this album is really close to the fifth star,

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.

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 is a great album, an absolute masterpiece of rock music where Tim Buckely's voice reach expressive heights that perhaps no other rock singer has ever approached. It is not prog, it is a new genre, close to free jazz.

"Come Here Woman" is the most beatiful song of the disc (vote 8,5/9). The bass and the singing stand in a dissonant and polyrhythmic delirium, which joins the electric guitar and the piano in the background. It looks like a totally disconnected nightmare. Free jazz and avant-garde. "I Woke Up" begins slowly, but bass and guitar are very dissonant and follow the voice and and the trumpet. It is calm only in appearance, it seems a scene that wants to be romantic but is disturbed by schizoid behavior (vote 7,5/8). "Monterey" (vote 8) seems a canonic blues in the beginning but the voice take it to a unknown territory reaching overacute and expressionist sounds. "Moulin Rouge" is a silly song, alien to the others, a filler just to added two minutes at the duration of the disc (vote 6,5). "Song to the Siren" is maybe the first calm melody, near to romanticism. Again, the voice reaches peaks that only very few choosen can aspire. (Vote 7,5/8).

Side B opens with "Jungle Fire" "Jungle Fire" is similar to "Come here Woman", just dissonances but then a blues guitar try to mark the rhythm (vote 8+).

Starsailor distorts the melodies and transforms them into dissonant psychopathic delirium, where the singing tries to overcome the barriers of sound. It is the triumph of dissonance. "Starsailor", the song, is a cosmic exercise for the voice... with an avant-garde background... very arduous, (Vote 7,5). "The Healing Festival" is a festive delirium with trumpet dissonances and saxophone with the guitar to paint a semblance of rhythm. The drums are completely missing on the disc. (vote 7,5). "Down the borderline" is trumpet, jazz drums, and the singing to paint an obsessive atmosphere. Free jazz and avant-guarde. Another masterpiece (vote 8,5).

Medium quality of the songs: 7,83. (but 8,004 without Moulin Rouge) Much variety, a unraveling of instrumental and human sounds out of every classification, very ardous listened, a unique path. Vote: 9,5 Five stars

Starsailor is an accomplishment which is respectable but also deeply inaccessible. Drifting away from his folk-rock moorings more or less completely, Buckley unleashes the most wildly experimental album of his career to date. Song to the Siren may be the most famous cut on the album, but anyone expecting the stately majesty of the This Mortal Coil version is in for a shock. On the whole, it's the sort of album where I'm glad someone made it, but it isn't necessarily fun or rewarding to listen to - not because it isn't good, in fact it is, but because of how alienatingly weird it truly is.

Don't let the album cover fool you, this is far far faaarr from a traditional folk album This may be one of the most polarizing records of all time, certainly one of the most uncompromising ever by an artist who was once considered a folk singer/songwriter. Right up there with something Scott Walker or Tom Waits would make. The experiments on the first side of Lorca give you a good indication of what's going on in the first 2 songs here. Both have the same meandering instrumentation combined with slow, sonorous vocal intonations that create a dissonant nightmare. Imagine Ornette Coleman also using his voice as an instrument and you get the picture. If that didn't make you turn off your record player, "Monterey" might. It seems a bit more structured and uptempo due to Lee Underwood's repeated guitar figure and the constant high-hat taps but it's actually quite a languid song, though less so than the previous songs. Here is where the vocals really come off the rails, with swooping dissonance and bleating noises. It's a brilliant track, quite difficult to warm to, but powerfully experimental. As an oasis in your experimental desert, Tim offers you the brief, jaunty, perfect pop of "Moulin Rouge". It's intent is clear, "Please don't run away yet! You still have like 2/3 of an album to go!" This is followed by the most famous track on the album, "Song to the Siren", a holdover from 1968. The original acoustic version he performed on the last episode of the Monkees series somewhat resembled his other 68 material, but here the flanged guitar and treated background vocals create a song that really doesn't sound like it belongs anywhere in Tim Buckley's discography. The vocal is one of the most emotive of his career.

Side 2 has some more uptempo songs to keep the pace moving, but it also has the album's most experimental track in the title track. Composed entirely of Tim's synthesized vocals, noise just weaves in and out with only snatches of intelligible lyrics here and there. It's an awesome track. Someone once said that Tim Buckley did for the voice what Jimi Hendrix did for the guitar, and here is the clearest example. It's interesting to note that Buffy St. Marie also processed and synthesized only her vocals and guitar for the bevy of sounds found on her 1969 masterpiece Illuminations.