TIM BUCKLEY

Items ordered by ending time | Showing only 100
Show all TIM BUCKLEY Tim Buckley items on eBay

Visit eBay search:'prog rock' for items
Sell your TIM BUCKLEY items on eBay !

No release results - showing artist results instead

Sort: Recent best-seller | Results cached

Visit Amazon tag:'Progressive Rock' for more prog rock

Debut album by an extremely shy boy that grew up in LA (Orange County) in the shadow of Disneyland, and one rather conventional folk rock album, much in the vein of the singer/songwriter albums that would plague most of the 70's. But freshly (and reluctantly) married Tim was left alone in the studio. Signed up to the LA-based Elektra label that made of folk and folk rock its centre of expertise (but also signing other locals Love and The Doors), This firm had the reputation of nurturing their talent and direct them with an iron hand (where Elektra-legend Joe Boyd in the UK acted mostly the opposite, when needed), so young Tim was directed and had very few things to say about this album, but it's not a typical folk album either, partly because of Tim's voice and compositions.

First, Tim already has in his entourage lyricist Harry Beckett (although he writes half of them alone) and guitarist Lee Underwood, and as guest interestingly enough, Van Dyke Parks on keyboards. Indeed tracks like I Can't See You (most likely a shot towards his forced-upon wife, especially that later on he has a song for lover Jainie) are of a personal nature, but well written enough to be of interest to everyone. Other stand-out tracks are Song Of The Magician, Song Slowly Song (Van Duke shines on this one) and the rockier Understand Your Man (intended for wifie and lover) are already pointing to the next album's more instrumental nature. Other like Wings, Strange Street Affair, Jainie Don't You Know, Grief In My Soul are just boring run-of-the-mill, early country (a dimension that will not be pursued latter on), while a few folk song like She Is, Happens Every Time and Valentine Melody are average folk tracks, just like most early Dylan fans liked them.

In some ways this album will be very quickly forgotten about, Tim never really disavowing it, but just shutting it out of his mind, something that most progheads could easily do, although I hear a frustrated growl from the folk purists.

Bohemians rhapsodies

We have to go way back to 1966 to find Tim Buckley's debut album. He recorded this release while still a teenager, Elektra records having signed him as a singer/songwriter in the folk vein of artists such as Tom Paxton. They certainly got what they paid for with this first release, although Buckley would display an urge to move into altogether more challenging and innovative areas soon afterwards.

"Tim Buckley" was released 2 days after the birth of Tim's son Jeff Buckley in late 1966. We should remember that in 1966, prog was not even a glint in the eye, although there were some proto-prog releases starting to appear. This is most definitely not one of them. Here we have a highly accomplished and enjoyable folk pop album which finds Buckley sounding at times like the aforementioned Paxton, and at times like the great Roy Orbison. Unlike later Buckley releases, this album needs to be looked at on that basis, rather than looked to for early signs of prog.

The first thing which strikes us is Buckley's fine voice. At this stage, he is effectively still the lead singer in a band (The Bohemians), the rest of the members agreeing that it made sense to give their leader the recognition he warranted (as an aside, the other three members of Creedence Clearwater Revival might have been well advised to have done the same in respect of John Fogerty).

While it would never win any prizes for originality even then, there is a wonderful beauty and innocence to the music. The Mama's and the Papas, Family Dogg, Gary Puckett and many more were using songs such as these to mesmerise the record buying public on both sides of the Atlantic. Songs such as "Wings" not only display the richness of Buckley's voice, but also his ability to capture a fine melody and set it to atmospheric lyrics. That said, the lyrics of Buckley's songs tend to be lighter than might be expected of your average singer/songwriter following in the wake of Dylan, the presentation of the songs clearly being the most important thing as far as Tim is concerned.

We do get occasional changes of tempo within the song, but on "Strange street affair under blue" for instance, it is merely in the form of a "Zorba's dance" like quickening and slowing. The most obvious hint of what is to come is "Song slowly song", a soft, broody number with a sparse arrangement, devoid of the strings which embellish many other songs here.

In all, a fine demonstration record of Buckley's ear for a strong melody, and for his alluring singing. Those who enjoy the US folk music of artists such as Tom Paxton and Pete Seeger should enjoy this collection a lot. It should be recognised though that had Buckley not moved on from his style here, he would not be listed on this site.

This is American folk rock artist Tim Buckley´s debut album. It was released through Elektra in 1966. Produced by The Doors producer Paul Rothchild & Jac Holzman this album has a very nice production.

The music is pretty basic folk rock and the big attraction here is Tim Buckley´s distinct Roy Orbinson like vocal style. He has a very impressive voice and if you think of the fact that he was only nineteen when this album was released he has a very mature voice. The music allthough simple and sometimes a bit too greased in string arrangements is actually very enjoyable IMO. The song that stands out the most and the only song on the album which can be deemed progressive is Song Slowly Song. Tim Buckley strays a bit from the simple folk rock format on this song and shows signs that he was much more than your usual folk rock singer. There is a chord progression in I Can´t See you which is also a bit out of the ordinary but you probably wouldn´t consider it progressive.

Tim Buckley is one of those musicians/ persons with a larger than life charisma and it really shines through in his music. He has assembled a great lineup for this album. The drummer is for example Billy Mundi ( Frank Zappa & The Mothers of Invention).

I had heard about Tim ( and his son Jeff) Buckley before reading about him here on Prog Archives but I never listened to his music. Allthough this album hasn´t convinced me of his genious yet it´s a very enjoyable album and I´ll rate it 3 stars. I´ll most definitely work my way through his discography to search for that genious I can sense is there.

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.