Thursday, November 3, 2011

Tim Buckley Series, #11: Tim Buckley- Live at The Troubadour 1969 (1994) MP3 & FLAC

"I've been driftin' like a dream out on the sea; I've been driftin' in between what used to be."

1969 was a pivotal year for Tim Buckley. While up to this point his studio albums had, for the most part, stayed within the Folk genre (although Happy Sad  had incorporated a much more Jazz-informed approach), nothing could have prepared his listeners for the radical transformation that was to unfold on Lorca  and Starsailor, recorded within a few weeks of each other, along with the more recognizable Blue Afternoon, in mid-1969. Nevertheless, Buckley had been exploring a more improvisational live approach since the previous year, as he desired to transcend the limited musical possibilities associated with the Folk and Folk-Rock genres, as well as to escape the label of "folksinger" he had been pigeon-holed with by both his record company and the fans of his recordings. Doing so would lead him out on a creative limb that, while almost completely alienating his fan-base and destroying his commercial viability as a recording artist, would produce some of the most innovative music of the late sixties, some of which belongs in the select company of improvisational albums such as Van Morrison's Astral Weeks.

Tim Buckley
Lee Underwood: "Although Tim was not well educated (a high school graduate), he was a very bright guy. He had a marvelous feel for language, for words and ways to use them, not as an acrobatic academician might, but as extensions of intimate, heartfelt emotion. The more he moved in the direction of free-form instrumental improvisation, the more he explored vocal and verbal improvisations too, spontaneously creating verses and sometimes whole songs on the spot, especially during the Lorca  and Starsailor  period." Live at the Troubadour 1969 catches Buckley at the height of this improvisational period, and with the exception of Dream Letter: Live in London 1968, stands as the best live Buckley recording sonically as well as musically. An obvious highlight is "I Had a Talk with My Woman," which manages to trump the beautiful studio version on Lorca, again proving that Buckley was at his best in a live setting. Wringing emotion out of every note while gliding along to Lee Underwood's jazzy guitar ruminations, Buckley pushes his multi-octave voice to its limits throughout the set, particularly on the epic "Nobody Walkin'," which is extended to sixteen minutes of improvisatory brilliance. Live at the Troubadour 1969 is essential because it captures Buckley in fine form during his most fertile and innovative period, favoring languidly impressionistic explorations over pop-song predictability.

Live at the Troubadour 1969  
(Manifesto ~ 1994)

1. Strange Feelin'  (5:40)
2. Venice Mating Call  (3:27)
3. I Don't Need It to Rain  (11:27)
4. I Had a Talk with My Woman  (7:32)
5. Gypsy Woman  (14:31)
6. Blue Melody  (5:37)
7. Chase the Blues Away  (6:19)
8. Driftin'  (7:56)
9. Nobody Walkin'  (16:05)


  1. I am not real familiar with Tim's live stuff so here's a big thank you for posting this. If it ain't good you wouldn't have bothered.

  2. Thanks for the post! Never can have enough Tim.

  3. Lower Oakland Roller Derby FinalsNovember 3, 2011 at 6:08 PM


  4. Thank you very much!

  5. scurfie, in my opinion, Tim's live stuff is where it's at

  6. Lower Oakland Roller Derby Finals, my pleasure!

  7. Thank you, interested to give this one a try, since I love his son Jeff Buckley's music so much. Is there a family resemblance?

  8. Rick, slightly. Tim Buckley's music (especially the late 60s stuff) is far more experimental. Jeff, for the short time he was around, always struck me as a huge music fan with a great voice that made him an intriguing re-interpreter of the music he loved so much, but because he died so young, he never had the chance to strike off into something all his own. His Father, Tim, while starting off as a folkie, ended up pushing his music and incredible voice into regions unknown, a hybrid of folk, jazz, and avant-garde (well, until he got into the white-boy funk of his final years)


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