Live at the Troubadour 1969 [Live]

Live at the Troubadour 1969 [Live]

Editorial Reviews
Amazon.com
Live at the Troubadour 1969 is the second of a trio of well-produced live albums (alongside 1968's Dream Letter and 1973's Honeyman) to be unearthed and packaged to feed the legend surrounding one of rock's late, great singers. By the time of the Troubadour set, Tim Buckley had honed his vocal technique into a sensual, feverish, and utterly unique tool. The songs, most from the Lorca and Blue Afternoon albums, are the kind of avant-garde blues Buckley came up with on good days, but it's the twists and turns of that multioctave voice that's startling. Whether ripping up the hood of the tender "Strange Feelin'," stretching the lyric of "I Don't Need It to Rain," or prowling around the notes of "Nobody Walkin'," Buckley's vocal gymnastics spur the imagination. --Reuben Dessay

Product Description
First unearthed in 1994, this live recording is from Buckley's 'Happy/Sad' period that has been recognized as his most creative. This live album, recorded at the famous L.A. venue on September 3, 1969, captures Buckley in exceptional form. Liner notes by British writer Martin Aston of Mojo. 9 tracks.

Tracks:

Strange Feelin'
Venice Mating Call
I Don't Need It To Rain
I Had A Talk With My Woman
Gypsy Woman
Blue Melody
Chase The Blues Away
Driftin'
Nobody Walkin'

Amazon.com

Live at the Troubadour 1969 is the second of a trio of well-produced live albums (alongside 1968's Dream Letter and 1973's Honeyman) to be unearthed and packaged to feed the legend surrounding one of rock's late, great singers. By the time of the Troubadour set, Tim Buckley had honed his vocal technique into a sensual, feverish, and utterly unique tool. The songs, most from the Lorca and Blue Afternoon albums, are the kind of avant-garde blues Buckley came up with on good days, but it's the twists and turns of that multioctave voice that's startling. Whether ripping up the hood of the tender "Strange Feelin'," stretching the lyric of "I Don't Need It to Rain," or prowling around the notes of "Nobody Walkin'," Buckley's vocal gymnastics spur the imagination. --Reuben Dessay

Album Description

First unearthed in 1994, this live recording is from Buckley's 'Happy/Sad' period that has been recognized as his most creative. This live album, recorded at the famous L.A. venue on September 3, 1969, captures Buckley in exceptional form. Liner notes by British writer Martin Aston of Mojo. 9 tracks.

Customer Reviews:

Not quite as I remember him, but close.......2006-09-05

This is gives a pretty faithful idea of what a show of Tim Buckleys was like at the Troubadour. Yes, I saw him at least a half a dozen times - I really can't remember the number. This CD showcases many of his staple songs, leading to long vocal virtuoso singing almost with jazz scatting leanings. You can really hear the playfulness he displayed live.

The only thing I miss in this is his earlier simpler presentation. I remember the best shows as just being himself on guitar, Mr. Carter on the Congas and other percussion, and this fabulous vibraphonist. Nope, I dont remember his name. I have yet to hear this vibraphonist on any recording, but I really thought that he was an important element in making the ethereal and almost other-worldly sounds that Tim Buckley spun. The guitar and keyboards are just an approximation, and too frequently overdriven, muddy, and too intrusive.

avante-garde personified.......2005-01-25

'Tim Buckley - Live At the Troubadour 1969' was recorded on September 3rd and 4th at this intimate folk club (capacity is only 450 seats) in Los Angeles. Buckley brings along with him a stellar group of musicians, in particular guitarist Lee Underwood and percussionist Carter C.C. Collins, to a venue revered for bringing artists nearly face-to-face with their audience since 1957. The Troubadour, in fact, remains open as of the writing of this review, and stands as the oldest music venue in Los Angeles.

You couldn't ask for a better quality recording (especially given that the year was 1969) considering that these tapes had collected dust in the vault for over two decades. You also couldn't ask for more music. A quick visual tabulation pegs the total time on this disc at around 79 minutes, which is about all any CD can handle.

The set list and performances, while perhaps good given Buckley's available catalog at the time, may disappoint some fans (such as myself) who prefer Buckley's later, perhaps more accessible work. At this point in his career Buckley was still seeking Top 40 success, an elusive goal despite his release of 10 singles. None of the songs from 'Live At the Troubadour 1969' were among those singles. All nine cuts are drawn from his 1969 'Happy Sad' album (tracks #1 and 5), and his two 1970 releases, 'Blue Afternoon' (tracks #6 and 7), and 'Lorca' (tracks #4, 8, and 9). There are two tracks that never appeared on a Buckley studio album, 'Venice Mating Call', and 'I Don't Need It To Rain', although another live version of the latter does appear on Buckleys 'Once I Was' CD. The version of 'I Don't Need It To Rain' rendered at the Troubadour is a much better recording than the 'Once I Was' version, which to me is unlistenable.

With Tim Buckley nearly every musical excursion would have to be considered to be avante-garde. With each track on 'Live At the Troubadour', one wonders where Buckley will be heading next. The songs are an eclectic mix of jazz, folk, blues and rock. He takes his voice in experimental directions few artists would dare (or even think) to venture, and at times traverses outside the boundary of what some might consider melodically tasteful. But there is no denying the range, intensity, and imagination Buckley is able to infuse into his compositions vocally.

Lee Underwood offers some smokin' solo's on guitar, and on 'I Don't Need It To Rain' and 'Nobody's Walkin' offers vibes on electric piano. His solo's on 'Strange Feelin', 'Gypsy Woman', and 'Chase the Blues Away' are especially tasty. His guitar has a smooth, rich, velvety feel to it... a fine accompaniment to Buckley's wildly exploring vocals. Carter C.C. Collins' percussion sounds are another sweet attaction, especially on 'Venice Mating Call', and 'Nobody's Walkin', which features a Collins solo on conga.

The tempo of the disc is generally slow, and the mood is dark. Only two songs step up the pace beyond mid-tempo, but 'Gypsy Woman' at fourteen and one-half minutes, and 'Nobody's Walkin', at just over sixteen minutes, are easily the longest songs in the set. The second track, the instrumental 'Venice Mating Call', is rather upbeat also. 'I Had a Talk With My Woman' and 'Blue Melody' are perhaps the prettiest songs on the album, while the dirge-like slow blues of 'Driftin' is perhaps the most depressing cut.

A rather shocking moment occurs in Buckley's introduction to 'Venice Mating Call' when the artist jokingly tells the audience, "All we are saying is give smack a chance". The off-hand comment draws laughter from the audience, but few would be laughing if they could have known that Buckley would forfeit his life to an accidental overdose of heroin about six years later. It's an unfortunate reminder of the fate that awaited this talented, but tormented artist.

Martin Aston supplies informative and insightful liner notes to complement this generous package.

A Wild Show............2003-01-17

Only about a year passed from "DREAM LETTER-LIVE IN LONDON" to the recording of this live show. There is a huge change in line-up and Buckley's voice in another world compared to "DREAM LETTER". "LIVE AT THE TROUBADOR" marks Buckley's slide from his records "LORCA" AND "STARSAILOR"(what I would do to have this record in print again). The band is largly a jazz/blues/avant garde band. Lee Underwood is still here playing gutair, but also playing electric piano(one of the few downsides of this record). Basically few fans of Buckley, this is heaven sent.

Live Album finally demonstrates the Genius of Buckley.......1999-12-01

Finally, Buckley's incredible vocal range is shown in all its exceptional prowess. The stand out track is the astounding "Gypsy Woman" (where Timmy wants the spell cast on him, always the ironic iconoclast) that has Buckley going from a counter tenor to a falsetto to a banshee wail. Simply astounding. If you know nothing about Tim Buckley, this is the album to purchase to get yourself duly informed. A fantastic record of a man before his time.

I'm only thirteen and I love it all the same!.......1999-10-10

I'm 13, I grew up in a 60's music loving family, and I'll always love this C.D.! This Tim Buckley C.D. has such an assortment of rythems, lyrics and feelings in every song. Any persons would be crazy not to love this C.D at first glance, it's a master piece and I love it! (and you should too!) enjoy!

Average customer rating:

Lorca/Blue Afternoon era BUCKLEY LIVE

Live at the Troubadour 1969
Tim Buckley
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD

Traditional Folk | Folk | Styles | Music

General | Jazz | Styles | Music

Traditional Jazz General | Traditional Jazz & Ragtime | Jazz | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Folk Rock | Rock | Styles | Music

General | Rock | Styles | Music

Folk Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

Rhino Records | Amazon.com Label Stores | Stores | Music
ASIN: B00000339T
Release Date: 1994-03-22

Tracks:

Strange Feelin'
Venice Mating Call
I Don't Need It to Rain
I Had a Talk With My Woman
Gypsy Woman
Blue Melody
Chase the Blues Away
Driftin'
Nobody Walkin'

Customer Reviews:

Lorca/Blue Afternoon era BUCKLEY LIVE.......2005-11-28

I am always totally amazed by this live album. For those of you that have DREAM LETTER from 1968, this concert just blows that earlier show out of the water. First off, apparently the smack had begun to flow up the shooter's neck, cos Tim makes a joke about it. No mystery there. The drug may have played into this free jazz-folk approach, but i like to think that Tim just had reached this stage of developement thru the natural esthetic evolution of his freedom loving muse. Some of the best cuts from LORCA, and BLUE AFTERNOON get fantasmagorical work outs here. The band has an uncanny ability to read Jeff's intensions and direction. Lee Underwood keeps a nice syrupy lead guitar dripping around the arrangements, CC Colins on Congas puts some neat percussive colors and textures on the proceedings, enhancing the total sound, and merging perfectly with drummer ART TRIP. (Art Trip was in the Mothers of Invention, right before this album. Zappa only used the best.) And John Balkin's bass playing is, well, more like a lead instrument than a bass. Often he can be heard jumping around the fretboard, performing sonic leaps and acrobatics with his bass lines that are a perfect match for Tim's vocal style. And, let's not forget that Tim was no slouch on acoustic guitar either. It's a five peice jazz/folk band, in the tradition of Van Morrison's ASTRAL WEEKS. As for the technical quality of the recording, I can't complain there. This is nothing short of a perfect live performance document, of a singer at his prime. The gig was at Venice Beach, so Tim felt confident, and at home, with an audience of fellow freaks. I feel, like everyone else, that we are being cheated because of STARSAILOR/BLUE AFTERNOON's lack of availability. However, buy this CD, and you can at least enjoy a piece of the LORCA - BLUE AFTERNOON work, that underscored his OPUS MAGNUM. Also, the CD includes a cool essay about Tim, which is informative and fun to read. I've listened to this Tim Buckley CD, more than any other CD of his that I have, and I have 7 different CDs. You can almost FEEL the wind chimes, ocean breezes, and hot sun seducing you into a dreamy, trance like mood, when this CD is spinning under the lazer.

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