Customer Reviews

Dream Letter (Double CD)

5 star:		(28)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I was never privileged to hear Tim Buckley perform live (the one chance I had, and missed, turned out to be the last show he ever played) - I've been a fan since I heard his first album in 1966, and I've marveled at the changes and growth his art undertook over the years. His incredible intellect and yearning for exploration and expansion sometimes left fans behind - but those left in the dust were usually those who weren't willing to take the leap of faith he asked of them with his music. The ones who hung in there were in for the musical journey of a lifetime.

This album surfaced several years after Tim's untimely death - and it's a sparkling jewel that reflects the bright spark that was Buckley's creative spirit. The songs here are from GOODBYE AND HELLO (1967), HAPPY SAD (1969), LORCA (1970), BLUE AFTERNOON (1970), a great live version of Fred Neil's `Dolphins' (a cornerstone of many of Tim's live shows, which finally appeared on SEFRONIA (1973), and several tunes that were never recorded elsewhere. Stylistically, most of the concert leans toward the HAPPY SAD and BLUE AFTERNOON studio recordings, but with the freedom to improvise much greater here than in the confines of a recording studio. The mix of songs from various albums is a treat - especially hearing the solo versions of some tunes, and the jazzy (a la HAPPY SAD and BLUE AFTERNOON) treatments of some of the ones originally given more straight-ahead `folk-rock' arrangements on GOODBYE AND HELLO. Tim leads the group through numbers with which the audience is familiar, tossing in his (and the band's, I'm sure) other favorites to spice things up a bit - it's easy to hear the more improvisational leanings that would lead him into his most exploratory period later, to the LORCA and STARSAILOR albums (which he - and others - consider to be his greatest artistic achievements).

Tim is accompanied in fine style by Lee Underwood on lead guitar (who played on most of Tim's studio albums, as well as touring with him for many years); David Friedman on vibraphone; and the great British double-bassist Danny Thompson (from Pentangle). The missing link from Buckley's regular band of the day is the incredible percussionist Carter C. C. Collins - financial considerations wouldn't allow bringing the whole band over on this trip. Underwood and Friedman perform beautifully, completely in sync with Buckley's spirit, as always - and Thompson shows his brilliance by sounding as if he's played with Tim for more than the short pre-show rehearsal time he was afforded.

The recording quality is excellent - it's hard to believe when listening to this album that it was recorded over thirty years ago. I can't say if the quality was there in the original recording, or if it's been `cleaned up' for its contemporary release - but whichever is the case, it's a treat to hear it. Tim has been called `the voice of his generation' - and as clichéd as that might sound, it's actually an understatement, in my opinion. Buckley music was so much more than a young man opening his heart and conscience by singing love songs and protest songs, strumming on a twelve-string guitar - his music was about truth, first and last, beginning to end. Tim was always true to his spirit, and it shone through his music in a way that few others were able to accomplish. This recording is a great testimonial to that spirit. If you're already a fan, it's essential to your collection - if you're new to his music, it should take you gently by the hand and lead you on a voyage of further discovery that will amaze and delight and move you to unspeakable heights.

And, finally: Lee Underwood's notes in the CD booklet make for interesting and enlightening reading - Tim was appreciated by many critics and fans in his lifetime, but the recognition that should have been his in light of his stunning creativity never came his way in the broad manner he deserved. His death was shrouded in mystery, rumour and innuendo for many years - there are still horrific pieces of misinformation mixed with some pretty obviously personal opinions floating around out there today. The memoir written by Lee Underwood, BLUE MELODY, is a caring and truth-based source for what Tim was really like - I heartily recommend reading it.

I "discovered" Tim Buckley only after hearing his sad and beautiful voice on the song "Once I Was" during the closing scene of the film "Coming Home." By that time, Buckley's music was hard to find, and many hours were spent in used record stores searching for anything available.

Thankfully, many of his recordings were later released on CD, including this tour de force of the young and extraordinarily gifted singer mesmerizing an audience in London.

Tim Buckley was an artist whose style was as broad as his vocal range. This is a jazz concert, a folk concert, a rock concert, and at times all three styles were evident within a single song.

Buckley is a prime example of the voice being an instrument, of the belief that these sounds were coming from an otherworldly source and Tim was merely the medium through whom they passed. Nobody could possibly sing the way he did.

His playfulness and his free form stream-of-conscienceness permeate the songs. Every track is excellent. "Buzzin' Fly," "Once I Was," and "Dolphins" are standouts. This is an experience not to be missed.

The backing band is solid, but in truth, Tim Buckley probably could have performed a capella and created a sound nearly as full.

This is a "must have" for any true fan of great music.

I'd say yes. Most live records are little more than souvenirs for converted fans. "Dream Letter" is something else entirely: the single finest piece of product you can buy with Tim Buckley's name on it, whether you're a newcomer or a longtime fanantic. Stylistically, it splits the difference between the "Goodbye & Hello" and "Happy Sad" albums, but it's superior to both. The song selection is wonderful, Tim's voice is in full, soaring form and the band--including the great British bassist Danny Thompson--are beautifully in tune with Buckley's muse. It's so gorgeous and essential that it just about demolishes me every time I play it. You really, really, really need to hear this.

When you listen to this album it's hard to listen to any other singer for a while. Not only does Tim Buckley have a fantastic, almost unbelievable range, but he is heart-breakingly fearless in his use of it. He uses his voice as an instrument like no singer I have ever heard, and he has a what-the-hell-let's-try-it approach,experimental as a jazz musician. Quite an interesting and unique lyricist as well; hard to believe he's 19 years old in this concert. His sound is sometimes so passionate and so beautiful - for example in the final medley (you keep me hanging on)- that I swear he is in direct contact with a divine power.This album will change your beliefs about what the human voice is capable of doing. Thank god for Tim Buckley and whoever recorded this concert, as he's so much better live! (The liner notes for this album provide an excellent introduction and background on TB's career.)

'Dream Letter' finds Buckley in majestic form and is a crystalline live recording, issued long after his unfortunate premature death. Buckley's tenor voice is too tough, too lived in to be regarded as angelic.Simply, his entry into my world was a stunning, uplifting shock. I bought all his albums and was surprised at each station he paused at. He had no peers. And none followed, until the uncanny emergence of his son. Inevitably, most listeners coming to Buckley will do so through the filter of his son, Jeff, who also died prematurely through misadventure. Lee Underwood, (who plays here and on all the early Tim discs)who's written an affectionate biography of Tim provides the liner notes for this astounding concert - given that the artist was a mere 21. In his book, Underwood is dismissive of the son and a sense of acrimony attends his remarks. Comparisons between father and son continue, given the dark echoing of their fates. Tim, of course, has left more record of his prodigious gifts and, thus,is the more 'resolved' artist. I feel more drawn into his work, more transported. The reworking of songs from the epigymous debut album and from 'Hello/Goodbye' are brilliant, as is the take on 'Dolphins'which would eventually find its way onto 'Sefronia'. The Civil War ballad,'Wayfaring Stranger' is given ecstatic treatment, an apotheosis compared with 'Sixteen Horsepowers' on'Secret South' or Kev Russell's secular version on 'Junker'(to cite two recent takes).Later, his brush with Lorca and Kafka would yield the depths of 'Blue Afternoon', whose 'River' is permanently etched in my mind. My leaning for the later work is towards the funky sexuality of,'Greetings From LA'.

I first encountered Tim Buckley when I was in High School--maybe a freshman, in about '65 or'66. Believe it or not, he did a guest bit at the end of "The Monkees" one night. I can't recall the song, but I do recall the performance. Buckley got inside of the performance more than anyone I had ever seen. He became the song. His concentration was intense. I somehow found his recordings, and collected all of them as they were released--no mean task in Lynchburg, VA in the early '60s.

I actually got to see him perform at the Mosque in Richmond VA in about '71 or '72. He was the warm-up act for a Zappa (sans Mothers) concert. Zappa was fine, but Buckley was stellar. It was shortly after the "Letter from LA" recording, and his vocal acrobatics were amazing.

Then he died. In about '89 I stumbled upon "Dream Letter," and is was just that for me. It came from out of my past, but it still had a freshness and originality about it that is stunning. The guitar work is wonderful--both lead and rhythm. Lee Underwood was an excellant guitarist, who accented much of what Buckley sang. His liner notes are quite insightful, as well. As a bassist, I thoroughly enjoy listening to Danny Thompson, who was in The Pentangle at that time, falling in with unfamiliar material. I've played pick up gigs quite a bit, and Thompson covered the gig very well.

The most remarkable song, to me, on the album is "Wayfaring Stranger." I listened to it just the other day, and I was mesmerized. Once again, Buckley's commitment to performing his material is what came through for me, after all of these years.

The only problem I have with the recording is the tuning. I'm a stickler for tuning, but on the other hand, Buckley was wailing the hell out of all 12 strings of his guitar. Buy this CD--you won't regret it.

Years ago, I saw the Oscar winning ,Vietnam era film,"Coming Home".During the film's emotional climax I heard on the soundtract a most beautiful song called "Once I Was".This later led me to the various works of the song's performer and author, Tim Buckley.The late singer-song writer was a young man of enormous talent blessed with a beautiful voice. This live 1968 album is one of his best.It feels so very intimate. Buckley's acoustic guitar work is both folkey and jazz like at the same time.And as I mentioned before, there is that voice... His voice is hauntingly beautiful. If there is one Tim Buckley CD to buy, this is the one.

The finest Live album I have heard in my short 38 years of life, emotion and vitality that will have you thinking, was this really recorded almost 30 Years ago. Nothing compares, anyone who has heard the "MTV Unplugged" will wonder why they wasted their money, it does NOT get any better than this...God rest his soul

Have you ever listened to somone sing a song you never heard before, and the sound of his voice gave you shivers or goosebumbs? That's Tim Buckley on this CD. This is the best sound on a live CD that I have ever heard.

I have been a fan of Jeff Buckley for awhile now. After reading "Dream Brother" (Jeff and Tims autobiographies) I became interested in Tim Buckleys music. I bought this album and Goodbye and Hello. When I put this CD on in my car and Tims voice blared I was held in absolute awe. Oh my god, I kept saying over and over again. "This guy is INCREDIBLE!!!" I am rarely held prisnor by singing but Tim and Jeffs voice just trap you. And what a beautiful and mesmerizing cage it is. You are spellbound as new and exotic worlds of sound enter your brain and haunt your very soul. Am I exaggerating? Hardly. Actually Im not even letting you feel the whole effect. I cant. Mere words cant even begin to give it justice or describe it, thats how good Jeff and Tims music is. Its beyond what is known and better than what we deserve. Dont have any doubts get this album, YOU WILL BE VERY VERY VERY GLAD YOU DID!! I feel sorry for you if you have allowed musical limitations because only the enlightened can understand the very beauty that gives music its makeup. Its not a repititive chourus or prententious lyrics, its unbridled creativity that gives you new eyes so you can view the beautiful mess of the artists thoughts and soul. That my friends is the the essence of music. This album is an extreme example of that.