Customer Reviews

Happy Sad

5 star:		(20)
4 star:		(6)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is one of my favorite albums by Tim Buckley, and marks his first forays into a 'jazzier' style. Each of the albums he recorded in his brilliant, too-short career has a distinct personality -- the closest relative to HAPPY SAD would have to be the sadly out-of-print BLUE AFTERNOON (PLEASE, someone, make this available again!!!), released shortly after on Frank Zappa & Herb Cohen's Straight Records. Buckley, unhappy with his relationship with Elektra, had signed with Straight -- and the label began releasing albums by him before his contract with Elektra was fulfilled, causing a bit of confusion in the marketplace at the time. HAPPY SAD (Elektra) was followed closely by BLUE AFTERNOON (Straight), which was followed closely by LORCA (Elektra), then STARSAILOR (Straight again). Too much product in too short a time proved more than the market could bear -- and Tim's record sales (and to a lesser extent, his radio play) suffered. The fans he already had delighted, however -- more of his brilliance to enjoy.

The album features a small ensemble, several of whom would remain the core of Buckley's band for several years to come. Subdued electric guitar, bass, vibes, marimba and percussion surrounded Tim's trademark 12-string and his incredibly capable soaring voice. The first two tracks, 'Strange feelin' and 'Buzzin' fly' draw the listener in gently but firmly as Tim weaves his spell, the rhythms gently swaying, the tunes melodic and memorable. The third track, 'Love from room 109 at the Islander', is much more dreamlike in mood and tone, more freeform in style -- but again, Tim's art is magnetic. 'Dream letter' and 'Sing a song for you' are similarly slow-paced, with the frenetic, extended workout of 'Gypsy woman' in between, giving Tim (and the band) a chance to 'stretch out' a bit more.

Buckley's life was tragically short -- how many great artists could you say THAT about...? -- but his legacy is, thankfully, preserved in some great, timeless recordings. He moved along the musical highway from folk-rock to poetic pop to jazz to all-out free-form experiments, then back to a more 'commercially viable' jazz-funk-pop sound on his last recordings. His music was always intelligent and imaginative -- and always as challenging as it was rewarding.

...or so critics have called it, and I must agree. This is music for a series of dreams, lovely romantic dreams, dreams of loss and regret, dreams of redemption...dreams that remain vividly imprinted on your mind upon waking in the half-light of dawn.

This was not the first of Tim's albums that I bought--that honor goes to "Dream Letter: Live in London, 1968," which stands as one of the best all-time live albums ever released and as a testament to what an underrecognized talent Tim was. Four of the tracks from "Happy Sad" appeared in shimmering, beautiful live versions on "Dream Letter," which prompted me to seek out "Happy Sad" on CD. And what a find: "Buzzin' Fly" speaks of warm memories of love ("Walkin' hand in hand/Along the sand/The seabird knew your name...") and regret for having lost it ("Ah, but sometimes, honey, in the morning/I miss you so/That's how I know I've found a home..."); in "Dream Letter," he wonders about his young son and what sort of man he'll become; in "Love from Room 109 at the Islander (on Pacific Coast Highway)," he sets down a long and dreamy elegy wherein you can almost picture him sitting on a porch overlooking the beach as the tide rolls in.

Note about "Love from Room 109": In a piece on Tim's life and career in the December 1991 issue of Musician magazine, Jerry Yester (the producer of this album and "Goodbye and Hello") tells of how the surf effect came to be used as part of the backing track. It seems the sound engineer somehow forgot to turn on the Dolby NR mechanism before committing "Love from Room 109" to tape, and consequently, there is audible tape hiss. Yester broke the bad news to Tim, who was understandably upset, then hit upon the idea of using the surf to cover the background noise (since they were roughly the same level, in any case) as it fit in somewhat with the theme of the song (being "on Pacific Coast Highway"). If you listen closely, you can still hear the tape hiss under the surf. One of the things that struck me most about this album is that, with the exception of Lee Underwood's guitar and David Friedman's vibraphone, the instrumentation is entirely acoustic. This contributes to the mellow, dreamy feel of the music--just wonderful. "Happy Sad" is a must-have for any Buckley fan; if you are just starting out on Tim's music, buy this or "Goodbye and Hello." You won't be disappointed.

Tim Buckley made strings of album that worth 5 stars (up to Starsailor). Each of these albums are unique to others. For this one, it's his first venture into Jazz folk... Strange Feelin' is the weakest track in this record,(only relative to other superub stuff)but have its merit. BUzzin Fly's vibraphone accompliment makes this joyful tune full of verve. Love from room 109~ seems boring at the start, but after 2 minutes once you immerse in the sea of benign you would find that how relaxing and how great it is. Dream letter's dreamy soundscape make it one of the most romantic song ever. Gypsy Woman is quite different from rest in the record, it's quite soul in its spirit... buckley yell and cry and shout... with Lee Underwood's excellent guitar (buckley can't be without him) and last cut "sing a song for you", simple yet impressive.

What a pity that Blue Afternoon and Starsailor is out of print now. Try "Lorca" if you like something more experimental.

A messmeric album.This bridges a seemingly wide gap between Van Morrisons Astral Weeks and Nick Drakes Five Leaves Left.Not initialy an impressive album but it does grow on you mainly because it is a largely mood based work.Buckleys voice is astonishing the songs beautiful and though it is impossible to imagine one song being good enough to stand out on this flawless album ,the Dream Letter(about his son Jeff) does just that it is the most spine tingling song i have ever heard.Happy/Sad is not unlike Jeff Buckley's Grace particularly in its atmosphere and the similarity between the covers of these two albums is positively eerie.I am not some age old biased Buckley fan I am 17 this is the only album of his i have, what i have heard of the others didnt impress me .Please please buy it if you dont like it I guarantee I'll give you your Money back. P.S. its even a favorite of Johnny Marr's

Psychically akin to Van Morrison's superior "Astral Weeks," Tim Buckley's "Haappy/Sad" is still one of the oddest, most beautiful records in the history of rock music. Drawing on jazz and folk music stylings, and with an elastic vocal range to match Morrison's, Buckley blasts open traditional song-structures to create free-floating, impressionistic pieces, ranging in length from two minutes and forty-five seconds of "Sing a Song for You" to almost thirteen minutes of "Gypsy Woman." Though no consensus can be reached as to which are the "best" songs on this album, my own favorites are "Buzzin' Fly" and "Gypsy Woman." These two songs showcase Buckley's powerful voice to full effect: In the former, he conjures whole landscapes just with the manipulation of a single note; in the latter, his voice careens from line to line, making the song one of the most impressive examples of sheer vocal ability ever recorded. In the end, it's not a perfect album--I find the tune of "Love from a Room . . ." a little repititious, and it wears thin after eleven minutes. But still, it is a fine showcase for the power of Tim Buckley.

It is a tragedy that the late Tim Buckley is not more widely appreciated. He has become most well known as the late Jeff Buckley's father, and, not to disparage the very talented son, the father is the true genius of the clan. "Happy/Sad" is, perhaps, the most fully realized of Tim Buckley's works; meltingly melancholy and wistful. It opens with "Strange Feelin'", whose opening chords echo Miles Davis on "Kinda Blue". The nod to jazz is only the beginning of a diverse musical tapestry. The vocal on "Strange Feelin'" reveal Buckley at his mind-numbing, note-bending best. "Buzzin' Fly" is next, a lovely, lilting, ode to new love. "Dream Letter" is an achingly regretful tale of a son never known, now grown. "Love From Room 109..." is a most remarkable piece, both mournful and hopeful. It flows through four distinct parts in its 10+ minutes, the sound of the surf providing a unifying aural backdrop. There are very few songs like "Love From...". The sprse, understated instrumentation is perfect to the mood of "Happy/Sad", and allows the instrument of Buckley's voice to be the focus. Vibraphone, marimba, 12-string and (occasional) electric guitar, congas, and bass (acoustic and electric) are artfully arranged, and a testimony to Elektra Records skill with folk and jazz. If you've never given Tim Buckley a serious listen or only know him by way of his son, start with "Happy/Sad", then go on to "Lorca", "Star Sailor" and by that time maybe the long missed "Blue Afternoon" will be out on CD.

The story of Tim Buckley has a disquieting familiarity - dead at 28 he had already been through the classic cycle: raw prodigy, hot property, creative disillusionment, unpopular experimentation, and bitter confrontations with industry executives. Of the many gems produced during his brief, intense career - Happy Sad shines most brightly.

Buckley emerged fully formed as a folk singer, one of many at the time. With a 12-string guitar that rang out lush and strong, and an astounding voice dancing far and wide across a 4-octave range, he made for a very compelling one-man show. Buckley's voice was slightly reminiscent of Steve Winwood's; it had that same choirboy spirituality. Some of his high notes were simply chilling.

By the time he made Happy Sad, Buckley was looking for a milieu that melded jazz and folk - no easy trick, but he manages it flawlessly here. This CD feels very integrated, the otherworldly sensibility flows seamlessly from one track to the next. That said, he is clearly taking creative risks, jazzy detours that did not endear him to his folk following. Using his voice both as a storytelling vehicle and improvisational instrument, Buckley jams with the other players, most notably the ethereal vibes of David Friedman.

In Happy Sad, Tim Buckley seems bound and determined to avoid generating hits suited for airplay, almost as if he is deliberately thwarting studio executives. This was his most commercially successful project, however, that is not saying a great deal.

Find a rainy day and a person you love, nail the door shut. There is a special magic in this CD that doesn't come along very often. While Buzzin' Fly and Gypsy Woman stand out, every moment of Happy Sad has something wonderful to tell you.

This third album by Buckley, along with Blue Afternoon (out-of-print), is the most even release of his career and probably fulfills his musical vision better than Starsailor and Greetings from LA, which were two totally different statements meant to react to fans and critics (and lack of radio time). Lee Underwood's guitar never sounded better, and the lineup of acoustic bass, vibes and 12-string (and no drums!!) is perfect for what Tim is trying to get across. A very accessible and musically fulfilling album. Side One (the first 3 tracks...sorry, I'm still hooked on LPs!) is one of the better listens from the late sixties, period! After the first two albums, which were flawed by overambitious lyrics and lush production (Tim was not a psychedelic artist), this is an extremely satisfying listening experience.

Tim Buckley was evidently blessed with an amazing voice and great songwriting talents - even able to explore quite diverse musical areas. This album has always been my favourite, because of the atmosphere and the jazzy feel. I'm not entirely convinced by the second half of this record but the first half especially is very, very good and very, very satisfying. Adorable ! You just gotta love this man !

Hans Wigman.

I had the great fortune to see Tim Buckley in concert around 1971 in SUNY Binghamton. I went right out and bought Happy/Sad. Then when the CD craze hit, I bought it again

anytime you want to feel a little crazy and let your hair down, put on Gypsy Woman and crank up the volume makes one feel young again

Seriously, I enjoy the entire album