Pretty sure he was into phish way before Vampire Weekend. He’s one of the few mainstream musicians that would admit it…it was still considered pretty embarrassing by the indie hipster crowd to like phish at this time.
1 Like
Finished relistening to this one. Its about the same for me as it has been for years, a couple of great songs (Step and Hanna Hunt), a few more good ones, and some that I really don’t care for, typically determined by how staccato and marching band like the heavily saturated drums sound. Its a good album, no doubt about that, but imo it does not deserve the #1 of 2013 at besteveralbums.com.
Interesting, the description on the video says Rostam discusses his love for Phish, but in the video it’s mostly CT. I kind of assumed Rostam’s departure played a part in them leaning more in the jam direction on LP4.
I’d definitely believe that Ezra has always been into Phish and the Dead.
This article (about Goose covering VW) has some interesting stuff on Ezra and CT’s interest in jam bands.
I’m up again, and this week we have:
Tim Buckley - Greetings From L.A. (1972, Funk-Rock, RnB)
It would be a real shame if this album remains dismissed by history as Tim’s ‘sellout record’. That is more or less true, but if its going to be forgotten it should be for the misogyny (and potential casual racism?) not only rooted in its time, but stemming from Tim’s significant interpersonal issues.
On the content:
That may seem a strange way to introduce one of my favourite ever albums, but I just wanted to acknowledge that I’m aware of how dated it is in that aspect, and that parts of it still make me cringe.
But the bigger story is much more interesting than all that.
On the context:
Tim Buckley first made a splash in the NYC East Village 60’s folk scene, and was pre-emptively billed by his label somehow both as ‘the next Bob Dylan’, and to make the ‘next Sgt. Peppers’ (he obviously failed at these lofty goals, but still scored a hardcore base of fans).
Forever rejecting all criticism and praise, these fans were quickly alienated by his uncooperative and untenable pivot into experimental vocal Jazz. This era coincided with the worst of his heavy drug abuse; and still perpetually distancing himself from both his management and even his new Jazz fans, he again backed himself into a corner.
Greetings From L.A. is the result of finally being able to show up to the studio on time, sober, and willing to cooperate in the studio with other people. Even if the primary motivation was that he had forced himself into a position of simply needing to make something that people might want to buy.
The Folk fans hated it, the Jazz fans hated the commercial sound, and the label hated that it still failed to sell enough copies:
On the album itself:
Musically, he is mimicking his one and only hero Miles Davis with a challenging pivot into heavy Funk-Fusion. Given that he was the son of a Irish immigrant decorated WWII veteran from an industrial town in New York State, you could think of this as like the Blue-Eyed Soul version of Bitches Brew (or probably On The Corner if you know your Davis, it is a lot more reigned-in than BB).
But at face value surely no one could hate this record as much as Tim hates and exposes himself through what is severely underrated as probably the most impassioned and honest vocal performance I’ve ever heard. This brings me to why I like it so much, it may even be just one of the most passionate pieces of music ever to me.
At the very least, nothing else I have found can induce anywhere near the same level of frisson as the strings in Sweet Surrender, the most sensitive moment on the rollercoaster of ups and downs this goes through.
This also goes to show that the band (I believe they were mostly session musicians working with Tim for the first time) were also operating at a very high level. The vocals are very in your face, but if you can manage to hear past them you also get some seriously heavy and tight performances.
King Gizzard like to joke about ‘white-boy funk’, but this is really the epitome.
If you weren’t aware, Tim is the father of Jeff Buckley, who’s single completed album has left a much better-known (and better deserved) musical legacy than his father that totally abandoned him and his mother. They only truly met once for a week during Jeff’s childhood, and the emotive and complex dialogue they left to each other through their discographies was the best relationship they had.
I hope you can find something special in this deeply flawed, brilliant album.
Apologies for the extra-long intro. This was the first album I submitted for the club, and now that we are in a rhythm with it I found myself needing to justify this choice a lot more once I got started.
So… sorry (but not sorry) in advance .
1 Like
I’ve tried Tim Buckley a few times now and I just don’t think it’s a fit for me. The vocal freakouts get to me every time. Overall, I just feel like he’s forcing it (kind of like James Taylor when he tries to be all soulful and bluesy) and it breaks the spell for me. That said, I did enjoy aspects of this album. It’s got Chuck Rainey on board, and some of the tunes had catchy chord progressions. “Nighthawkin’” was my favorite track. Really liked that one, questionable lyrics aside. (I actually think the presence of an Asian slur in this tune is partly protest/social commentary, but like other moments on the album, time has not been kind to it.)
I happen to actively love funk, so maybe that’s why I didn’t connect with this one. 
1 Like
Getting to Vampire Weekend before listening to Tim Buckley next.
I was STOKED to re-listen to this VW album because I had a phase about 7 years ago (my delivery driver years) where I listened to all these albums, but I think the first one was the only one that stuck. Between that album and the others though, there were a bunch of songs I liked. This album specifically I don’t know if I ever finished it, because it’s a bit slower. I remember Unbelievers and Step, but none of these tracks ever got into my rotation. Those two stood out this time through, but the rest of the album was a bit too slow for me. Didn’t care for it, which surprised me because I’ve learned to appreciate slower/less energetic music in the past 7 years so I thought I was gonna LOVE this album.
I remember when the Father of the Bride singles were coming out too, and one of my friends was super hyped on them and like, “DUDE the new vampire weekend kinda sounds like the dead!”. I liked that sound and listening to this album brought me back to all the other Vampire Weekend songs I really love. Thanks!
Haha totally fair on the vocals. I often think he really should have been a trumpet or sax player, which is clearly how he was trying to express himself even limited only to his voice. He really sings with his chin too which was cool and distinctive for Folk, but in this style it gets totally aggressive sounding.
I’m just generally drawn towards idiosyncratic and uncompromising musicians I think.
It’s a difficult one to try and force, so when it isn’t clicking I would say there’s nothing wrong with only listening to Jeff Buckley instead. He ended up with a remarkably similar voice, but typically used it in a much gentler way. He was the total opposite of his father in a few aspects.
Wooooooo! Who is ready to have their consciousness liberated? Who’s ready to stick it to the man, man? This week my nomination of:
Eugene McDaniels’ Headless Heroes of the Apocalypse (Atlantic 1971)
has been chosen for us to listen to. Quick note if you intend to skip my blathering and press play: this album is decidedly NSFW.
Presenting a unique mix of jazz, funk, soul, and a little folk, all while casting a fearless (albeit sometimes flawed) political light on subjects ranging from Mick Jagger to hippie chicks to supermarkets to European colonization, this album is either an irrelevant relic or an urgent message transmitted from the future, depending who you ask. Legend has it that Spiro Agnew (Richard Nixon’s vice president) felt so threatened by this music that he called Atlantic and whined, and that Atlantic acquiesced by halting promotion of the album. (It quickly fell out of production and into obscurity. OG copies go in the $150-$200 range.) The lyrics may have been written over 50 years ago, but they still pack plenty of sting. Buckle up!
Lyrics aside, the music hits with groove after groove. McDaniels’ vocal range amazes me, swinging from velvety smooth to jagged and raw, often in the same tune. We’ve got Weather Report alums Miroslav Vitous and Alphonse Mouzon holding down the rhythm section, and legendary jazz producer Joel Dorn on board. If you recognize bits and pieces, that might be because this album is something of a touchstone in hip-hop circles. Pete Rock, the Beastie Boys, and Q-Tip (among others) have all sampled it. (And I happened to learn about it from Questlove’s book Music Is History, an educational and ultimately joyous read.)
I have to add that in the final track, “Parasite,” the lyrics trace the violence and atrocities committed against indigenous Americans in the name of White European progress. (The “Buffy” it’s dedicated to is none other than Buffy St. Marie.) However, McDaniels sings that the “Indians” were “simple-minded.” This moment has not aged well (at all). Listeners might find some other lyrical elements to question, and I welcome that. These are the conversations we need to have with one another, damn it. This music was clearly designed to provoke a strong reaction. I’m interested to hear what everyone thinks.
YT playlist:
oh shit, the quote feature works again…dope. Sorry for the late replay to Tim Buckely. Right off the bat I was perplexed. I’d never heard of Tim Buckley. Or maybe I had, but just confused him with Jeff, who I learn was his son? I never connected with Jeff Buckley, but to be fair, I only gave him a few chances so far. Regardless, it was impossible for me to have any perspective on whether Greetings From L.A. was Tim’s “sellout record” since I hadn’t heard anything before. So I picked out his top 2 albums at besteveralbums.com and listened to those first, which were Goodbye and Hello (1967) and Starsailor (1970).
Starsailor was the higher rated of the two, but I listened to Goodbye and Hello first since it was older. It was certainly interesting, but not anything that immediately connected with me. It sounded very much of its time, folky and a bit psychedelic sounding with a bunch of his vocals almost sounding like Grace Slick. Starsailor retained a lot of folk, but added an avant-garde edge, at times sounding like the male counterpart to Nico’s Desertshore. Tim’s weird vocals take a bit to get used to, you almost have to abandon what is considered good taste in a Captain Beefheart Trout Mask Replica kind of way before it can begin to connect. These two albums were a lot to take in and I’m not sure if I will ever really connect to them, but they are weird enough to maybe try to put in the effort…I don’t know…haven’t made up my mind.
So, that brings me to Greetings From L.A. - its as weird as the other two albums, its just the key influences have changed a bit. However, from the little I’ve heard and just based on these three albums, I still don’t understand the sellout part. It just sounds like to me that Tim’s music is heavily influenced by popular or cutting edge music of his time, from Jefferson Airplane and psychedelic influencing his folk in 1967 to more avant-garde influences by 1970, to the Rolling Stones, jazz fusion, funk and cocaine fueled early 70s. If Greetings From L.A. was a sellout, then he was always selling out. But it feels more like he was just reflecting what probably interested him most at the time…kind of like Beck. Depending on his timing, and like Beck, sometimes Tim can probably come across as a cutting edge influencer of other artists, and at other times as a sellout just following the latest musical trends.
This is another first for me. Thank you so much for sharing it! I like most of the songs I think, with Jagger the Dagger and Freedom Death Dance probably being favorites. It reminds me a bit of Zappa albums from the same period with a bit less humor and a bit more anger I think. To steal from Zappa and modify it a bit - does anger and harsh truths belong in music? I think it works with hip hop a lot better. Here it might distract from some incredible and complex music. However, I understand that I was not the target audience and that distracting with a harsh message may of well been the point.
1 Like
I thought this album was pretty sick. Not anything I’m dying to get back to, but I didn’t mind his wild singing style. I really appreciate your long post and the contextualizing of Tim Buckley (who I’ve never heard of) and this album specifically. I read a little more outside of your post and it’s an interesting story, and really makes me think about how many musicians there are out there, and how many there have been, and all the music that’s been created that I don’t know exists. Cheers.
I’m pleased you went to such an effort on Tim! A lot of people don’t make it that far.
I guess the ‘sellout’ thing applies more for people are very familiar with his career and were fans only of the Folk stuff. You are certainly correct that everything he did was some kind of reflection of a popular sound, but with Folk at least he was actually immersed and popular in that scene while he was more intrusive about Jazz and Funk; so in this case it was more about the intention than that sound itself.
My point was to oppose the popular/critical consensus that this album was the final straw where he ‘gave in’ and made something he didn’t want to make because it would finally have decent sales.
I really think this is his most vivacious and solid all the way through and I’m perplexed that that doesn’t match its actual legacy.
As for Jeff, like always you may find the live material does it. His album was really the culmination of a long rise out of the underground. This is simple, raw, and very long, but a great showcase of his personality and talent:
The band tours for the Grace material were good too, and plenty out there as the he owed the label a lot when he died and they didn’t have much else to publish.
really makes me think about how many musicians there are out there, and how many there have been, and all the music that’s been created that I don’t know exists.
@Dr_TurkeymanMD hell yeah, thats what I like about this club. I often think there wasn’t much (par for the course drug abuse/relationship troubles) that separated Tim from the GOATs.
Definitely cool as fuck and very real.
Maybe I’m just showing my age and this kind of music it did its job (partially), but the lyrics don’t feel that radical to me. Was this really much more controversial than What’s Going On? I admit I did zone out from the vocals a few times with these grooves. Maybe Gaye was more poetic and less direct? Obviously I just don’t have the intrinsic understanding of the context anyway.
Jagger the Dagger is sick, I love People’s Instinctive Travels and the Paths of Rhythm so its very gratifying to naturally come across where the Push It Along sample comes from.
2 Likes
It seems much more direct, while Whats Going On? takes the just asking questions approach. I don’t think anything this direct shows up again until Hip Hop and not even early Hip Hop…probably not until Chuck D of Public Enemy. At least that I am aware of.
1 Like
Sorry all for dropping off here the last few weeks, whole fam was sick 
Anyways this is a great one to come back to! I just finished my first listen so will go more in depth soon, but it was very easy to get into.
1 Like
Very interesting and well-put take on the cultural context. Whenever I’ve listened to it through the week I have been wondering about how it would have played into the civil rights movements, or did it fly under the radar? If Agnew specifically was calling for it to be banned then it must have been hitting some of the right nerves.
On your point about McDaniels being the weak link, I did think that a little about the almost spoken word style deliveries. @Gizzhenge nailed it that perhaps it just fit better into a culture that didn’t yet exist, which makes total sense with the hindsight of Hip-Hop with the sampling and such.
Makes for a very interesting cultural relic. Trying to define Hip-Hop and its influences is starting to get like with Jazz, how many things like this have slipped through the cracks over the decades?
@Birds you good?
Awh shoot! Sorry for the late posting guys. Got a bit swept away with work yesterday and today. Anyway heres this weeks post!
Hey everyone!
I’d love to highlight this gem that honestly was a bit newer to me, ~2years ago. I discovered it after a good friend picked up the vinyl while shopping for records one day. While showing me his recent haul I just from the album art this one was gonna be fun. So my inital listen was that of 0 context for what the sound would involve (as i wasnt familar with the artists at the time) but was presently greated with classic jazzy/rocking tunes. This may be a bit of a change from some of the other albums that were selected with longer form passion and nostalgia but I remember the time I shared with my buddies spinning this vinyl fondly so I hope it can leave similar impressions!
To get into the music itself, we see some more weather report action from Alphonse Mouzon back again in our listening club, this time paired with the legendary Larry Coryell. These guys really bring the perfect blend of jazzy tones and rocking riffs to create that classic 70s sound present on the record. I believe this record to be a bit less political than ‘Headless Heros of the Apocalypse’ as its primarily Instrumental but does feature fun small vocal additions to a couple tracks as well as containing that classic jazz tone from the era.
I think the album stands up pretty solid as a whole but if I had to pick one track I’d probably go with reconciliation. Mostly for those minor vocal inclusions and it just rocking a more uplifting vibe. Let me know what ya’ll think! Anyone more familar with Lary Coryell? I think previously I was only really familiar with Alphonse Mouzon’s stuff with weather report. Seems like both artists have a massive track record of cool stuff!
Can’t remember if I’ve heard this one, but I’m always down for some Coryell. Excited to check it out!
In the meantime, here are some gems from good Coryell albums (there aren’t really “bad” ones, just ones that are easily forgotten)…
Larry does fusion (with McLaughlin, Vitous, and Cobham):
Larry does rock:
Larry does acoustic (with the incomparable and underrated Emily Remler):
@Birds, funny story: I still haven’t listened to your pick, but while record shopping yesterday I happened across a used copy in solid shape! Kind of cool that my first encounter will be via vinyl.