Tuesday, April 14, 2009


Lorca - Tim Buckley

Rating: 5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Elektra
Year Released:
Album Covers: Included
Pass: radiodada
: rapidshare

About the Album
Lorca is the fifth album by singer-songwriter Tim Buckley, released in 1970. Named after Spanish poet Federico Garcia Lorca, it was recorded simultaneously with Blue Afternoon and Happy Sad, though notably different in style. It was one of Buckley's two avant-garde albums, and explored some sounds and ideas he had never used before. Also importantly, it was an attempt to break away from more traditional and prevalent pop music songwriting styles, such as the verse/chorus binary form, that Buckley had explored in the earlier parts of his career.

Lorca exemplifies the beginning of Buckley's move away from his folk-rock roots and towards a free-form mix of jazz, avant-garde and folk. Musically, Buckley uses the lack of a constant rhythm section to drive the songs forward with his voice. Many songs make use of a chromatic scale which makes them stand in stark contrast to Buckley's earlier melodic works. The lyrics of Lorca also represent a departure from his previous traditional folk-style writing, instead Buckley uses a more abstract descriptive style, avoiding direct narratives and standard song themes. This is a reflection of the poetry, such as the works of poet Lorca, Buckley and guitarist Lee Underwood were reading at the time. The album's opener and title track is a much less guitar-based song, something in contrast to Buckley's previous works, and this would be a theme in Buckley would explore more in his later avant-garde works.

According to Larry Beckett, his songwriting partner from Tim Buckley and Goodbye and Hello, he was purposely trying to alienate fans at this point. Buckley described it as an album that, "To this day, you can't put...on at a party without stopping things; it doesn't fit in."

Buckley describes the second track as a "real advance," and that "It deals with a ballad in a totally personal, physical presentation... It has to be done slowly; it has to take five or six minutes; it has to be a movement. It has to hold you there and make you aware that someone is telling you something about himself in the dark."

The album was written during a very prolific time for Buckley as he recorded and released four albums within a space of less than two years. Three of the albums, Happy Sad, Blue Afternoon and Lorca were recorded in the space of a single month. Buckley completed these albums around the same time as an obligation to Warner Bros. Records, and also separately, Elektra Records owner Jac Holzman. Holzman, responsible for signing the artist, was in the process of selling the company and Buckley wanted to fulfil his contract in the time before Holzman's departure.

About Tim Buckley
Timothy Charles Buckley III (February 14, 1947 – June 29, 1975) was an experimental vocalist and musician who incorporated jazz, psychedelia, funk, soul, and avant-garde rock in a career spanning the late 1960s and early 1970s. Buckley often regarded his voice as an instrument, a talent principally showcased on his albums Goodbye and Hello, Lorca, and Starsailor. His first marriage was to Mary Guibert, with whom he had a child, musician Jeff Buckley. They divorced in 1968 and after this Buckley would meet with his son only once more. Buckley married second wife Judy Brejot Sutcliffe in 1970 and adopted her son, Taylor.

Buckley's career began with his 1966 debut Tim Buckley, its mix of pop and folk rock drawing on popular influences of the time. His popularity peaked with second album Goodbye and Hello, a more mature record with avant-garde influences and political sentiments. In the three years that followed Buckley was at his most prolific and experimental, producing four albums of varying styles. Happy Sad and Blue Afternoon showed Buckley's Folk roots while Lorca veered to more avant-garde styles. The final album of this period, Starsailor, is a mix of jazz, funk and avant-garde styles, representing his continual evolution in genre. This period, while garnering some critical success, proved disastrous for his record sales as the disparity of his styles caused his fanbase to all but disappear.

Following this Buckley changed genres again, with 1972 release Greetings from L.A., which incorporated the funk, R&B and soul sounds of the early 1970s in to his music. However, this release and the following album Sefronia did not match up to the success of his previous work. In 1974, having alienated much of his fanbase and squandered money made at his peak, Buckley released Look at the Fool, which was neither well received by the public nor the majority of critics. By this point Buckley had grown disillusioned with the music industry and his drug abuse of the past seven years had affected him.

In spite of this, in early 1975, desperate for musical recognition and an escape from poverty and obscurity, Buckley dropped his drug dependencies and engaged the musical press regarding a live album comeback. Buckley began performing material drawn from his whole career as a response to the desires of his audience, desires he had always spurned in the past. However, Buckley relapsed and on June 28, 1975, he overdosed on heroin. His wife Judy, having earlier put him in bed, was unable to rouse him and paramedics pronounced him dead on arrival. He was 28 years old and was survived by his wife and adopted son Taylor, and his biological son, Jeff (who also died at a young age).


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