Sing a Song for You: Tribute to Tim Buckley

by

Various Artists

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I approached this compilation not being too familiar with Buckley's music, but having known him through various This Mortal Coil/4AD cover versions. I can't say if I would have liked this as much if I had the originals to compare to, but as it is, this is one of the most solid compilations I have come across in years. Here's a track-by-track:

Moose, on the heels of their long overdue American release "High Ball Me," start off with a warm version of "Sing a Song for You." Simon Raymonde's "Morning Glory," with Bel Canto's Anneli Dreker on vocals, is one of very few clunkers here. Brendan Perry's "Dream Letter" is a sparse arrangement with synths and keys, reminiscent of his best songs with Dead Can Dance. "Because of You" by the Friendly Science Orchestra (aka Ian Masters of Pale Saints, Spoonfed Hybrid, Oineraut, and ESP Summer) is a definite standout. It's a treat to see Masters on a somewhat high-profile CD release, since most of his recent material has been released vinyl-only through his Friendly Science imprint, and he definitely doesn't deserve to sink into complete obscurity. For "Because of You," a quirky arrangement of tape loops, slide guitar, and keys cushion Master's high, crystalline vocal. Shelleyan Orphan make a welcome comeback with "Buzzin' Fly," a percussive track that would have fit on their "Humroot" CD or the Babacar disc from a few years back. Caroline Crawley really seems to enjoy singing this, which makes it even more engaging. Mojave 3, Mike Johnson, and Cousteau all deliver excellent covers that recapture a warm AM-radio feel.

The second disc kicks off with Heather Duby's "I Must Have Been Blind." Duby has a gorgeous, confident voice, and a taste for pristine production. If you like this track - and you will - check out her "Post to Wire" CD on Sub Pop. Dot Allison, whose presence here was my main motivation to buy this disc, delivers a wickedly sexual version of "Sweet Surrender." With crunchy guitar, swirling organ, and creepy violin, it sounds like Spiritualized topped with Allison's breathy, processed vocals. Geneva disappoint with "Pleasant Street," which starts with a nice electronic touch, but deteriorates into an overloud glam-rock chorus that seems awfully out of place. The comp quickly gets back on track with the Lilys' energetic "Strange Feelin'" and The Mad Scene's "Happy Time." Neil Halstead goes solo for "Phantasmagoria In Two," with an experimental atmosphere his work has lacked since Slowdive's "Pygmalion." I haven't listened to disc two yet without a repeat of Tram's "Once I Was." This is a beautiful, heartbreaking song that you have to hear for yourself. The Czars wrap it up with a noble attempt at "Song to the Siren." For a generation of us haunted by Liz Frazer's delivery of this song with This Mortal Coil, it will be hard not to compare, especially with the presence of so many 4AD-related artists and the Czars' own involvement with the ex-Cocteau Twins. The Czars' version tries a little too hard to be epic (almost 8 minutes long), and while they sound like 4AD-period Red House Painters, the only impact the song has on me is to make me go for my copy of "It'll End In Tears"...

Whether or not you're a fan of Buckley's work, I can definitely recommend this release, as it contains so many talented and often overlooked artists, and the few mis-steps are easily outweighed by all the great songs. The task of re-interpreting Buckley seems to have inspired so many of these artists to create recordings worthy of their own discographies, rather than the usual throw-away tribute contributions.

That Tim Buckley should have so gained in stature and become become a musical influence on a new generation of singers and musicians 25 years after his tragic death is a marvellous thing. He was a remarkable singer, songwriter and musician and if this album directs a new audience to his works it will have served an admirable purpose.

The songs are drawn from the albums Happy Sad (5 tracks), Goodbye And Hello (4), Blue Afternoon (4), Starsailor (2), Greetings From L.A. (1) and Sefronia (1).

It is clear from the notes in the accompanying booklet that all the artists quoted here are keen to acknowledge a debt to a great inspiration and one applauds the motivation behind this collection of songs. All tracks seem to have been especially made for this collection.

Not all artists who cite his name are equal to the challenge. Starsailor, who named themselves after one of his more experimental albums, for example, are absent from this set, perhaps because there is little evidence from their music that much has rubbed off. It is also noticeable that the more successful outings here are those that move furthest away from the original and try to make the song their own, rather than attempting to emulate the original and inevitably failing. Not wishing to further point fingers I will mention that some of the strongest tracks are by Shelleyan Orphan (who seem to have reformed especially for the project, and can we have more?), Moose, Cousteau, Dot Allison, who gives a psychedelic makeover to one of his funkier numbers, Geneva (their nine minute stretch through Pleasant Street deserves a special mention) and Tram, abetted by John Parish on guitar. Simon Raymonde and Anneli Drecker give Fairport Convention a run for their money on their update of Morning Glory. The Czars gave themselves the toughest challenge by tackling one of Tim Buckley's most legendary songs, Song To The Siren, of which This Mortal Coil's 1983 version remains the greatest recording of all time. It would have helped them to have a decent transcription of Larry Beckett's lyric, one which made sense, as well.

Perhaps this release will stir some record company into preparing CD releases of Tim Buckley's Blue Afternoon and Starsailor albums?