Reviews (page 3 of 8)
Not sure what to make of this one (not familiar to me previously, although I've heard/been a little aware of Tim Buckley). I think it's another 3 for me. Very much a 1969 album, with lots of groovy influences, including marimba, vibraphone, and string bass. Definitely hearing Miles (All Blues), in the first track. Might be a 4 if I liked his singing better. And maybe if it were a bit more focused? I mean, experimentation and grooviness is ok, but it's a fine line between groovy and unfocused (and, here, possibly a bit ponderous and pretentious, too), maybe?
I think he liked the sound of his own voice. I'm not as enamored I like the mallet percussion: vibraphone! marimba! especially "Gypsy Woman" which is my favorite track for the instrumental jamming Relaxing, sleepy even. Not sure why it has to be on this list
Beautiful, unexpected, long songs didn't even seem long
Reminds me of guys who play an hour long set at the basement show and then ask "can I play one more" and nobody really responds but he does it anyway and that last song is 20 minutes long. I don't usually love jazz-ish singer-songwriters, but honestly this wasn't too bad. On most songs, I could settle nicely into the band's groove. However, I cannot abide the dumb exoticist corniness of "Gypsy Woman."
This is all kind of stretched out. The instrumentals are sometimes over-extended and a bit aimless at times. I was more interested in the way Buckley extends his voice to make it more sonorous. It is a showy style of singing, but without the acrobatics of a lot of other showy singers (except on Gypsy Woman). Instead he mainly explores the tones of his voice and the range of resonance it has
Bog standard maudlin ballads
My opinion may change after another listen through, but this one really didn't jump out to me. It's not bad by any means, but it's kind of bland and I didn't hear anything that stood out to me
Stunning and deeply sad. I love it.
Sounds wonderful
okay this is a really cool album
3 stars
It's ok. The songs are mostly forgettable, except for the Gypsy Woman song, THAT ONE KICKS ASS. All in all, I think I listened to better music by Buckley in this challenge. 3.5/5
Didn't get to finish it, but liked what I heard
Background music. Way better than getting from LA but still not great.
It’s fine
Crazy how much this music probably influenced Jeff, though he says he only met his father once. It was really really good, some of the songs felt a tad bit too long, but they were exactly the vision that he had (at least it felt that way). His voice has so much soul behind it, very good and enjoyable!
Transitions between country, funk and blues seamlessly and nothing feels out of place. Would consider it a set and forget whilst doing stuff around the house.
Never heard this before and I really liked it
Listened during a hectic day. Worked in the background but did not manage to pull me from my focus.
The music was OK, some funky backing with some interesting jazz instruments, and at least some instrumental variety. Really not a fan of the vocals though, they're largely quite whiny but also sometimes have a quality like he's putting on a silly voice - except I don't think he is. It's odd. Not for me. Fairly inoffensive background music, could do without the wailing. Very low 3.
Maybe I'm in a introspective mood but I enjoyed this album. I'm a bit of a sucker for sad boy vocals tho
Really not very good
I smooth, easy to listen to album. Nothing to hate or get too excited about.
happy sad bad? c
Good news! It’s not nearly as annoying as Greetings from LA. Bad news: it’s really really boring Of course we’ve gotten this dude twice already. The sheer talent of this guy to make two albums that suck in two completely different ways. This one lacked all the annoying sounds and unsettling lyrics Greetings from LA has but in return it completely stripped out everything that made it passable for me. These songs are so goddamn boring; pretty much zero variety and also go on for at least 5 minutes longer than they need to. I know they’re supposed to be emotional but I just get absolutely nothing from any of the tracks on this one. I guess at the very least there’s nothing actively offensive and the vocals are easy enough on the ears; I would rather listen to this than absolute silence so I can’t rate this a 1, but man I wanna be spiteful and do so anyway since I’m kinda fed up with this guy. Also had the same problem with this one as the last one we had from him where there’s so little info on the album out there so it’s pretty hard not to question why it’s on here other than the fact that the authors really liked it. Only have to suffer through one more of these shitters thankfully
I am sick while listening to this, so I suppose it has its use in helping me get some decent sleep
Good not great. Might get a listen down the road.
Kind of disappointing to me since I really liked Greetings From LA. There were a lot of boring moments, but if you were doing something while having it one it becomes less boring. Overall the album is more of a background music type thing to me.
I’m starting to realize I really don’t like long, drawn out albums. You’ll be listening to a song and feel like it’s starting to end but nope, there’s still 7 minutes left. Not to say there can’t be good, long albums. There are some amazing records over an hour long that deserve a 5, but not this one. Not at all. These songs are pointlessly long with nothing but repetitive, boring, sleepy melodies. I like the voice and that’s about it. Even that gets monotonous about halfway though the album. But the bare bone instrumentals, the sappy lyrics, and lack of anything truly intriguing give this record an easy 2. It was not enjoyable to say the least.
Best Song: Buzzin' Fly. A really fun, rollicking song. Worst Song: Love from Room 109 at the Islander (On Pacific Coast Highway). I can kind of see what he was going for, but the song is just truly too long for what it accomplishes. Overall: Really quite quietly experimental. I liked the mix of jazz, rock, and almost psychedelia. Thoughtful music, that felt more modern than its age would suggest.
A fascinating journey into "acoustic psychedelia" and folk-jazz. The lack of traditional percussion allows the vibraphone and double bass to dominate the sonic space, creating a dreamlike and highly dynamic atmosphere. While the jazz influence feels slightly diluted toward the end, the album’s complex structures and Buckley’s vocal prowess sustain a high level of engagement, offering a masterclass in early 1970s atmospheric production
Not for me.
He obviously got a new glockenspiel for Xmas, dude needs to cheer up a bit. Dreary.
Cracking. You can tell he’s Jeff’s dad
3.3 Very interesting, I think there were a few too many things to put me off and stop me from saying it was a very good album - the middle of the album seemed to really drag due to being quite dull, but the first two tracks were pretty good and although gypsy queen went on way too long it was interesting nonetheless. Something almost Zeppelin about it. Not my usual thing, but a hell of a lot more interesting and more deserving of this list than a lot of the shite on here.
forgettable
This is already the 3rd Tim Buckley album I've got. Dude is fine but that's simply outrageous.
Happy Sad. Happy the album ended, Sad that I listened to it. See? See what I did there? I had to resort to stupid puns... some of these are just no reason to be on the list. 820 for me, so you can see I have experience from whence I speak.
Best Track - "Buzzin Fly"
I'd listen to this from time to time. It's unique. It'd probably be a situational thing. I can really appreciate it, but it'd not be in my main rotation.
didn't hate it. some songs were very pretty. would probably give it 2.5 if i could
Usually pleasant, occasionally a bit boring. I will again invoke the vibraphone as an S-tier instrument. I want a break from extended psychedelic jam sessions after the last two days.
Happy Sad erschien 1969 und markiert einen stilistischen Übergang im Werk von Tim Buckley. Der US-amerikanische Musiker löst sich hier deutlich von klassischen Folk-Strukturen und bewegt sich in Richtung einer offenen, vom Jazz beeinflussten Songform. Die Aufnahmen entstanden in den Elektra Sound Recorders in Los Angeles. Das Album wirkt zurückgenommen und zugleich suchend. Stücke wie „Strange Feelin’“, „Buzzin’ Fly“ oder „Love from Room 109“ sind weniger klar strukturiert als frühere Arbeiten, leben von fließenden Rhythmen, improvisatorischen Elementen und Buckleys variabler Stimme. Die Besetzung mit Vibraphon und zurückhaltender Rhythmusgruppe unterstützt diesen schwebenden Charakter. Genreseitig bewegt sich das Album zwischen Folk, Jazz und Avantgarde. Die reduzierte Instrumentierung schafft Raum für Stimmungen, die eher angedeutet als ausgearbeitet werden. In der Gesamtschau wirkt Happy Sad wie ein bewusster Schritt weg vom Konventionellen. Nicht durchgehend zugänglich, aber in seiner Konsequenz schlüssig und als Entwicklungsschritt nachvollziehbar.
An OK singer.
How have I had two Tim Buckley albums an no Beatles or Dylan, yet? This album seems more like what his music is usually like and less like the sex-folk of the previous album I had.
I think the word they’re looking for in the title is “emo”.
Somwhow I liked this more than I expected
As I was listening to this album on my walk, I pulled out my phone to write down a few notes of praise and rolled my ankle stepping off a curb. When I first saw this album show up, I thought it was a neat coincidence that another artist present on this list would share their last name with Jeff Buckley. After getting twenty seconds into the first song and hearing Tim's voice, I immediately had to do more research into whether or not they were actually related, only to find out this is indeed Jeff's father, who also passed away tragically young. Apparently, great songwriting and musicianship runs in the family, as this album is right up my alley. The blend of folk rock and jazz instrumentation suits Buckley's gruff yet powerful voice perfectly, accentuating the emotion and vulnerability in his songwriting. For all of these songs being as long as they are, they stay captivating the entire time, managing to hold your attention with relatively simple yet incredibly catchy instrumentation. The lyricism is exactly the level of poetic vulnerability I have come to expect of my favorite folk-leaning projects, and it gets even more surreal and emotional thinking about the fact that the child being sung about throughout the project will grow up to release music considered to be even more powerful and raw than his father's. I can not wait for the day when Grace shows up on this list. Highlights: Strange Feelin', Buzzin' Fly, Love from Room 109 at the Islander (On Pacific Coast Highway), Dream Letter, Gypsy Woman, Sing a Song for You
Possibly one of the most strange listening experiences I’ve ever had. The first few tracks felt like they had so much promise, at first matching my drive home at sunset with a chill, calming vibe. But, then they’d dwindle on and become kind of ‘meh’ with their long length. It went downhill from there. ‘Gypsy Woman’ was awful!!!! It felt like listening to some kind of parody, like in a sitcom when one of the ‘joke’ characters suddenly decides that they can sing and begins some awful renditions. How many times can Tim Buckley drag out the words ‘gypsy woman’??!!! I can’t believe this is on the 1001 albums list, and I’m not surprised that I had never heard of Tim Buckley before - after some research, though, I’m glad Jeff Buckley (his son??!!!!) was a shining star compared to this. Rating: 1.5.
I dunno, I’m bored. I guess it’s not outright bad as much as it’s just uninteresting to me. 5/10
Favorite Track: Buzzin’ Fly
This is probably the best Tim Buckley album, but can someone please explain to me why we needed three Tim Buckley albums on this list?
Yeah, I didn't enjoy listening to this.
I liked this. His son was better, but maybe that's a generational thing.
Not familiar with Tim Buckley at all. Jazzy folk rock on the first song and enjoying this one. It’s different. Liking that jazzy backing. It’s got a strong element of like soft rock, but his voice is great. Buzzing Fly seems like a really good vocal song. Third track brings the album to a screeching halt. Slowed down and dreary for a few songs. Gypsy Woman is at least interesting as a jazzy improvisational piece with just strong vocals in and out of the track. But it does seem to drag a few minutes longer than it should. Overall, I like the originality of a few of these songs, even if they seem to go on a little too long, but disliked the slowed down boring tunes. And that vibraphone gives some of it a cheesy soft rock vibe. Maybe this reaches a 3. Just doesn’t wow me but it does intrigue me. Settling between a 2 and 3.
I think i missed all the happy in the albumm Most of the time I thought it was too boring, but sometimes I thought the blues parts were really cool. That's why I'm giving it a 3.
Better than Coldplay
#60/1001 🇺🇸 With just 6 tracks to go at, this is by no means a short album as it features 2 sprawling tracks, clocking in over 10 mins each. I'm familiar with Buckley's work - Song to the Siren being one of the finest tracks ever comitted to vinyl - but i've not listened to this before. The influence to future artists is obvious here and i can hear glimpses of Beth Orton, Stone Roses and Ben Howard in Buzzin Fly alone. Love from Room 109 is beautifully sad with haunting vocals over a more sparse instrumental track that blends multiple genres. I found Gypsy Woman a little challenging first time out, but his range of vocals is incredible and it gets under your skin. Dream Letter sounds like it was written to Jeff, who he sadly had no relationship with and Sing A Song For You is as close as this record comes to a conventional 3 minute pop track. Edit: I really enjoyed this and was suprised to see all the haters here. Best Tracks: Buzzin Fly, Love From Room 109, Strange Feelin.
The only good thing about this album is his eyebrows.
Extremely bland i struggled listening to this
Good music to have on in the background of a chilled party, but not exactly a super enjoyable singular listening experience. Lots of long repetitive jams, which Fela Kuti also did but this lacks the soul which Fela had. I don't hate it, but I don't think this will be an album I'll come back to. I much prefer his sons work, Grace is a masterpiece and I hope it appears on this list one day.
I can hear where Jeff gets it from.
The weird thing about this one is I really disliked it on first listen but then when I listened again I really liked it, I think lol. I’m finding that a lot lately. The best of his on this thing but still slightly annoying. 3.5
Jeff was better...
Jeff did it better
83/100. It is folk at its core, but with a smooth jazz flair to it. It feels warm, fluid, and emotionally honest without being overly dramatic. Great folk record with depth and atmosphere.
Listens: 3 Standout Tracks: Dream Letter, Gypsy Woman This was quite pleasant, and just when it starts to drag a bit, Gypsy Woman comes on with some decent jamming. I am not sure that I love it, but I definitely enjoyed what I heard. Gypsy Woman is certainly playlist material.
Aika tylsä levy. Ei jäänyt mitään mieleen.
Нечто из какого-то другого, лучшего мира
🎧This did almost nothing for me. Favorite track: Buzzin’ Fly, vocals on that one sound like Jackson C. Frank
The songs are all really long and go nowhere. Dudes got a decent voice but his son is a much much better artist.
Holy fuck I hate this guy. 2/5
Without a doubt one of the albums of all time.
First track was good but the rest dragged on a bit. Ok but wouldn’t listen again.
i heard this for the first time like a week ago, but ive been rly struggling to listen to music of my own volition recently so the universe contorted to deliver this record to me again via this project, my listens for which have felt more approachable for whatever reason. and yea, fuck man , it was a first listen 5/5 and if anything its even better the second time around....for being such a powerhouse who's timbre and expressiveness and Fearlessness who always command ur attention, buckley always feels like he's at the mercy of, or a conductor for, something much larger than himself....a beautifully helpless vessel that transcends all boundaries of Rock Star Ego for the sake of pure width and depth of power. if he really wanted widespread approval/adoration, he certainly wouldnt have gone this direction. and the music itself is the brightest thunderstorm ever...a mixture of folk and jazz timbres/structures that honestly probably mirrors the makeup of my brain. somethin ab this just makes me feel Seen...its vulnerability feels anxious but also deliberately seeking out those destabilizing feelings of intensity...vindicating And aspirational for me personally. total masterpiece.
Second album by Buckley and I just don't care, it sounds like dollar store versions of other better songs of the era
I grew up listening to jeff so I can hear his style of lyrical flourish and charming mawkish prose in his father. I didn't care for the style of music as much but it wasn't a big chore.
I could have sworn I rated this one before, but apparently not. Must have been an independent listen. Happy Sad has about 90/20 ratio of Sad to Happy. There’s not much here. The first two tracks have some life, and “Buzzin’ Fly” has a kick to it. The rest is an overlong soup of overlong songs that dirge along from A to B with no lift and no change. I enjoy some of it, but it’s not interesting enough. At least it’s better than Jim Morrison or his shitty ‘72 album. Jeff was the better Buckley.
Consider me "sad sad." This might be marginally better than any album with a song called "Get on Top," but those margins aren't in an impressive part of the spectrum.
How does he have 3 albums on this list? One was one too many.
We have had some absolute bangers in the last few weeks, but sadly this is not one of them. 4 Awesome albums in the last 5 days. Very tough shoes to fill. Tim's feet were a little small.
Happy ˢᵃᵈ
I'll search for detailed information about Tim Buckley's album "Happy Sad" to provide you with a comprehensive review. Now let me search for more specific information about the production details and critical reception of the album. Now I have gathered comprehensive information about Tim Buckley's *Happy Sad*. Let me provide you with an in-depth review of this pivotal 1969 album. --- ## **In-Depth Review: Tim Buckley – *Happy Sad* (1969)** ### **Overview** Released in April 1969 on Elektra Records, *Happy Sad* represents a watershed moment in Tim Buckley's career. At just 21 years old, Buckley had already released two folk-rock albums (*Tim Buckley*, 1966 and *Goodbye and Hello*, 1967) that established him as a precocious talent with a multi-octave voice and literary sensibilities. However, *Happy Sad* marked a radical departure from his earlier work—abandoning traditional verse-chorus structures for extended, jazz-influenced compositions that prioritized mood, improvisation, and emotional rawness over commercial accessibility. The album was produced by **Zal Yanovsky** and **Jerry Yester** (both formerly of The Lovin' Spoonful), with production supervision by Elektra founder **Jac Holzman**. Recorded at Elektra Sound Recorders in Los Angeles in December 1968, it became Buckley's highest-charting album (peaking at #81 on Billboard), despite—or perhaps because of—its uncompromising artistic vision. --- ### **Musical Style & Production** **The Jazz Transformation** The most striking aspect of *Happy Sad* is its incorporation of jazz elements, particularly modal jazz and cool jazz influences. Buckley had been immersing himself in the work of **Miles Davis**, **Charles Mingus**, and **Thelonious Monk**, and this fascination permeates every track. The album's opener, **"Strange Feelin',"** explicitly borrows its guitar progression from Davis's **"All Blues"** (from *Kind of Blue*, 1959), transposing the jazz standard into a folk-rock context . **Instrumentation & Arrangement** The production is characterized by its **spacious, organic quality**. The core ensemble consists of: - **Tim Buckley**: 12-string acoustic guitar, vocals - **Lee Underwood**: Lead guitar, keyboards - **John Miller**: Double bass (acoustic bass) - **Carter C.C. Collins**: Congas, percussion - **David Friedman**: Vibraphone, marimba, bass marimba The **vibraphone** is the album's secret weapon—an instrument virtually unheard in folk or rock music of the era. Friedman's shimmering, sustained tones create an ethereal, dreamlike atmosphere that defines the record's sonic identity. As one reviewer noted, Friedman jokingly called the band "the Modern Jazz Quartet of folk" . The arrangements are **predominantly acoustic**, with Underwood's electric guitar serving as the only amplified instrument, providing subtle coloration rather than rock aggression. The production, described as "lovingly under-produced" , maintains a live, spontaneous feel—Buckley famously disliked multiple takes, preferring the raw energy of first performances . --- ### **Track-by-Track Analysis** **1. "Strange Feelin'" (7:40)** The album opens with its most explicit jazz homage. Built around a progression lifted from "All Blues," the track establishes the template for what follows: extended runtime, elastic vocal phrasing, and hypnotic repetition. Buckley's lyrics address romantic uncertainty with disarming directness: *"I got this strange, strange feelin'/Deep down in my heart/I can't tell what it is/But it won't let go"* . The song builds slowly, ebbing and flowing like waves, with Buckley's voice moving from intimate whispers to impassioned cries. **2. "Buzzin' Fly" (6:04)** The album's most accessible moment and arguably its masterpiece. Written years earlier (reportedly during Buckley's high school days with his band The Harlequin 3) , the song features a more conventional structure—though still expanded beyond typical folk parameters. The lyrics ache with longing for a distant lover: *"You're the one I talk about/You're the one I think about/Everywhere I go"* . Buckley's vocal performance is extraordinary, showcasing his four-octave range with supple, soaring melodies. The vibraphone and guitar interplay creates a warm, enveloping soundscape that justifies the song's extended length. **3. "Love from Room 109 at the Islander (On Pacific Coast Highway)" (10:49)** The album's centerpiece and most ambitious composition. Originally two separate songs—"Danang" and "Ashbury Park"—merged into one sprawling piece . The track is a masterclass in **progressive folk-jazz**, shifting through multiple movements with bowed bass, atmospheric guitar, and Buckley's voice as the primary through-line. Notably, the ocean sounds heard throughout were not originally intended—they were overdubbed to mask an electrical buzz on the master recording . This accidental addition transformed the track, creating a sense of place and transcendence that elevates it beyond its technical origins. The lyrics explore themes of redemption and transformation: *"You changed an old man filled with pity/Back to a child again"* . **4. "Dream Letter" (5:12)** A devastatingly intimate address to Buckley's estranged wife Mary Guibert and their young son, Jeff (who would later become the acclaimed singer-songwriter Jeff Buckley). Following the more confrontational "I Never Asked to Be Your Mountain" from *Goodbye and Hello*, this is Buckley's **apologetic, vulnerable reconciliation attempt** . The instrumentation is stark—upright bass, gentle guitar, and vibes—with Buckley's voice carrying the emotional weight. The closing lines are heartbreaking in their simplicity: *"Oh, what I wouldn't give to hold him/Does he ask about me?"* . The song represents Buckley's mature, self-penned lyricism at its peak, free from the literary abstraction of his earlier collaborations with Larry Beckett. **5. "Gypsy Woman" (12:19)** The album's most challenging and divisive track. A **12-minute avant-garde jam** that abandons conventional structure entirely, featuring extended percussion sections, free-form guitar work, and Buckley's voice used as an instrument—wordless wails, chants, and improvisational flights . The "gypsy woman" concept has aged poorly (some critics have noted its problematic exoticism) , but musically, it's a fascinating precursor to the even more experimental work Buckley would pursue on *Lorca* (1970) and *Starsailor* (1970). The track functions as a **tribal, trance-like ritual**, with Carter Collins's congas driving the rhythm and Buckley pushing his voice to its limits. It's exhausting but undeniably powerful—a glimpse into the wilder territories Buckley was eager to explore. **6. "Sing a Song for You" (2:39)** The brief closer serves as a **palate cleanser**, returning to the more straightforward folk of Buckley's earlier work (complete with verse-chorus structure). Yet even here, the vibraphone presence and melancholic undertone mark it as part of the *Happy Sad* universe. The lyrics are stunning in their emotional directness: *"In my heart is where I long for you/In my smile I search for you/In my world the devil dances and dares/To leave my soul just anywhere"* . --- ### **Themes & Lyrical Content** **Emotional Duality** The album title *Happy Sad* perfectly encapsulates its thematic core—**the coexistence of joy and sorrow**, connection and isolation. Buckley explores romantic relationships in various states of dissolution ("Strange Feelin'," "Buzzin' Fly," "Dream Letter"), finding beauty in melancholy and melancholy in beauty. **Personal Confession** This is Buckley's first album writing all lyrics himself (following the departure of collaborator Larry Beckett to military service) . The shift from Beckett's literary, politically charged poetry to Buckley's **direct, conversational, deeply personal** style is profound. These aren't protest songs or mythological narratives—they are intimate dialogues, confessions, and prayers. **Fatherhood & Absence** The presence of Jeff Buckley haunts "Dream Letter" and, by extension, the entire album. Buckley's awareness of his failings as a husband and absent father adds layers of guilt and longing that make the album emotionally devastating. The knowledge that both father and son would die young (Tim at 28, Jeff at 30) lends retrospective poignancy to lines about holding a child who asks about his father. **Jazz as Freedom** Buckley's embrace of jazz wasn't merely aesthetic—it represented **artistic liberation**. He explicitly stated that he admired jazz musicians because "their music comes out of the communication between the men playing it... Everything is so over-rehearsed in rock, that when somebody hits a wrong note, they don't know what to do with it" . *Happy Sad* celebrates the "wrong" note, the spontaneous moment, the extended exploration. --- ### **Critical Reception & Legacy** **Initial Reception (1969)** Upon release, *Happy Sad* received **mixed but generally positive reviews**. Pete Frame in *ZigZag* called it "A treasure of incredible, rare aesthetic excellence" . However, some fans of Buckley's earlier, more accessible work were alienated by the lengthy, improvisational structures. The album's commercial success (relative to Buckley's catalog) suggests it found an audience hungry for something more sophisticated than standard folk-rock. **Critical Reassessment** By the late 1970s, Buckley's reputation had faded significantly—the first *Rolling Stone Record Guide* (1979) gave his "masterpiece" *Goodbye and Hello* only three stars and dismissed his jazz-folk experiments as "futile" . However, the 1991 tribute concert *Greetings From Tim Buckley* (featuring Jeff Buckley's New York debut) sparked renewed interest. The 2004 *Rolling Stone Album Guide* revised its rating to **four stars**, calling *Happy Sad* "abstract expressionism of a rare bravery" . Today, the album is **universally celebrated** as one of the finest records of the late 1960s, earning four- and five-star reviews across major publications. It was voted #954 in Colin Larkin's *All Time Top 1000 Albums* (2000) . **Influence** *Happy Sad* has influenced generations of artists seeking to merge singer-songwriter intimacy with jazz sophistication: - **Jeff Buckley**: Obviously influenced by his father's vocal techniques and emotional rawness, particularly on *Grace* (1994) - **Van Morrison**: Though *Astral Weeks* (1968) was released first, the albums share a kindred spirit of stream-of-consciousness folk-jazz - **Talk Talk / Mark Hollis**: The minimalist, atmospheric approach of *Happy Sad* prefigures Talk Talk's later masterpieces (*Spirit of Eden*, *Laughing Stock*) by two decades - **Bon Iver, Fleet Foxes, Iron & Wine**: Contemporary indie-folk artists who blend acoustic textures with experimental structures owe a debt to Buckley's pioneering work - **This Mortal Coil**: Their 1984 cover of "Song to the Siren" (written during this period though released later) introduced Buckley's compositions to the post-punk generation --- ### **Pros & Cons** #### **Pros** 1. **Vocal Performance**: Buckley's voice is simply extraordinary—ranging from a deep, intimate baritone to soaring falsetto, often within the same phrase. His use of voice-as-instrument would influence countless singers. 2. **Innovative Fusion**: The seamless blend of folk, jazz, and blues created a template for "folk-jazz" that remains distinctive and influential. The vibraphone-led arrangements are still unique in the canon. 3. **Emotional Authenticity**: Buckley's self-penned lyrics represent a major artistic maturation—direct, vulnerable, and devoid of the pretension that sometimes marred his earlier work with Larry Beckett. 4. **Production Quality**: Yanovsky and Yester achieve a perfect balance—organic and live-sounding without being sloppy, experimental without being alienating. The "under-produced" quality serves the material beautifully . 5. **Song Sequencing**: The six tracks flow perfectly, from the jazz-inflected opener through the epic centerpiece to the brief, poignant closer. The album sustains a cohesive mood while offering variety. 6. **Historical Significance**: As Buckley's commercial peak and the beginning of his experimental period, it serves as both an accessible entry point and a transitional masterpiece. 7. **"Buzzin' Fly"**: Simply one of the greatest songs of the 1960s—melodically gorgeous, emotionally devastating, and perfectly performed. #### **Cons** 1. **"Gypsy Woman"**: The 12-minute jam tests the patience of even dedicated listeners. While historically important as a precursor to *Lorca* and *Starsailor*, it lacks the compositional strength of the other tracks and features problematic exoticism in its lyrics . 2. **Accessibility Issues**: The extended song lengths (four tracks over 6 minutes, two over 10) and lack of traditional hooks make this a challenging listen for those expecting conventional folk-rock. This isn't necessarily a flaw, but it limits the audience. 3. **Vocal Polarization**: Buckley's elastic, sometimes mannered phrasing—while innovative—can sound affected or overly dramatic to modern ears unaccustomed to this style of singing. 4. **Instrumental Limitations**: The minimalist acoustic approach, while tasteful, occasionally lacks dynamic range. Some listeners may crave more rhythmic drive or textural variety. 5. **The "Ocean" Effect**: While the added wave sounds on "Love from Room 109" were serendipitous, they can feel gimmicky or dated to some listeners, though others find them atmospheric . 6. **Inconsistency**: The closing "Sing a Song for You," while beautiful, feels somewhat disconnected from the jazz experiments of the preceding tracks—more like a *Goodbye and Hello* outtake with vibes overdubbed. --- ### **Conclusion** *Happy Sad* is a **masterpiece of late-1960s experimental folk**, representing the moment when Tim Buckley transformed from a talented young singer-songwriter into a visionary artist unafraid to follow his muse into uncharted territory. It captures a rare balance—commercial enough to become his best-selling album, yet adventurous enough to alienate portions of his fanbase and point toward the even more radical experiments of his later work. The album's **emotional honesty, sonic beauty, and innovative fusion of jazz and folk** make it essential listening for anyone interested in the boundaries of singer-songwriter music. While not without flaws (primarily the overlong "Gypsy Woman"), the highlights—"Buzzin' Fly," "Dream Letter," "Strange Feelin'," and "Love from Room 109"—rank among the finest achievements of Buckley's tragically short career. In the context of 1969—a year that produced *Abbey Road*, *Led Zeppelin II*, *The Band*, *Dusty in Memphis*, and *Tommy*—*Happy Sad* holds its own as a quiet, introspective counterpoint to the era's more bombastic statements. It asks for patience and attention, but rewards the investment with moments of transcendent beauty and emotional truth. **Essential for fans of**: Van Morrison's *Astral Weeks*, Nick Drake's *Five Leaves Left*, Joni Mitchell's *Blue*, Jeff Buckley's *Grace*, and anyone interested in the intersection of folk and jazz. --- **Rating: 4.5/5 stars** (or 9/10)
This guy... Sucks is not a strong enough word.
The music is all right, I guess, but I can't really listen to it because I know how he abandoned his son (who at the end of the day was the superior musician). I can usually separate the art and the artist, but not here. I'll leave it to others to analyze it.
First listen
Not for me.
I really didn’t like this - which is a shame because it could have been good if he knew how to edit a bit. I skimmed through the 10+ minute songs and tried hard to get into the manageable ones. Just didn’t work for me.
Day774 - more sad than happy
Album Review 071 Happy Sad by Tim Buckley (1969) Rating 2/5 Happy Sad sees Tim Buckley at a point where his music is evolving from folk-pop with a touch of psychedelia to a more folk-jazz style and comes with mixed results. First track starts the album strongly with Strange Feelin’, by track two (Buzzin’ Fly) we reach the highlight of Happy Sad and I’m already polishing a 4/5 rating. Then it’s all downhill and a constant feeling that Tim is trying to convince himself, not us, that he’s Happy Sad and not just Sad Sad. Happy Sad leaves me thinking that it could have been something special and was a brave piece of work that went against the expectations of his fans at the time, but for the most part I can’t help but feel that it’s 45-minutes of Tim wallowing in pity and indulging himself.
Well this is definitely a change after Once I Was (my only previous knowledge of Tim Buckley). I love the jazz meets psych-folk feel of the album. I love the soloing on opener Strange Feelin’. The extended jam of Gypsy Woman was another highlight. I found Love From Room 109… a bit long and meandering in places but I saw the vision and love what he was trying to do so I will be listening to this album again.
Ok, some good songs and some not so good. I liked the other horn dog Tim Buckley album better
Not a good album to listen to on a run. But still enjoyed it.
Strange voice, and music. Not a fan.
Wow, I can imagine skinning up on the cover and getting stoned to this back in the day! Reminds of Zeppelin in places and I love the vibe playing.
I hate songs like Dream Letter. Just super sparse with crooning vocals. Not for me.
Okay. Huge Jeff Buckley fan and never really listened to Tim, but feel protective on Jeff’s part so let’s see how this goes!! Yeh, a really nice listen. Not sure what I was expecting but this is a pleasant surprise. Easy to listen to, really nice layers and groove. I like. Takes a little dip in the middle for a more sombre feel and longer tracks. Prefer the first couple. And then back to it with Gypsy Woman 🕺🏻 (although 12 mins!) I guess ‘Happy Sad’ really does sum it up! And nice to hear Jeff in his voice and vibratos too.
Meh
meh
3,5
It was fine, quite boring
This project has actually made me hate music so much
Enjoyed a couple of the songs. Very pretty but not something I feel like I'd listen to regularly.
hippie shit
Maso
*sou o jeff buckley e chego* *endo meu próprio pai* *saio*
I thought it was good but lacked intensity or originality
This is super relaxed and really enjoy it. Perfect for quite nights.
Extremely slow and not for me
Just boring.
I barely wanted to give this a two. Songwriting was pretty bad and I didn’t know why there was xylophone
Wszystko jedno. Спасибо за сына
Забавно, что два дня подряд нам попадается альбом, где фолк-исполнитель добавляет джаза. Но если у Джони Митчелл это получилось более заметно и при этом органично, то у Бакли вышла скучная тягомотина, в которой новые инструменты не добавляют никакой ценности, а песни настолько растянуты, что начинаешь молиться, поскорей бы они закончились. У сынка альбом получше был.
Мне было вчера лет, когда я узнала, что Джефф Бакли непобэби. Сложно такое слушать в наушниках по пути на работу, но дома в кроватке в колонках самый раз. Крутой голос, приятная музыка. В целом очень даже понравилось.
Один из любимых мужских голосов, но музыка довольно специфичная, творчество его сына рекламировать гораздо проще, надеюсь и до него доберемся. Что касается самого альбома, то после первых двух песен казалось, что до Starsailor и особенно Lorca он не дотягивает. Как будто от стандартных форм авторской песни/фолка того времени артист уже отошел, а дойдет до своего пикового уровня психоделии и экспериментов только на последующих релизах. Но рано делать выводы это неблагодарное дело, потому что с 3 песни начинается все то, что я люблю в творчестве Тима Бакли. Полнейший сумбур в хорошем смысле вплоть до финальной песни. Она кстати тоже замечательная и трогательная, жаль только, что так быстро обрывается. Прямо как жизнь Тима Бакли. Блин, еще же и Джефф тоже рано умер, мдааа...
Худших и лучших песен нет: как их отличить? Некоторые треки звучат идеально для какой-нибудь долгой сцены стирки трусов в начале серии Better Call Saul. Другие звучат как импровизационный джем-сешн, который почему-то подают в виде оконченной песни. На кого повлиял этот альбом? Кто его слушает каждый день? Зачем он добавлен в этот список?
творчество сына мне нравится больше
Жаль, нельзя ставить баллы с половинкой как на летере. В отличие от Джони Митчел альбом показался подходящим только для прослушивания на фоне. Не зацепилось ухо ни за один трек. Ну и продолжительность в 12 минут сейчас это ад для концентрации
Ну, не скажу что звучит плохо - звучит вполне нормально. Но чуть затянуто и скучновато.
I sort of liked "Buzzin' Fly". Beyond that, and the last half of "Gypsy Woman" which was more emotion and energy than was displayed on the rest of the album (though I still didn't like it). This was mostly just a boring, jazz/folk slog with an undeniably talented singer meandering around. Not for me. .
realmente o filho dele herdou a voz né tem umas muito longas, mas que não são ruins ainda assim, são mto longas eu sou gen z e meu tempo de atenção é curto
eh bem isso aí memo, nao eh ruim, só tem umas longas demais vozerão da porra btw
1 bc of a 12??? min song about a gypsy women jfc
2026.02.01
Jäi kesken, alku oli mielenkiintoinen. Pitää kuunnella uudestaan. Laitetaan 2,75/5 oletus.
I mixed up Bob Dylan’s Highway 61 Revisted with Jeff Buckley’s Grace (why?) and I mixed this up with that. To be fair, Tim and Jeff Buckley? Are they related? OMG I GOOGLED IT ok yes they were father and son. Makes sense. The influence in sound is HEAVY.
Rigtig fint album, det er jazzz fuzion, pshycedlic folk og folk jazz. Så Jazz inspireret folk rock agtig, hvor den tager de organiske elementer fra jazzzen og blender ind. Også derfor, at der så lange passager og sådan eksperimenterende passager hvor man føler det kan gå i alle mulige retninger. Så jeg synes faktisk det er et super godt album og man kan godt høre det er Jim's far. rest in power til dem begge. Jeg har ikke lyttet til andre Tim Buckley albums, men det her er angiveligt meget længere væk fra hvad han plejede at lave som har mere klassiske sangstrukturere osv. Han har åbenbart en speciel sort at singersongwriter som alligevel gav et eftermæle.
I was not expecting any of that, and I loved it
p180. 1969. 2 stars. Later 60's Stateside singer songwriter. Fabulous voice, let down by substandard material, meandering song length and dated production. Bonus point for "Buzzin' Fly", which is a thing of beauty.
Kinda weird idk
compelling voice. interesting arrangements. ultimately not for me
Powerful, yet gentle, dreamy, mysterious, rooted in jazz, with a devotional feeling
Felt like this album dragged on abe was bored by it. Every time the album picked up, it would switch up and I would lose interest again and the songs drag on too long
great album to cure your insomnia
It's good. More a vibe than great songs, but I could listen to it again. Maybe something that seems like itd grow on you.
Haunting and jazzy and folky
really good despite me having not expected to like it that much
Between the three albums in this site, this is his rawest and most eccentric oeuvre. However, 'Blue Afternoon' is a much better record. 8/10 [KEEP]
1.5 (44:43, 6 tracks, 3rd album 1969) folk (psychedelic folk, folk jazz) The beginning of the end. Like a lot of artists Tim had some moderate success with his first two albums and got cocky or life got sad, not sure. Started to play around with jazz and psychedelic and his fans left him. Just a downward spiral from here. He wouldn't be on this list if he didn't ride the hard fought fan base he clawed and fought for on the first two releases. Always feel sad when this happens. OK just got Joni Mitchell's The Hissing of Summer Lawns which I thought was boring as fuck for folk jazz and then I get this which makes Joni more tolerable. I'm giving this a 1, 150 albums in and I only have 3 (now 4) 1's. Maybe I'm just angry today, it's cold and miserable and this album did nothing. 6 tracks (2 are over half the album) all suck. I was going to joke seeing the cover (which I like) that it looks like a sad older version of Jeff Buckely (just playing on the last name. I read he actually IS Jeff's dad so well . . . that joke doesn't work. The best thing about this album is Jeff who everything he does was so much better.) Just couldn't get into this - feel bad about the 1, it's not as terrible as the other three, but I need some one's.
I liked the album but the songs were too long for my liking, it might’ve been because I wasn’t in a slow song mood so I’ll definitely give it another listen
Bastante aburrido, la misma canción triste durante 44 minutos. Pero bueno, el álbum se llama happy sad, no se que esperaba.
Quite lovely, melancholy tunes. His guitar and voice are beautiful. On a first listen I didn’t tune in too much to the lyrics and I admit to distraction. This came out the same year as Led Zep’s first, so I don’t know who is imitating who, but he offers up a good Robert Plant, esp on the “Gypsy Woman” 12-minute epic that closes the record with moans and builds aplenty. That sort of thing places him firmly of his era but he also pulls it off. Mid to high 3
Oof
Decent listen.
I will say it is quite an underwhelming album. I didn't dislike it, but I don't see myself listening to it any time soon 2/5
nice discovery
It was fine at first but got too boring and slow, I can't
9.4/10 I really made the right call listening to this at night, about an hour before bed - it’s honestly the perfect time to hear this album. It’s so ethereal, dreamy, and sometimes so intimate that it feels like I’m in the room with the band. Between Tim’s acoustic guitar, his breathy vocal style, and the minimal, raw studio polish, it really just sounds like a jazz-folk session happening in some quiet room somewhere, and I absolutely love that. The only real “complaint” I have is that some of Buckley’s vocal inflections sound a little strange, but that’s genuinely just a nitpick. Over time I might even grow to love those moments. These reviews are mostly based on first impressions anyway, since I’m listening to a new album every day and don’t have time to sit with most of them again until I’m through all 1000+ records. That being said, this album is amazing. I’d highly recommend it to anyone - and I’ll probably end up pestering some of my friends to listen to it too. Favorite song: Love from Room 109 at the Islander (on Pacific Coast Highway) Least favorite: Buzzin’ Fly
Slow, peaceful but still very interesting. Lots of elements being implemented especially in the instrumentation where every instrument gets a chance to shine. Vocals also did a great job to add that calm, but psychedelic feel. 6.5/10, Favorite Song: Buzzin' Fly
Same as below but it's a man singing. 3/5
4⭐️/5 01.10.2026
Buckley was a druggie that abandoned his family and obligations. Like Michael Jackson, its impossible for me to separate dude's music from his abhorrent lifestyle. You will like this album if you like psychedelic, jazz inspired riffing and are able to ignore Buckley's douchy lyrics. You will hate this album if Buckley's behavior pisses you off.
Dullest dullard who ever dulled I feel like this is the 50th album of his on the list If i could be bothered id go back and give all his stuff a 1. Can't be arsed. Please stop
I really dislike this man
Second Tim Buckley album. It's been a good while since his last - nearly 200 albums since I listened to Greetings From LA, which I remembered having a really shitty book entry - it wasn't at all persuasive or descriptive. Regardless, Tim is an interesting fellow. He has three list albums, yet his son appears to be the more influential and revered artist. Maybe this album will elucidate me on the Buckley charm. I'll be honest. I was spaced the fuck out while listening to this. Guess I need some well-earned R&R every once in a while. This album was competent instrumentally (I think? I don't actually remember a single defining feature of it), though I just couldn't get into the music. The pacing is pretty jaring. It swings between unremarkable 10+ minute songs that go on for way too fucking long to ~5 minute songs that I don't even register in my memory thanks to being bored out of my mind by the previous track. It also doesn't help that this album was really quiet. I had my phone speaker at maximum volume and the music was still getting completely drowned out by the hand fan I had aimed my face. No, I couldn't just turn the thing off - I'm in the middle of a Stroyan summer. Book time. Buckley's best offering. Many influences. That's it. Wikipedia reveals that this album marked the beginning of an experimental period for Buckley, was Buckley's most successful album and has mild critical acclaim, though that's also about it. Sure, whateverrrrrrr. I need to hold onto my replacement albums - I shudder to think of how many I have left. I cosign this inclusion.
ummm something kinda wrong with this
It’s not bad, this is the second album of his in this project, I had no idea about this guy. It’s really interesting how similar Jeff sounds like his father Tim, and how, at least in interviews, Jeff would distance himself. Crazy how the genetics of that works from a vocal perspective.
I want to like this more but it tends to drag on. It's an interesting folk/jazz fusion though.
Chill album. Good vibes. 3
understand Jeff
8/10 - не слышал раньше
6/10 Pleasent gentle songs. The best éléments are those that sound like Nick Drake. It is interesting that the songs are so long. It gives a chance for Tim to explore the theme, but it does not lend itself to a structure that engages me - I regularly drift off and have to remind myself to listen.
I just love how this album flows and wanders through the psychedelic folk and jazzy arrangements. The longer songs really helps underlining Tim’s creativity. This was a blueprint for the more experimental records that would follow
Buckley's. It tastes awful, and it works.
An album that oscillates between "Not bad" and "a little cringe".
Folky boretown 2/5
A father that produced a classic and a family legacy.
Fine, cool instrumentation
Great voice, tough listen for a morning workout.
Why is this so long
Is that Yung Gravy?
Pretty sure Tim Buckley was a douchecanoe but this album is really good. The vibraphone is a little cheesy at times, but otherwise it’s musically and vocally solid. Gypsy Woman and
Maybe a 3. More a 2.
It’s ok
I actually liked this more than I thought Jazz vibe mixed with abit of folk
This is my first time listening to Tim Buckley. I'm afraid this is just not interesting. There's just not even enough for me to really explain further.
BORING
This is lovely if you need a nap.
Zzzz
A bit crap. Not quite rubbish enough for a 1 as I wasn't offended by it.
Inoffensive, but can't say it had much of an impact
This wasn't the worst thing I’ve listened to by any means. Vocal style was interesting (not great or terrible, but definitely different), but I'm not exactly itching to listen to this again.
So many parts to this! Folksy and moody, but upbeat and poppy with sparks of glitz.
I didn't know what to make of this when the album started. It's out in left field. But when the waves started crashing on "Love from Room 109..." I was mesmerized. It's a fascinating work. There's a lot to enjoy on this album but sadly is much of the same and drags several places. I can't see myself putting this album on unless I'm just super melancholy. Favorite songs are "Love from Room 109" and "Gypsy Woman."
Me ha encantado. No conocía a este hombre ni este disco. El rollo de cantar bonito jazzy chill sobre un VIBRÁFONO??? Increíble. He caído por un hombre guapo. El primer tema es literalmente All Blues de Miles Davis. Un disco precioso, emotivo, relajante. Me ha pillado dándome un paseo en un día soleado con las calles mojadas y me ha encantado. Gracias, Tim Buckley.
Not his best
very down
сколько альбомов Тима тут?)) всё ещё не мой жанр, всё ещё Тим пролифик и голосист, кудос
Not for me
On paper I should like this. But I don’t; it’s annoying.
Not my thing. Great voice
And, maybe moods in-between? Mostly mid and pretty boring. This is album is just okay-at-best in the 2020s where our attention spans and interests (like what we're invested in when it comes to music) have shifted, but I can imagine it made a bigger impression in 1969 where 12 minutes of wailing about a Romani woman was something novel you had the patience for. I don't spend a lot of time thinking about or listening to either Buckley. And yet, I feel like maybe this album would've rightly faded into the past a little faster if both father and son hadn't left us in the way they did, but there's a limit to my speculation and we've reached it.
Ok vibraphone!!
The use of vibes created a whimsical thread throughout the album. Chill, sweet, and lightly jazz is normally a combo for a high four for me but I did not enjoy his voice for most of the album.
Tim missed the mark IMO
I liked this more than I expected to. I don't see myself coming back to it often, but I enjoyed it. I think of Tim Buckley as a folk singer but I see this album was during his experimental phase (sure feels like it). Based on the xylophone I guessed this album was from 1969 and I fucking nailed it. A PERIOD PIECE
love it
A fairly complicated album. Less interesting than the jazz music that inspired it, but there are some profound moments scattered throughout that warrant a further listen -- perhaps.
Never listened to Tim Buckley before now. This was interesting. I don't know if I would listen to it again but I would definitely check out his other albums. Favorite track: Strange Feelin'
I think it’s really good, but I prefer the other album of his on the list 4/5
He has finally broken me down after what feels like the 900th of his albums put forward here. Really enjoyed the long waffling strangeness of it all.
Anfangs sehr einschlafen und traurig, gut das Album hat ja auch "sad" im Titel, aber irgendwie hab ich das "Happy" nicht mitgekriegt.
Toll, jetzt bin ich depressiv.
juckt
whatever man
Nah, not for me. Pretty boring and didn’t really like his voice. Some okay moments but not enough to keep me hooked. Now if you’ll excuse me, I’ll go listen to his son’s music. 2/5
LOVED THIS
Long songs aren’t a problem for me, the problem is when an already long song feels like it’s dragging on forever, which is the case here. The jazzy aspects here were interesting at times, and there were moments I found myself enjoying, but they felt accidental, because they never resolved or built to anything. I’m sure there’s some context here that I’m missing as to why this album is significant enough to merit inclusion on this list, but I’m not hearing it. A real slog.
It's not offensively bad, but oh my god it's sooooo boring.
8/10 I was mostly aware of Tim Buckley via his son Jeff (take that, Tim!), but had listened to the odd track here and there in the past. I’ll not spend too much time on the Tim vs Jeff thing here, but it’s safe to say that Jeff got a lot of his ability to emote through vocal delivery from his dad. Jeff’s a better singer to my ears, but there’s an emotional weight to them both that feels cut from the same cloth. Anyway. Tonally, this is a really nice blend of folk, jazz and a little bit of soul. Tim has a really nice woody tone to his vocal that feels very full and warm throughout, but he’s never over reliant on his voice at any point through the album, often allowing the instrumental composition to take the lead and allowing room for everything to breathe. It drifts around here and there in a fairly jazz-esque way, but I feel like it rarely loses the thread of the song, which is always important to make a composition feel unified and complete. There are some outstandingly pretty moments here and some of the interplay between the different instruments is really great. Without properly concentrating on what’s going on, I think it would be very easy to miss the nuance and variety in the instrumental work across the album, but that compositional flow, along with the well controlled dynamic of the production is a really engaging thing to hear. So much of the rhythmic variety actually comes from the tonal instruments, and it felt like there was a very organic pulse to the way they came together. There were moments when things became a little too self indulgent, particularly doing the middle of Gypsy Woman, but for the most part this record flowed really nicely and would be equally at home as pleasant Sunday afternoon listening as it would on a more focused session. That being said, it rarely felt particularly exciting, so it’s not quite elevated to the top tier, but it was certainly an enjoyable listen. Strange Feelin' - This is a track that wanders around its themes really nicely, touching back on some key reference points and motifs regularly enough to let it feel centred as a composition. There’s a good amount of dynamic and tonal shift within the track, and it’s as much about the instrumentation as it is the vocals. It floats somewhere between folk and jazz, and it’s a really pleasant listen. Buzzin' Fly - The pulse of the rhythm here is really nice and the lead guitar tone is really lush. I really like his vocal delivery on this. It’s another one where there’s a central thread that runs through it, but the instruments offer a massive amount of interplay and variation that weave around that solid centre. There’s more great dynamic across the track and it’s a really engaging listen. I really liked this one. Love From Room 109 At The Islander (On Pacific Coast Highway) - We’re taking a step in a more laid-back direction now. It feels a little more meandering and a little less focused than the previous tracks. There are some really, really pretty moments scattered through this piece, although I’m not completely sold on the sound of waves that persists throughout. It does have some really lovely chord progressions and it feels like there’s an air of menace that seeps in here and there too. It’s an engaging journey, for sure. Dream Letter - Continuing on the slower side of things here, this song fluctuates between incredible melancholy and moments of optimism. It’s fairly sparse, but the dynamic is really nice. It’s a little less rhythmically focused than earlier tracks, but that kind of suits the dreamy theme of the song. Another really pleasant listening experience. Gypsy Woman - This is a decent song that’s dragged out too far and too self indulgently. There are bits of it that are really great, but to my mind he spends far too long farting around to maintain the focus of the track, particularly when it thins out to some sporadic percussion and vibes with a single cello note played over and over again. It actually builds again fairly nicely from there eventually and kicks into something pretty groovy. When he’s at it on this track, it’s genuinely excellent, but it doesn’t justify the middle waffling. Sing A Song For You - This builds really nicely. He emotes really well. Not as well as Jeff, but, you know. It’s a very pretty composition that pulses quite nicely along with an ethereal feel to the higher register. Another really nice little track.
Very good but Songs can be too long
12/15/25. Really impressed with this one, a great mix of folk and jazz elements. Also enjoyed the vocals a ton. As I go on, my favorites are leaning toward less pop and more experimental and jazz - across all genres.
I've never listened to this album (71). Some great parts! But overall a bit sleepy.
Quite good
Good start but that 10 minute song put me to sleep Don’t know if that’s a good or bad thing tbh
Unc crashing out cos he never got the chance to hop on fortnite, sad really...
6/1089 Never heard of TB but I definitely heard echos of John Denver, janice and maybe even Gordon Lightfoot, though I think TB came before them. The music was quite chill and folksy and the guy has a very nice voice, regardless of who he sounds like. Another unfortunate member of the 28 club.
Dreamy but a bit dull folky/jazz album that I kept tuning out of.
Det var exakt så här jag tänkt att Tim Buckley låter. Som någon som maler på över trött bluesfolk-komp. Love from room 109 hade något och sista låten var bra. Plus också för xylofonen Tack för att jag får va med! Taggad! /Martin
Bra gubbdepp till vinterdepressionen.
Mysigt! Psykigt! Bra hantverk!
Borde gett det en andra lyssning, hade kanske växt då. Älskar vibrafonen.
Gillar det jazziga, gillar hans FEELING, men som helhet tycker jag det här albumet är lite segt. Stark trea!
Jävlar vad lika dom är på den där bilden, far och son. Jag hörde det dock inte riktigt förrän den där Gypsy Woman. Exakt samma head voice. Hann djupdyka lite i låtarna och dom var lite konstigare än vad jag trodde vid en första anblick. Också en bra feeling i skivan, men känns mer sad än happy eller? Till sist gillar jag det genomgående klingande å plingande ljudet (glömt bort vad instrumentet heter). Svårt betyg. Hrm, 3a?
Jo man hör ju kvallen men rätt bjäring va?
🙂🙁
Smack, crack och bipolaritet ≠ genialitet. Buzzib fly är en bra låt. Resten för långt och trrrrrrrråååånkgt
Replacement level 60s rock.
Sleepy, perhaps the context where someone would say "meandering," but with an interesting sound for a comfortable musical backdrop actually "meandering" is one of the top keywords for the album reviews right now so that's funny to me, I guess it's just engrained in people's minds as a standard musical critique word Consensus established
Not really my style, but his vocals are intresting. It inspired me to listen to more of his work. I like the later funk sounds. I also was inspired to listen again to his son Jeff's work. Wonderful. Thank you.
Baroque folk? A little more interesting than some of the late-60s psych folk stuff I've heard but also kind of just wanders on and on. The jazzy elements give it a little lift but it doesn't really keep your attention. It's like a 2.5 for me.
Happy Sad was a super interesting and intriguing album. Tim Buckley delivers on his goal of making an album that is completely new sounding - I actually think he might of created a new genre here. It starts off subtle and introduces you to some sounds : jazz chords, xylophone, subtle soft vocals. The concept seems to make sense at first, "Happy Sad" is a kind of juxtaposition of different feelings, living simultaneously on-top of one another. After the first few tracks he leans into the sound a little harder. Bigger crescendos and less subtlety in the vocals. By the end of the album he's in a sort of free fall, singing in and out of falsetto with and without words. The whole thing is super effective and definitely what I signed up for to discover new music. The only catch is, do I like this? That's a whole seperate question.. I appreciate the heck out of it, and enjoyed listening to it, but did I find the music pleasant? Not necessarily, I was probably too engaged in trying to understand what was going to happen next to really enjoy it on the level of great music. This scores super high for creativity, and I am quite glad to have heard it, but don't think I will specifically listen to this again any time soon.
I absolutely love the fusion of jazz and folk on this album. The vibraphone and drawn out, slow style of singing give this album a relaxed and chill atmosphere. It was really enjoyable to listen to and would be a great album to sit back and relax with. Unfortunately, the slower songs and some of the lyrics push this album a bit too far into sad and maudlin territory, which is probably the only thing holding it back from a higher rating from me.
Started out strong but then became a bit of a slog
Byrjar ágætlega, víbrafónninn er næs, og fyrstu tvö lögin eru fín, en þau sem á eftir fylgja eru mjög óeftirminnileg og flest róleg-dramatísk, sem er ekkert sérstökt blanda. Gypsy woman er loks alltof langt og leiðinlegt. Stefndi í þrist, endar í 2,3.
Wonderful, beautiful album. Some of the best bells/xylophone parts I've heard and Tim Buckley's got a great voice
This is the second Tim Buckley album that’s been on this list, and I can only imagine the author of 1,001 Albums You Must Hear Before You Die is a Tim Buckley superfan because I just don’t get it. And it’s quite possible I’m not smart enough to see the appeal, or it may be an acquired taste that you just can’t acquire in a few listenings. To me, this album was boring. though I did like the vibraphone which kind of linked all the songs together. But, mostly the songs are slow and more sad sad than happy sad. Buckley’s voice can also become annoying after a while. It seems many people couldn’t understand how he never made it big, but I think it's easy to see. Buckley really couldn’t figure out a lane. He started out as a folk singer, then he dabbled in jazz and experimental music, then he moved on to what is termed as his “sex funk” period, of which Greetings from L.A. is a part. Greetings is also on the 1,001 list and is another Buckely album that I just didn’t find that likeable. Though I did like Greetings more than this album. It’s quite clear I’m not a Tim Buckley fan, maybe I’ll be more of a fan of his son, Jeff Buckley, as I’m sure he’ll be included on the 1,001 list. How could he not be? The author must be a family member. So, if you like jazzy, experimental music by a guy who seems to not know where he wants to land, then you might like this. As for me, I will continue to not get what the deal is with Tim Buckley.
About two-thirds of this deserves to be on a five-star record - the first two are majestic and Gypsy Woman does indeed cast a spell. But he loses me in Room 109 before wresting it back and the closer isn’t up to the standards of the rest either. So four it is.
Before he took the experimentation too far. Solid songs, with an incredible voice, and only a bit of annoying affectation. No one else was doing anything quite like this, and interesting the overlaps in his and his son's life despite absentee fatherhood - mentioned here in the best song, dream letter (worth checking out the London live album of this name). Anyway - love the vibraphone, lee underwood guitar, and general jazzy approach to pop. This cat was streets ahead of everybody.
buzzin' fly
I kind of loved this album lol. I wasn’t expecting to based off the reviews, but by about 1:30 seconds in I was interested. This album is a strange mix of psychedelic jazz which worked for me.
5/10… folk / psychadelic 60s / *1969
Okay album. I found the songs to be typical of the late 60s time period. Nice voice. Great hair!
3.5
Pleasant, but not really my bag.
Decent moody music. Good for the rainy drive to work.
It's hard not to compare Tim with his son Jeff Buckley, since we've already had one of his albums as well. Whereas Jeff's voice takes over, in a bad way, in his work, Tim's is almost a second thought here. He has the same annoying (to me) vocal vibrato but it's not quite center stage. The jazz portions of this album, which are more than half of it, are pretty boring despite the neat instrumentation. The marimba in particular is a nice touch. I didn't get much out of this. Tim's voice isn't interesting enough to capture me and the instruments don't grab me beyond the variety.
Supposedly a Psychedelic Folk Jazz Fusion album - whatever that is? Confused, I am. The emphasis of this quite depressing album seems to be on Sad rather than Happy.
The vibraphone is the best thing about this album. That paired with the bass, really give it a jazzy feel, while Buckley and his guitar (and the electric guitar when it shows up) feel like they're in direct contrast, trying to do some folk rock. It ends up feeling like it doesn't have its own identity, and that makes it really hard to listen to. I can see this being a bridge album, so to speak, where Buckley develops and refines his sounds to that later albums can be so much better. But this isn't it. Favorite Song(s): Strange Feelin'
Didn't grab me.
This would be a 3.5
Vardaan is NOT gonna like the average song length on this one if he ever listens
This album is giving Mr. Roger's Neighborhood. I will not explain. 2.5
This music set my teeth on edge, esp. “Gypsy Woman.” The final song is sweet enough to push the rating into 3 star territory. Even so, Jeff is way better than his deadbeat dad.
Tim I hate you stop talking please
Solid album for day 1. Enjoyed it during a hockey intermission and then switched gears when I went to snowblow during a blizzard. 4/5 stars?
Like The Doors but from Temu
He’s got an insane voice, but the music backing him is pretty uninteresting to me.
Detta albumet ga meg ikkje lika masse som Pleasant Street
Not bad! Unsure if I would listen again though.
Such a strong voice. So delicate one moment, thunderous the next. Always a good listen. A good background album but also a good listen when alone and focussed.
I’m giving this an extra star purely for helping bring Jeff Buckley into the world, because the album itself doesn’t do much for me. It’s beautifully played, but far too meandering for me. Pleasant enough, just not something I’d reach for again.
Pas désagréable à écouter mais oubliable. D'ailleurs, j'ai déjà oublié.
On s’ennuie Timbre de voix similaire à Jim Morrison je trouve
J'ai plutôt bien aimé, pas sûr que j'écouterais tous les jours mais c'est bien en bruit de fond pendant qu'on bosse 3/5
A very ethereal experimental jazz rock folk album.
His voice has a lovely quality, however this album is just a bit too slow throughout for me.
More sad than happy. At times hauntingly beautiful, but not gripping enough. Low 4
I like the turned percussion. Fabulous voice. All a bit drawn out and low energy though for me.
Tim Buckley sounds a lot older than he is on this. He has the voice of a seasoned professional on their 10th album and instrumentally he is a master of the art, comfortable enough to expand out on interesting little ideas within the framework of his well defined compositions. He is also comfortable enough to write songs which are on average over 7 minutes long which shows a serious amount of confidence in his vision as a singer songwriter. It's astonishing.
This could even grow on me with time but on first listen I already love it, perfect for an early morning cold and dark walk
Not a fan. Boring.
Ruhiges gemütliches Album mit angenehmer Stimme sauber ohne nachhaltig prägende Songs.
Painful. Listen, I love Buckley’s Greetings from L.A. and I love Miles’ modal work. But listening to pretentious hippy dipshits noodling on and on in one modal structure after another - without delivering a worthwhile melodic idea or managing to build to anything - starts out boring and becomes infuriating. It’s every bit as bad as Astral Weeks; proving, to me, that the entire minstrel-folk-modal-jazz fusion concept was an unfortunate afterbirth of the post war musical revolution.
Salright
I enjoyed it. Easy listening fusion of fun late 60s genres. I'll definitely go through his other stuff. Very fun to hear the connections between his sound and his son. Rating: 4.4
Чогось трохи задушив мене цей альбом. Гарний голос у Тіма був, проте манера не моя відверто. Музично мені загалом подобався, перкусія особливо, але знову ж таки під кінець вже важко стало дослуховувати.
Доволі цікавий альбом. Я Тіма Баклі знаю по більш фолковому періоду, а тут і вібрафон і якісь джазові референси - не очікував трохи.
Interesting but boring at the same time.
*Started out great with jazz rhythms and the vibraphone playing a huge part in the backing band *As the album goes on it slows a little too much
Buckley was an excellent vocalist, but his taste in shapeless, melody-free, plinky-plonk hippy jazz to sing over has not aged well. Buzzin' Fly and Gypsy Woman are worthwhile.
No, i can't do this. It's slow and nice and I'm just not in the mood.
#178/1001. A buckley album worth listening to. I always preferred the sr over the sr.
With the exception of Gypsy woman, I was not a fan of this album
Not a fan.
So slowly. It's not for me.
This was a little pretentious huh
Excellent vibes, maybe a little outdated for the lyrics on "Gypsy Woman".
I wanted to love this, I even laid down on my bed in a dark room to give it my full attention and sink into it. But it lulled me to sleep. So after listening again while awake, I recognize it's certainly a slow burn, which isn't necessarily a bad thing, but it seems these songs just kind of meander toward no particular place. Five of the six songs are over 5 minutes, and two of them are over 10 minutes. It's not as if the tracks are epic compositions, just long, drawn out folk songs sprinkled with vibraphone and light jazz ideas and other sounds. The are gentle and roll along like a car on a coastal highway with no particular destination. Many of the tracks have good ideas that either don't feel fully realized or are not well-executed. "Strange Feelin'" is just the rhythm and chord change of Miles Davis' "All Blues" for over 7 minutes without much change. "Buzzin' Fly" is more upbeat and well-served by the vibes and vocals interplay, but there is this noodling guitar for nearly the whole 6 minutes that is distracting and gets old after about 30 seconds. "Love from Room 109 at the Islander (On PCH)" is a slow ballad with a beautiful haunting acoustic bass, but the lulling ocean noise for 10 minutes just puts you to sleep (apparently this was to cover an noise issue they had in the raw recording). "Dream Letter" is an emotionally heart-wrenching song about his ex-wife and son Jeff Buckley (about 3 years-old at the time), but it again goes on too long at over 5 minutes. "Gypsy Woman" is probably the most interesting track in that it feels like a proper 12-minute jam, but again it just doesn't go anywhere to warrant the 12 minutes. "Sing A Song For You" feels like a tacked-on 2-minute folk song to try to appease those looking for it. So overall, I can understand the experimental nature this album is going for, but it just doesn't get there. Additionally, Buckley's singing voice wasn't to my taste, and I thought Lee Underwood's lead guitar work was uninteresting and actually detrimental to many tracks.
Good vocals, but the songs were mostly forgettable tripe. Happy Sad makes me a little sad mad that it wasn’t better.
More sad than happy about this one. Interesting, but it wanders, without the spice that LA found. “Gypsy” is as close as this one gets.
Happy, when it's over. Sad, cause it's another Tim Buckley album. 2.5*
Late 69s whining guy. Not my thing.
Enjoyed the experimental pieces of this. Felt a little one-note ultimately. Wished there was a catchy song on this. Lovely voice.
Original, honest, jazzy, unique
Fuck no. 0.8
Interesting. The first song was the best
I was pleasantly surprised … didn’t think I’d like it
so boring omg
Sounded amazing. Covers, so csnt give it. much. Mid 3. Did not hate it at all.