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Track Listings
| 1. First Love Song | |||
| 2. Everything Good Becomes More True | |||
| 3. Question Of Birth | |||
| 4. Once Touched By Flame | |||
| 5. Last Touched By Flame | |||
| 6. Last Sweet Moments | |||
| 7. Magician | |||
| 8. Lonliness She Knows | |||
| 9. Country I'm Living In | |||
| 10. One One The Perfect Sum | |||
| 11. Susan | |||
| 12. Bird On A Wire | |||
| 13. Moonshiner | |||
| 14. Southern Butterfly | |||
| 15. Satisfied Mind | |||
| 16. Soft Summer Breeze | |||
| 17. Hoboin' | |||
| 18. Georgia On My Mind | |||
| 19. Andre Johray | |||
| 20. If I Knew | |||
See all 21 tracks on this disc
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Product Description
Description
In terms of commercial success, Tim Hardin's career trajectory was a steep downward slope. Following the classic songwriting and gentle folk-pop of his first two albums, his late-'60s output took an experimental direction with little regard for widespread appeal. The 1969 concept album SUITE FOR SUSAN MOORE AND DAMIAN is a rambling yet compelling paean to Hardin's wife and son. Haunting, sparsely decorated songs share space with spoken word interludes in this exploration into the darker side of love. Hardin's fragile vocals border onfree-form jazz, echoing Tim Buckley or even Van Morrison during "Last Sweet Moment".
After the fractured introspection of its predecessor, Hardin's next album returned to more traditional song structures. The inclusion of several cover versions makes this a more rounded work, infused with a moodof redemption. Hardin's voice teeters on the brink of heartbreak throughout. There's a startling array of styles, including gospel, jazz, country, and folk. Ultimately, Hardin's decision to follow his artistic muse meant that these albums slid quietly into obscurity, but aficionados continue to rate them highly.
In terms of commercial success, Tim Hardin's career trajectory was a steep downward slope. Following the classic songwriting and gentle folk-pop of his first two albums, his late-'60s output took an experimental direction with little regard for widespread appeal. The 1969 concept album SUITE FOR SUSAN MOORE AND DAMIAN is a rambling yet compelling paean to Hardin's wife and son. Haunting, sparsely decorated songs share space with spoken word interludes in this exploration into the darker side of love. Hardin's fragile vocals border onfree-form jazz, echoing Tim Buckley or even Van Morrison during "Last Sweet Moment".
After the fractured introspection of its predecessor, Hardin's next album returned to more traditional song structures. The inclusion of several cover versions makes this a more rounded work, infused with a moodof redemption. Hardin's voice teeters on the brink of heartbreak throughout. There's a startling array of styles, including gospel, jazz, country, and folk. Ultimately, Hardin's decision to follow his artistic muse meant that these albums slid quietly into obscurity, but aficionados continue to rate them highly.
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