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Blue Afternoon [VINYL] Import

4.8 out of 5 stars 6 customer reviews

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Vinyl, Import, 10 Sep 2007
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Product details

  • Vinyl (10 Sept. 2007)
  • Number of Discs: 1
  • Format: Import
  • Label: 4menwithbeards
  • ASIN: B000P6R9TE
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 289,969 in Music (See Top 100 in Music)
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Customer Reviews

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Format: Vinyl
I have to admit I don't presently own a copy of this album, but before my vinyl collection was ripped off by so-called mates, I had everything by Tim, a total obsessive. This was always one of my favourites, and to me, far superior to Starsailor, which seems to be the one that acolytes clamber for. Back in the early eighties, when I started devouring everything Tim, I expected Starsailor would blow my boots off, like another Astral Weeks or Forever Changes, but it was always too wigged-out for me, and its greatest track - the ever-lovely 'Song To The Siren' - I subsequently learned was an old track, which could really have been included on any album preceding 'sailor. Blue Afternoon, however, is the real deal, which along with Goodbye And Hello and Happysad remains for me one of Tim's finest moments. Again, some of the songs predated the album, and there is a lovely YouTube vid. of Tim singing 'Happy Time' in a very bossa-nova type way. That's the song which opens Blue Afternoon, and it only gets better from there on in. 'Chase The Blues Away', 'I Must Have Been Blind', 'The River', 'Cafe' and 'Blue Melody' are among the finest songs Tim (or anyone, for that matter) has written. This album cannot be recommended highly enough. I have most of the tracks in one form or another on compilations, with the distressing absence of 'Cafe'. One day I'll have them all again. Fantastic stuff!
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By KaleHawkwood TOP 100 REVIEWER on 27 Sept. 2010
Format: Audio CD
Not only my very favourite of Tim Buckley`s cherished albums, but also adorned with my favourite record cover of all time. Tim looked great on every sleeve, but here his face, long hair a-dangle over his brow, is swooningly singing into a misty blue background, perfectly complementing the music within. (The foldout LP cover was a thing of beauty, which a CD can never match.)
Blue Afternoon - to a 19 year-old obsessed with Cohen, Dylan, Nick Drake and the like, the title alone was poetry - is a forty-minute sequence of songs so hypnotically melancholy, so contemplative and so timeless that description, let alone criticism, seems superfluous.
Happy Time (a rare single) starts things off in sprightly fashion, Tim`s rich vocal a delight, the song musically upbeat despite a bittersweet lyric. One of Tim`s most perfectly realised songs.
From Chase the Blues Away onwards, till the penultimate Blue Melody, the pace slows as the songs become sadder and bluer. This is surely Buckley`s Kind of Blue - Miles was after all quite an inspiration to the singer. The songs benefit incalculably from Buckley regular Lee Underwood`s sensitive, inventive guitar work and the vibes of jazz player David Friedman (also on previous album Happy Sad).
One or two highlights: `I Must Have Been Blind` is a beautiful song about the difficulties of love & relationships, something Tim knew not a little about. It begins,

Here I am believin` words again,
Here I am tryin` to find your love again,
Here I am down on my knees again
Prayin` for a love that we used to know.

and later,

To hold something real, and not believe it,
To live in her life, and never trustin`...

He`s rarely been so tenderly honest.
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By Lozarithm VINE VOICE on 20 Jan. 2006
Format: Audio CD
Following the release of the classic album Happy Sad in 1969, Tim Buckley signed to Straight Records and recorded two albums of extraordinary quality the following year, Blue Afternoon, released in February 1970, and Starsailor, which came out in January 1971. 1970 also saw the release of a third album, the experimental Lorca, which contained five pieces recorded in November 1969 for Elektra, his former label. Blue Afternoon was the most accessible of the three though none were a commercial success.
Happy Sad had seen Tim Buckley throw off the shackles of the folk-rock tag and move for awhile into an area of free-form jazz-blues and avant garde exploration. One track in particular, Dream Letter, presages the thematic content and introspection of much of Blue Afternoon. This was his first self-produced album and used the same musicians as on Happy Sad, including Lee Underwood, who had played on all his records, on second guitar and piano, but adding drummer Jimmy Madison.
The whole album is led by Buckley's incredible performances in which his voice becomes an instrument, at one with his own twelve-string guitar accompaniment. The use of exclusively real instruments, subtly amplified to create a spacey feel, adds to the overall mood of languorous melancholy that pervades the record.
Surprisingly, given its overall homogeny, the album consisted of a number of previously unfinished songs, left over from his first three, and, as with Happy Sad, were written by Tim Buckley alone. At the time of release he claimed to have written the songs for Marlene Dietrich, an aspiration he must have acknowledged to be doomed to failure, but which may have been an inspiration in their conception.
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