蒂姆·伯克利

Timothy Charles Buckley III (February 14, 1947 – June 29, 1975) was an American musician. He began his career based in folk rock, but subsequently experimented with genres such as psychedelia, jazz, the avant-garde, and funk.

His commercial peak came with the 1969 album Happy Sad, reaching No. 81 on the charts, while his experimental 1970 album Starsailor went on to become a cult classic. The latter contained his best known song, "Song to the Siren."

Buckley died at the age of 28 from a heroin and morphine overdose. He left behind one biological son, Jeff Buckley, who himself was a highly regarded singer who also died young, as well as an adopted son, Taylor.

Early life and career

Tim Buckley was born in Washington, D.C., on Valentine's Day, February 14, 1947, to Elaine (née Scalia), an Italian American, and Timothy Charles Buckley Jr., a decorated World War II veteran and son of Irish immigrants from County Cork. He has a sister named Kathleen. He spent his early childhood in Amsterdam, New York, an industrial city associated with carpet making. At five years old, Buckley began listening to his mother's progressive jazz recordings, particularly Miles Davis.

Buckley's musical life began after his family moved to Bell Gardens in southern California in 1956. His grandmother introduced him to the work of Bessie Smith and Billie Holiday, his mother to Frank Sinatra and Judy Garland and his father to the country music of Hank Williams and Johnny Cash. When the folk music revival came around in the early 1960s, Buckley at age 13 taught himself the banjo and, with several friends, formed a folk group inspired by The Kingston Trio that played local high school events.

During high school, Buckley was elected to student leadership positions, played on the baseball team and quarterbacked the football team. During a football game, he broke two fingers on his left hand, permanently damaging them. He said that the injury prevented him from playing barre chords. This disability may have led to his use of extended chords, many of which don't require barres.

Buckley attended Loara High School in Anaheim, California. He cut classes regularly and quit football, focusing most of his attention on music. He befriended Larry Beckett, his future lyricist, and Jim Fielder, a bass player with whom he formed two musical groups, the Bohemians, who initially played popular music, and the Harlequin 3, a folk group which regularly incorporated spoken word and beat poetry into their gigs.

Buckley and lyricist/friend Beckett wrote dozens of songs, some that appeared on Buckley's debut album, Tim Buckley. "Buzzin' Fly" was written during this period and was featured on Happy Sad, his 1969 LP.

Buckley's college career at Fullerton College lasted two weeks in 1965. After dropping out of college, Buckley dedicated himself fully to music and playing L.A. folk clubs. During the summer of 1965, he played regularly at a club co-founded by Dan Gordon. He played Orange County coffeehouses such as the White Room in Buena Park and the Monday-night hootenannies at the Los Angeles Troubadour.

In February 1966, following a gig at It's Boss, the Mothers of Invention's drummer Jimmy Carl Black recommended Buckley to the Mothers' manager, Herb Cohen. Cohen saw potential in Tim and landed him an extended gig at the Night Owl Cafe in Greenwich Village at West 3rd and MacDougal. Buckley's girlfriend, Jainie Goldstein, drove him to New York. While living in the Bowery with Jainie, Buckley ran into Lee Underwood and asked him to play guitar for him. The two became lifelong friends and collaborators.

Under Cohen's management, Buckley recorded a six-song demo acetate disc which he sent to Elektra records owner Jac Holzman, who offered him a recording contract.

Folk rock

In August 1966, Buckley recorded his self-titled debut album in three days in Los Angeles. He later recalled: "I was only 19, and going into the studio was like Disneyland. I'd do anything anybody said." The record featured Buckley and a band of Underwood and Orange County friends. Underwood's mix of jazz and country improvisation on a Telecaster guitar became a distinctive part of Buckley's early sound. Jac Holzman and Paul Rothchild's production and Jack Nitzsche's string arrangements cemented the record's mid-'60s sound.

The album's folk-rock style was typical of the time, although many people, including Underwood, felt the strings by Nitzsche "did not enhance its musical quality." Critics took note of Buckley's distinctive voice and tuneful compositions.

Underwood considered the record to be "a first effort, naive, stiff, quaky and innocent [but] a ticket into the marketplace". Holzman expressed similar sentiments and thought Buckley wasn't comfortable in his own musical skin. Larry Beckett suggested the band's desire to please audiences held it back.