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PIETRE MILIARI - TIM BUCKLEY: “Goodbye and Hello” (1967, Elektra)

Speaking of Tim Buckley without falling into rhetoric or already heard, is not an easy task. I wanted to, here, consider his first masterpiece (and Buckley's masterpiece has made five, three of which are among the greatest of all rock), "Goodbye and Hello" , his second album released from ' Elektra in 1967, when Buckley was just twenty years. His talent was discovered in 1966 by producer Paul Rotchild (who also discovered the Doors and many other artists that led to Elektra), which are produced in the same year homonymous album that showed only part of the great potential of its author (the disc contains beautiful songs, but suffer from some of the arrangements' standard, although well made, of Jack Nitzsche).
"Goodbye and Hello" shows an author already incredibly ripe to be made by a little more than a teenager. We note first of all the great
introversion background, which contrasts with the beautiful smiling face of Tim depicted on both sides of the cover. The anti-militarist No Man Can Find The War introduces us into his inner world, which in hindsight, has little in common with most of the freaks and hippies of the time. Tim was un'introverso apart from that type of current youth, even if they reflected many moods. His vocal style and his voice was starting to take on the characteristics that make then known to posterity, or a voice of great experimentation commitment stretched to nearly an 'anxiety about the search for new forms of timbre and expressive.
The disc continues with a wide range of styles and influences, from vaudeville circus Carnival Song the country-rock elegy Once I Was , the funeral Pleasant Street (the unforgettable verse in which Buckley sings: " down, down, down ..." down, down, down, fino agli abissi più profondi ) alla veemente I Never Asked To Be Your Mountain , che apriva il lato B del disco. Sono però almeno quattro i capolavori che svettano sugli altri: la stupenda elegia Phantasmagoria In Two , forse la più bella canzone d’amore di tutti i tempi il cui testo è davvero alta poesia, la conclusiva e struggente Morning Glory (coverizzata vent’anni dopo dai This Mortal Coil ), la psichedelia finissima di Hallucinations , in cui il suo stile si avvicina addirittura saudade and to the long and orchestrated Goodbye and Hello , which basically includes two sections of tracks in a single body, as if Buckley had a dialogue with his alter ego.
not had much commercial success of the album, as it was in fact predictable and Buckley began to have serious drug problems (in fact he died young in 1975 because of an overdose) and only with the help of his friend Frank Zappa , who believed in him much as a musician and as a man, there could be short (in the 1969/1971 biennium) to achieve his greatest masterpieces that will touch one of the highest peaks of rock, but that's another history and needs another review.

Leonardo Di Maio

Knight-Errant
Tim Buckley

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BOOK REVIEWS: “Non si deve morire due volte” di Francisco Gonzalez Ledesma (2010, Giano Ed., Euro 17, 50)

Dead Manuel Vasquez Montalban is more than eighty Francisco Gonzalez Ledesma to maintain the role of poet of the time that Barcelona was, through the character of older inspector Mendez, who knows the sad and disillusioned from all corners of the city, a city that changes rapidly under his eyes and is losing its connotations most sincere and popular to sell to the logic of the market, working class neighborhoods are displaced by anonymous and no claims made places of offices, agencies, clubs, skyscrapers where man is alone with his fate. "Good architects act as counter-revolutionaries, even if they do not know" think a character contemplating the changing city. But Mendez, police are allergic to the rules and conformity, and historical memory is an integral part of Barcelona, \u200b\u200bits dark streets, its smoky bars and noisy which was thronged until late at night gamblers, prostitutes, thieves, poets, vagabonds and dreamers, is the pure air of the residential areas that hurts the lungs from Mendez, who are used "fresh enough known, fetid, heavy and full of history " bars of Barrio Chino . In this
Barcelona dominated by the god of money, in which "the capitalist state has meant that there are no more revolutions, and soon will ensure that there are more cigarettes , unravels the plot of this film noir tough and bitter they move heinous killers, Islamic terrorists, pedophiles, unscrupulous businessmen, and in which three stories that intersect only at the end find a common link. The young bride Sandra kills on the day of the wedding the bridegroom, who turns out to have presented anche lui armato alla cerimonia di nozze; Gabri , appena uscito dal carcere dove scontava la pena per aver ucciso e decapitato il violentatore di sua moglie, poi morta di parto, per saldare un debito verso la cognata viene assoldato per compiere un assassinio da un ricco uomo d’affari; in una villetta di Vallvidrera una signora, che un tempo introduceva le giovani barcellonesi in società, ora sfrutta una bambina down, a lei affidata da un islamico, in un giro di clienti pedofili.
Ma il lettore stia attento, qui quasi nulla è come appare, la verità si nasconde nei personaggi ancora capaci di emozioni, di sentimenti, di amore e di pietà. Nel dipanarsi della vicenda emerge una società in cui è ormai il denaro l’elemento centrale nei rapporti umani, denaro e potere sono il fine della società capitalista che ha distrutto qualunque valore umano ed etico; la borghesia, chiusa nelle sue ville protette da videocamere e bodyguard conosce soltanto l’inganno e la menzogna, i matrimoni sono matrimoni d’affari, l’amore è ridotto a una questione di sesso e potere, i rapporti umani inesistenti; sono i reietti, i perdenti, coloro che sono stati lasciati ai margini del boom della new economy, quelli capaci di sentimenti, di dignità, di amore e di orgoglio: la segretaria che rifiuta le avances del padrone, il vecchio giardiniere comunista, l’ex galeotto col senso dell’onore and justice, but also ironic that Mendez inspector to computers and mobile phones prefers his flair and the ability to look into the eyes of the people.
Again Gonzalez Ledesma give us a great noir to enjoy page after page, but also an opportunity to reflect on the progress that the globalized world is forcing us and confirms that gender is now, at least in its best authors, is shows better able to help us read the world around us. Conclude this review with another quote fulminant choice among many that the book suggests, and that is somehow a key to the whole work of the author Catalan: "The Revolutions makes people feel better on the road than at home against those who are better at home or on the street. "


Ignatius Gulotta