Tiny Tim has largely been written off as a novelty act, a performer of cheesy joke songs and a source of cheap laughs. In a way, this is somewhat understandable- Tim was a weirdo, a curious little outsider who, even in the experimental heyday of the late 60s, didn't really sound like anyone else. Still, to call him a mere comedy act is to do him an incredible disservice. Sure, he was silly (just listen to his rendition of "I Got You Babe," in which he plays both Sonny and Cher while accompanying himself on his signature ukulele), but there was more to his sound than just that: It was a wonderfully playful and completely original mixture of vaudville, pop, country, music hall, and psychedlia. It managed to evoke everything from the summer of love to the great depression, from World War I to Vietnam, with uncanny accuracy. It was a joyful, unpretentious sound, the music of a true outsider and a real original. Released in 1968, God Bless Tiny Tim is our hero's debut, and it captures the man's essence marvelously. A mixture of contemporary covers and renditions of early 20th century compositions, this album demonstrates Tim's varied musical tastes. It also shows off the man's skill as a performer, giving him plenty of opportunities to use both his trademark quivering falsetto and rumbling baritone. Producer Richard Perry adds some fantastic orchestral touches, and Tim's own spoken interludes unify the album, making it feel like a single, wonderful trip through a unique dreamer's mind. The album's most famous song is the bouyant, irresistable "Tiptoe Through the Tulips With Me," a bubbly masterpiece that radiates pure joy. Other highlights include the deliciously creepy vaudville bounce of "On the Old Front Porch," in which Tim sings a "duet" with himself, playing both the song's hero and heroine, as well as the absolutely hilarious country pop of "Then I'd Be Satisfied With Life." The haunting "Strawberry Tea" is one of the most genuinly beautiful psychedelic pop songs ever recorded, and "Fill Your Heart" is a soulful, engaging classic with a superbly lush production. "Livin' In the Sunlight, Lovin' in the Moonlight" is pure vaudville-inlfected madness, and "The Viper" is a wonky little spoken-word piece. "Daddy, Daddy What Is Heaven Like" is a heartbreakingly pretty ode to youthful innocence. These are only the highlights of one of the most wonderful, and unfairly overlooked, albums ever released. Buy it, listen to it, and bask in the offbeat genius of Tiny Tim!
4.5
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