An untimely death often leans to glorification of an artist’s life. Suddenly, an under whelming or mediocre singer songwriter becomes a hugely important historical figure in music. It’s happened time and time again in every musical era.
One man who deserves all of the praise that’s been bestowed upon him since his 1997 death is Jeff Buckley. His grand vocals, creative arrangements, and luminous lyrics were no less than perfect on his major label debut and only full-length studio release. Many people found solace in his words and songs following his death. I for one was fortunate to know him before and to have felt some sadness upon his accidental drowning.
Jeff Buckley, a native of California, and son of the adventurous 1960s singer-songwriter Tim Buckley, the young Buckley brought something special to the 1990’s music scene…even if it lasted but one album. He blended the Middle Eastern, rousing, creative style of Led Zeppelin with mellower folk rock of soul-man Van Morrison. No other artist since his death has been able to replicate his charm. It’s a shame, too. Grace is indeed a modern-day masterpiece.
But what many people don’t know is that there was an earlier EP released b the name of Live at Sin-E. It got quite a bit of critical support and the acoustic live format accurately represented the singer-songwriter. The most notable strong point of the four-song EP wasn’t the songs. Rather, it’s Buckley’s powerful voice that makes the most lasting impression.
It was on the foundation of this release that Grace came into being. Within the confines of just ten songs, Buckley explores many different themes both musically and lyrically. He sings his own fabulously appealing tracks and those of other gifted songwriters (Hallelujah was written by Leonard Cohen) although he is equally comfortable in each skin he wears and sheds.
The song that I first heard was Last Goodbye. Regardless of how many times I hear other songs performed by Buckley, it’s this track that makes me remember him as a talented artist. It isn’t really the most representative track. I’ve mentioned that Buckley is obviously a product of Led Zeppelin. That statement is a fact, but on Last Goodbye he is an incredibly talented folk singer possessing a glowing, unique vocal range. The beautiful use of unusual stringed instruments, a prominent bass guitar, acoustic guitar, and shimmering drums tightly and immediately fasten my heart to the lyrics. This is an amazing song with prophetic meaning:
There's the moon asking to stay
Long enough for the clouds to fly me away
Well it's my time coming, I'm not afraid to die
Lover, You Should’ve Come Over makes a complexly arranged sound simple and easygoing. Part of that comes as a result of Buckley’s relaxed and evocative style. Soulful, pained, loving, intelligent, and ultimately timeless this is a song of great achievement. It could have just as easily been on a record from twenty years earlier. But, I for one am pleased to have the opportunity to have had for a moment a contemporary genius. It’s with the words It’s never over…my kingdom for a kiss upon her shoulder that the track becomes most clear.
So far as comparisons to Led Zeppelin go, Mojo Pin and Corpus Christi Carol are the closest musically. The latter is significantly more bluesy and actually in addition reminds me specifically of some of the best work from Black Crowes. But, it is Mojo Pin that really strikes a chord. Buckley channels the spirit of Robert Plant on this moving, sweeping epic. The album couldn’t have possibly had a stronger introduction.
The welts of your scorn, my love, give me more
Send whips of opinion down my back, give me more
Well it's you I've waited my life to see
It's you I've searched so hard for
The final song important to speak about individually is Hallelujah written by Leonard Cohen and originally presented on his 1985 album Various Positions. The tone of this song is more intense than most others. The feel is melancholic, the words about broken faith pained, the performance genuinely brilliant. No other instruments are necessary aside from the light supporting acoustic guitar. The star here is Buckley’s voice. A tear streams down my cheek as I close my eyes and sink into the dark, creative, full place imagined by Hallelujah, Cohen, and Buckley. This is the epitome of perfection…a perfect blend of word and song:
Baby I've been here before
I've seen this room and I've walked this floor
I used to live alone before I knew ya
I've seen your flag on the marble arch
But love is not a victory march
It's a cold and it's a broken Hallelujah
Grace presents a challenge. It’s a concept album with a distinct emotional goal from the first note of Mojo Pin through the last of Dream Brother. Each song is nearly equally perfect with very few moments of uneasiness or hesitation. The album as a whole is just raw enough on a production level to still feel completely sincere. The challenge is that I have nothing bad to say. Nothing negative about which to complain.
It’s impossible not to recommend this five-star album. It’s a perfect, necessary, important addition to any rock, folk, classic rock, pop, country, and soul collection. Jeff Buckley deserves the credit he’s been given since his death. It would have been nice to see if the perfection of this album could have been replicated. Then again, would so many people covet Grace? I think not and I think any later contributions could have marred this perfect album.
Rating: 5/5 stars
Track Listing:
01. Mojo Pin
02. Grace
03. Last Goodbye
04. Lilac Wine
05. So Real
06. Hallelujah
07. Lover, You Should’ve Come Over
08. Corpus Christi Carol (For Roy)
09. Eternal Life
10. Dream Brother
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Since his death, three albums of material have been released by Sony and by Buckley’s family. These albums, Sketches (For My Sweetheart The Drunk), Mystery White Boy, and Live at L’Olympia have all gotten rave reviews but it’s that first and only studio album that will forever be remembered.
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