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It is a rarity when every track on an album holds significant weight – an album that possesses this quality is more than deserving of a spot on a list such as Rolling Stone’s 500 Greatest Albums of All Time, and is placed alongside other musical masterpieces. For listeners who have sampled the late Jeff Buckley’s first full-length studio album, Grace, it is quite evident that this album would make any competent “top album” list. For listeners who have not yet sampled the sounds of Grace, make it a priority.
Since the release of Grace in 1994, Jeff Buckley’s rise to fame and fall from life has been chronicled through the eyes of journalists, bandmates, producers, friends, and family members alike; all accounts of the young musical genius are intriguing and endless. In addition to the countless anecdotes told of the young Buckley, the music that comprises Grace is a self-guided aural tour of the mind, heart, and spirit of a musical genius that departed this world much too soon.
With legendary producer Andy Wallace at the helm, Grace presents a ten-track collection (seven Buckley originals/collaborations) that pulls at the ear, peers into the soul, and rocks like a you know what… Kicking off with “Mojo Pin,” listeners are offered their first taste of Buckley’s angelic voice and hypnotic guitar tones; soft, gentle verses crescendo in, out, and through choruses, leaving listeners awestruck before the second track even has a chance. The title track follows in the second spot and features a haunting, moderate-tempo 6/8 time signature that features Buckley’s Robert Plant-like-at-times delivery, with screams, wails, and a falsetto that will turn any skeptical fan into a believer; just when it seems Buckley cannot climb any higher within the falsetto, he does – with both power and ease.
One of the album singles, “Last Goodbye” checks in at the third spot and is a track that depicts two lovers’ falling out of love with mature reminiscence; with Buckley’s undeniable vocal leadership, Mick Grondahl’s catchy bass line, and drummer Matt Johnson’s perfectly pocketed backbeat groove, it is no wonder that this track is one of Buckley’s most requested. Just as “Last Goodbye” concludes with a rather gentle closing phrase, “Lilac Wine” commences at a deadly tempo, with the most delicate Buckley vocals thus far; his choirboy voice and light, lilting vibrato is as sweet and heady as the wine over which he laments – “Lilac Wine” is truly allowed to breathe. Without dropping a beat, “So Real” picks listeners up and drops them into a quirky form and driving rock beat over which Buckley is able to vocally sail and swoon; another thoroughly impressive and unparalleled performance.
What follows on track six is one of the most recognizable versions of one of the most recognizable songs in modern music; Buckley’s take on Leonard Cohen’s “Hallelujah” is, simply put, breathtaking. Overtop chime-like and reverberating electric guitar picking, Buckley’s choirboy vocals and range tug on the soul – perhaps one of the greatest recordings of any song in the history of recorded music. Just as listeners are put to sonic rest at the conclusion of “Hallelujah,” a Buckley original, “Lover, You Should’ve Come Over,” features a delicate ballad that builds to a peak in the latter quarter of the song – further proof of what makes this album legendary: the actual sounds of the recorded instruments and voice. Benjamin Britten’s “Corpus Christi Carol” follows in the style of “Hallelujah” – a gorgeous guitar and vocal ballad that concludes with Buckley perfectly supporting a note atop the falsetto range, and yes, another note sends him even higher before his voice gradually fades into silence.
With two tracks remaining before setting the devout loose, “Eternal Life,” the heaviest track of the album, features hard-rock and metal influences (not without a string-section backdrop) that feature short snippets of Buckley’s lead guitar lines over a driving rhythm section – the dynamic summit of the album. Finally, Buckley concludes the album with “Dream Brother.” With a haunting, Eastern-influenced feel and the assistance of a building drum solo into the bridge, Buckley’s wailing, echoing voice seems to float in and out of conscious time. Just as listeners are treated with Buckley’s tender vocals to begin the album, they are grounded at the conclusion of “Dream Brother” with his sustained, softening falsetto.
In terms of musicians, artists, and composers, Jeff Buckley’s Grace had everything: undeniably solid performing, band chemistry, production via a consummate producer, crystal-clear tones, and unprecedented material. Considering that Grace was Buckley’s first full-length studio album, it made quite the impression on the listening public and was a sign of things to come from the young artist. Unfortunately, Buckley’s untimely death in 1997 would leave an unfinished batch of sophomore album material and a legion of fans that would struggle to find another musical equal. The impact that Grace has had will have on musicians, producers, and fans alike is something that is not experienced often. In the fifteen years since the album’s release, Jeff Buckley’s popularity has grown like wildfire and his legacy continues to leave an imprint on music and lyrical composition that sets him apart from his contemporaries. Jeff Buckley was indeed “So Real.”
Matt Jaworski – Staff Writer, Muzikreviews.com
July 19, 2009