Review for Jeff Buckley's Album Grace

I have to ask...What is it that makes a good song? My simple answer would be a song that moves you. But, how does it move you? It doesn't matter. So long as the music touches some part of you. Whether you are moved physically, spiritually, emotionally, mentally, it doesn't matter. That would make a good song. And, I can guarantee you that on Grace, every song is a good song. If you're anything like me at all, every track will find a way to reach you. You may find your heart gently lifted from your chest and laid to rest in an ethereal bed of loving, loss, loneliness, and even grim optimism thanks to Buckley's intoxicating lyrics and seraphim's voice. Or maybe your body sways entranced in the earthy, psychedelic, flowing rhythms of the guitar; each note very nearly grabbing your soul and carrying it away with it. The unabashed sentiment expressed throughout the whole of this album is one of the best compiled musical works of all time.

Grace was released in the summer of '94, Jeff's first full length album. Grace was the height of his career and his most memorable note in the pages of music history. Sadly, Jeff Buckley would meet with a tragic, and fatal accident before finishing his second album. I, however, was ignorant to Grace until around it's 10th anniversary in '04. A friend of mine played it on the stereo at work one day. I was instantly hooked. It was the most compelling thing I had ever heard, and I couldn't help but express it to my buddy. Unsurprisingly, it was his favorite album and quickly became mine as well. We would discuss the intricacies and the simplicities of the songs. And, as it had been introduced to me, I preached the word of Grace to any who would hear. Everyone that heard it, loved it. And I continue to spread the word. This review is just an extension of that, to spread the word. Grace is a can't miss aural experience, each track deftly weaving the listener in deeper and deeper.

The album opened with Mojo Pin, a perfect hook. Baited with Buckley's weighted lyrics and Gary Lucas' magic on the guitar, the song is sure to entice anyone to listen to more. The song opens with the line "It's a song about a dream", and I'm completely willing to agree with that. With verses like "Precious, precious silver and gold and pearls in oyster's flesh" and "The welts of your scorn, my love, give me more" you feel quite comfortable deep into your subconscious. In one phrase Jeff claims to be "Born again from the rhythm screaming down from heaven" and the dulcet instrumentals of the piece do seem to be divine in nature.

Following Mojo Pin was the title track, Grace. With a more rousing pace than the previous track, Grace bares all it's emotions for the listener to receive. The song is fearless in the face of exposure, and in meaning itself the song expresses an unblinking stare in the face of time - "Well it's my time coming, I'm not afraid to die" and the frustration - "I'm not afraid to go, but it goes so slow". Gary Lucas submitted his psyche-driven guitarwork to this track as well, filling it with a vibrant sound of mysticism. This would be the last track with Lucas' contribution, the next song being purely written by Jeff.

I must say, it's a good one too. Recent break-up? Listen to Last Goodbye. It'll flush all the tears right out of you, and before it's done it'll give you a little shot of confidence and optimism. Not without a little pang in your heart though. Featuring Buckley's own unique guitar, Last Goodbye features a more straight forward presentation and message than either Mojo Pin or Grace's dreamlike air. Unfortunately, I think all of us can relate to the nature of the song. Lyrics like "but kiss me out of desire, babe, and not consolation" or the line "Thinking so hard on her soft eyes, and the memories offer signs that it's over..." are phrases my heart's all too familiar with now. Then again, all of the songs are like that. Jeff Buckley has a way of capturing you with every note, whether it be an original song, or a star-kissed cover like the next track.

The fourth track, Lilac Wine, is Buckley's take on the Nina Simone version of the song originally written by James Shelton. Jeff considered Simone's version to be the ultimate take on the song, saying in his own words that her version was "the be all, end all version. She is the king" and "that's the only one that matters." He certainly did find it inspiring, Jeff's cover of the song being what is now generally considered the quintessential version, and his love of the song bringing the spotlight to a classic. Interestingly enough, neither Buckley or Simone had much chart success with the song, whereas the lesser known version by Elkie Brown did award her some success in 1978. Chart ratings or not, Buckley's Lilac Wine is a stirring rendition of a timeless song. Lilac Wine's lyrics do a great wonder of describing the nature of love, calling it "sweet and heady" though at the same time "unsteady". Jeff sings the truth here, as always.

Another guest guitarist, Michael Tighe, lends Buckley his talent to help create the dark confessions of the next track, So Real. Tighe toured with Buckley in his first full-band performances in the U.S. and Europe. Collaboration has created another stunning song. Buckley makes known the fear of emotion and the inability to stay away from it in So Real. Stating plainly "I love you, but I'm afraid to love you". A warning to himself, his love, and the hearts of many. Love has shadows with it, and Jeff isn't afraid to rest in them. He brings the purest of emotions to lyrical form. However, one of the best examples of that is probably the next track.

Jeff Buckley's rendition of Hallelujah, originally by Leonard Cohen, is one Buckley's most celebrated songs. My words are not good enough to explain the beauty of Hallelujah. All I can say is that the first time I really listened to it, I literally was in tears by the end of the song. The guitar work is divine, and Buckley is absolutely angelic on this track. Hands down this is one of my top picks of all time. There's almost nothing more I can say, this song has to be experienced for yourself. I'll leave off with saying that Jeff's vocal abilities on this one are truly phenomenal.

Even with Hallelujah being such a masterpiece, I find the next track to be my favorite. And I don't just mean my favorite Jeff Buckley song, I mean my absolute favorite song. Ever. I consider Lover, You Should've Come Over to be in the same style as Last Goodbye. It being one of the only other songs on the album to be purely Buckley's, no cover and featuring no guest guitarist. Lover, You Should've Come Over is capable of making me weep on a regular basis. Next to Hallelujah, it's the second longest song on the album, and every second speaks to the core of sad memory and lost love, punctuated with a layer of hope fading to desperation. With lines like "It's never over, she's the tear that hangs inside my soul forever" you'll just want to curl up from the emotional ravaging. Thankfully the song's chords are slow and tender, offering a gentle place to rest your hurt. Listen, and you will be touched.

A simpler kind of tune is the next track, Corpus Christi Carol. An anonymous poem from the 15th century with a melody by Benjamin Britten. It evokes an ethereal wind and stirs up some meaning of the past. It sings like an adult lullabye, weaving the listener with threads of relaxation, transporting the mind to a more chivalrous and fantastic time. I love falling asleep to this song, as I'm then visited by rich and vivid dreams. The simple lyrics "lully lullay, lully lullay" truly are hypnotic

In contrast, the next track Eternal Life, is definitely the most hard rockin'. It has a much more intense energy to it than any of the other tracks, standing out in a way from all others. Buckley exhibits some more stellar vocal work in this song, a redeeming exuberance in his voice. Triumphant, visionary, liberating. This track has some phenomenal lyrics in it. This is the third song on the album to be pure Buckley, and it's evidenced in the superb imagery and metaphors his wording calls up, while still being able to remain strikingly literal. One of the most popular lines from the song; it's definitely my favorite, is "Eternal Life is now on my trail. Got my red glitter coffin, man, just need one last nail". Written in true Jeff nature, Eternal Life heralds his unflinching outlook on mortality and spirituality. Many of his lyrics, writing, and quotes make it seem as if he felt he was living near death, but with preparation. One of the many themes laced throughout his songs. Now, on my Grace playlist I have Eternal Life as the last track. I like finishing on it's energy, and the subject matter seems fitting. The reality is that there is one more track after this, which I have playing first on my playlist.

That track being, Dream Brother. This is one of my next favorites. It's right up there with Lover, You Should've Come Over and Hallelujah. By far, the most haunting track on the album, as evidenced by the title. With assistance from a few other musicians, a rich opium infused trance-like atmosphere has been melded. This song always sinks my lids to half open and puts a lazy sway in my spine. Buckley's voice is meditative and the lyrics float surreal. The reality of the song is a warning to a friend and the recollection of Jeff's father, folk rock star Tim Buckley. Tim walked out on his wife and Jeff, saw Jeff only once and his life, and died of a drug overdose. Dream Brother is powerful and sentimental, a lucid escape for the mind. "The dark angel he is shuffling in, watching over them with his black feather wings unfurled"

And so there you have it, the finale of Grace. Jeff Buckley has undoubtedly built the single most emotionally driven album of all time. It's my number one favorite. Grace stands as an amazing delve into the masterpiece of Buckley, in a career caught unfortunately far too short. Jeff's death before the release of his second album was a terrible loss. In some small bit of redemption, the album was later released as a compilation of all the work he had accomplished up until his demise. The album was to be called My Sweetheart The Drunk, so what was released was thus called Sketches For My Sweetheart The Drunk. Another amazing work showcasing the evolution and enchantment of Buckley's music. Grace was paving the way for great musical revelations from Jeff. Both albums are outstanding, and must-haves for any music collection. Grace receives a perfect 10.0