Themusicof singer-songwriterJeff Buckleywill always containan undercurrent of hypothetical, what-if energy. As frequently highlightedin the new documentary about his life, so much of Buckley’s creative spark was filled with fleeting promise. There was his debut, cult classic album (1994’sGrace), and follow-up (My Sweetheart the Drunk) he didn’t live long enough to see fully realized.
Much like his father (fellow musician Tim Buckley), Jeff emerged into prominence through a variety of styles and influences (ranging from Nina Simone to Bob Dylan), which gave hima uniquely equipped, exotically melodic heartbeat. That included the way he sang tenor, the genre-swinging notes he formed on the guitar, and the way Buckleycould significantly transform songs he covered.
While he wasn’t dealt a deep hand of popularity in life, it was after death that Buckley found (and continues to hold) an audience still mesmerized by his charmingly talented mystique. With artists like Radiohead andEddie Vedder’s own brand of versatilitybeing influenced by Buckley’s presence, his best songs breathe onwith an energy that captures him even now.
10You & I
Finding Buckley at his most nearly a cappella roots (backed only by subtle, foreboding environmental fills), “You & I” went through a series of versions before ultimatelyending up in this fever-dreamt hymnal dirge. This particular take was on the Tom Verlaine-produced portion of the uncompletedMy Sweetheart the Drunkcompilation, part of work Buckley had scrapped due to dissatisfaction.
The otherworldly metaphor is fitting, as Buckley claimed in an early ’90s interview that “You & I” came to him in a dreamabout an AIDS rally where part of this song was being sung. The rest of the track feels much like a thought poem, living somewhere between intense intimacy and elusive prose that’s very illustrative of Buckley himself.
9Lilac Wine (Nina Simone Cover)
There are few better purveyors of the moody, romantic torch songthan a jazz soulstress as adept as Nina Simone. And yet, a curiously-voiced white kid from California chose one such track for his debut album that was better than it should have ever been expected to be. That’s Buckley in “Lilac Wine” on 1994’sGrace, with resulting, otherworldly levitation.
While “Lilac Wine” was written by James Shelton, it was given its enduring spirit by Simone, and somehow, someway, Buckley finds and pulls along at her narrative thread with similar tenderness. Buckley is now the character drinking with intoxicated anxiety at seeing his love again, and, unlike Simone, he feelsno pull to resolution and remains unready for the reunion.
8Lover, You Should Have Come Over
An organ-introduced Buckley original that transitions into a folk-rock-pop veneer not out of place for the early ’90s time period it was made in, “Lover, You Should’ve Come Over"finds the singer again exploring the finer, vulnerable threads of relationships. And like the rain he describes on the windows, Buckley is left on the outside looking in.
Buckley illustrates the ache and angst within the young love and partnership on “Lover, You Should’ve Come Over"with a conviction that wouldn’t later be present in the likes of John Mayer’s “Your Body is a Wonderland” or “Why Georgia.“Just proving that because you can carry and strum a guitar doesn’t mean you know how to make it sing.
7Last Goodbye
A full-band dirge that dwells between a touch of the blues and an aching, expansive throb of industrial pop that would prove an inspiration to English band Radiohead and their falsetto-elevating singer Thom Yorke, “Last Goodbye” has ’90s energy but still relates to the modern era. And that’s simply because ofits love gone theme that remains so effortlessly relatable.
“Last Goodbye” is Buckley’s character ending his relationship with another,knowing that he loves them, but that they don’t work being together. The song finds the central theme of that heartbreak, which is embracing logic over what our emotions might dictate to make the best decision for yourself and someone else.
6Satisfied Mind (Live at WFMU)
A cover of a country song written by Joe “Red” Hayes and Jack Rhodes, this live take of “Satisfied Mind” from theMy Sweetheart The Drunkposthumous compilation sounds more likedusky, Clapton-intoned blues than a red road country tale. But, in typical Buckley style, it’s his ability to capture a song’s emotional intent that makes its power spark furiously.
Accompanied only by an electric guitar and his trademark falsetto vocal runs, Buckley takes the listener inside the mind of someone who values internal peace and satisfaction over all the money in the world. That can be a beautiful state of mind, and we can only hope Buckley found some portion before his all-too-soon, tragic passing.
5If You See Her, Say Hello (Live Bob Dylan Cover)
Accompanied by little more than a Delta Blues-sympathizing guitar and his own vocal ring, Buckley took to the “Live at Sin-e” stage to give life to a song by one of his biggest influences, the great singer-songwriter Bob Dylan. While Buckley’s original work didn’t lack in having plenty of shine,he had an explosive knack for covering songs.
With “If You See Her, Say Hello,“Buckley finds Dylan’s world-weariness in this sad love story lost, just wishing this person departed from him all the best wishes. There’s love within that loss, and Buckley accurately embodies the sad resignation of the matter that dwells within the essence of the song.
4I Shall Be Released (Live The Band Cover)
Another song written by Dylan and arguably most famously performed by The Bandon theirMusic from Big Pinkalbum, “I Shall Be Released,” takes on the nature of a gospel song of a man seeking release from his Earthly bonds. Though Buckley’s version finds himself already more heaven-oriented than Earth-held in intent.
Elevated by his tenor-based falsetto, Buckley takes us through his aspirations for what lies above this terrestrial frame as his angelic shed only grows brighter and brighter in scope with each note. Given his early demise, “I Shall Be Released” takes on an added aspirationthat hopes Buckley’s transition was a peaceful one.
3Mojo Pin
“Mojo Pin” opens Buckley’sGracealbum with a slinky, dreamy, ominous mood that feels as intoxicating as it does unnerving. What initially feels like an all-embracing love for a woman soon feels likean equally dangerous grasp of attachment to an addictive drug instead of an addictive individual’s presence.
With Buckley confirming that a “Mojo Pin” was his euphemism for a syringe of heroin, there’s certainly a drug narrative involved, but the lines blur between woman and weeping substance the more this song thrashes. “Mojo Pin” is a dark place for anyone to dwell, but the thought experiment’s journey remains a compelling one.
2Grace
The title track fromGraceis a movement that feels comfortablesomewhere between early U2 and a floatier Led Zeppelin. There’s a clouding sense of darkness in the scenery, but the impending claustrophobia is pushed back by Buckley, who vocally presents as fingers of sunshine moving through the swirling grunge.
Buckley said the creation of the song came to him when he’d said goodbye to his girlfriend at the airport before flying. The track’s clouds come from the cloudy day in which he said farewell to her, but not entirely in sadness. As the singer put it, “Grace” isabout feeling better about your mortality when you have true love.
1Hallelujah (Leonard Cohen Cover)
“Hallelujah” is Buckley’s eternal signature on this world. That doesn’t discount his many other great songs (both covers and originals), or the way that he put his brand on the world of music. But while the words of “Hallelujah” were written and performed by the great Leonard Cohen,it feels as though they were always meant for Buckley.
With minimal instrumental backing that allows his voice to breathe like the finest of wine, “Hallelujah” uncorks part ofthat Holy Spirit music fans will tell you lingers beneath a magical melody. Composed of equal parts of love, loss, and a voice that rings all the way to St. Peter himself,Jeff Buckleyperformed “Hallelujah” and made Heaven come alive.
