Monday, June 8, 1998
Shock of artist’s unexpected death cushioned by beautiful
legacy
MUSIC: Buckley’s unique style shines on posthumous release from
recording-in-progress
By Mike Prevatt
Daily Bruin Senior Staff
It seems that groundbreaking, iconic rock stars were meant to
die young. The early deaths of such rock heroes as Jim Morrison
(The Doors), Jimi Hendrix, Janis Joplin, Keith Moon (The Who), Kurt
Cobain (Nirvana) and Brad Novell (Sublime) have created a
stereotype that has pervaded rock ‘n’ roll to the point of
expectation.
But few expected Jeff Buckley to go early. Born out of New
York’s avant-garde club scene in the ’90s, the highly-acclaimed
singer and songwriter never had that "die-young" aura to him.
Seemingly on the straight-and-narrow, Buckley didn’t possess the
over-the-top, in-your-face rock image that Morrison or Joplin had.
The only thing that seemed to fit Buckley’s mysterious, untimely
death was that his father died early, too.
Now, a year since his drowning in Memphis, his mother (Mary
Guibert) went through hundreds of tapes that Buckley had recorded
for his follow-up to 1993’s "Grace." The result, "Sketches For My
Sweetheart, the Drunk" (a title Buckley said he’d give to the new
album), reveals Buckley’s direction and talents as an artist, which
shows even more promise than the emotionally-driven "Grace."
"Sketches For My Sweetheart …" represents the only remains of
Buckley, whose body was never found. While Buckley maintains a
creepy, yet surprisingly crisp guitar sound, the haunt factor
increases threefold keeping into consideration the songwriter’s
death (much like Nirvana’s "Unplugged Live in New York"). This
20-song double album embodies the spirit of the tortured yet
uncynical musician, an attitude that captured the attention of
aspiring performers and established songwriters alike.
The album, however, is unconventional in many ways. Unlike the
single-driven records that have bombarded consumers in the past
couple of years, "Sketches For My Sweetheart …" doesn’t feature
too many potential singles (except, perhaps, the driving,
Collective Soul-like "Yard of Blond Girls"). Indeed, it is an album
for true music fans. That presents the album with its strength, for
it contains a flow and harmony that is appreciated by listening to
its entirety.
Also, Buckley never completed this project. His drowning
occurred right before a plane flight that would have taken him into
the recording studio. All of the songs are unfinished, with the
first disc sounding the most polished and complete, the second
containing a more raw, unrehearsed sound as Buckley sang lyrics
over his guitar. Consequently, the first disc grabs the listener
right away whereas the second album takes more of an appreciation
for work-in-progress collections.
But that’s not necessarily unenjoyable. Such an insight into the
early stages of songwriting and recording in a studio rarely
surface commercially, and is thoroughly revealing for curious music
fans and aspiring musicians.
The album shines the most as a canvas for Buckley’s vocals. As
evidenced on "Grace" and now on this album, Buckley was one of
rock’s premier singers. Rather that embracing the guttural, throaty
approach, Buckley found grit and power through a clearer,
less-forceful style. Songs like "Vancouver" and "Everybody Here
Wants You" show Buckley utilizing the falsetto, while "The Sky is a
Landfill" features attention-grabbing, emotive vocals that seem
almost anthemic. He even chants in songs like "New Year’s Prayer"
and "Murder Suicide Meteor Slave," in apparent homage to late Sufi
singer Nusrat Fateh Ali Khan.
As a musician, Buckley incorporates many styles of music in his
work. Most use distortion and other guitar effects sparingly,
opting for a cleaner sound that emphasizes pitch and tone changes.
"Witches’ Rave" features ’50s-like R&B and rock rhythms. "Your
Flesh Is So Nice" is a sexy, post-punk rock song that charges a bit
more aggressively than most material on the double-disc set.
However, most of the songs (like "Opened Once") revel in their
mellowness, acting as a beautiful background for Buckley’s engaging
voice.
Perhaps the greatest tragedy in Buckley’s death is that he won’t
ever record another song. But it’s this tragedy that allows us to
selfishly embrace and appreciate the near-genius talents of this
earnest, unpretentious musician who has left us enough of his
legacy to leave a lasting impression. Mike Prevatt A-Columbia
The untimely death of musician Jeff Buckley seems more tragic
because he had so little time to leave his artistic mark on the
world.
Columbia
"Sketches for My Sweetheart, the Drunk," Jeff Buckley’s
posthumous CD.