The ‘Eternal Life’ of Jeff Buckley’s Grace
Looking back on 30 years of the late artist’s singular masterpiece
When Jeff Buckley released his first — and only — studio album Grace on August 23, 1994, it served as a summation of all he had accomplished in a very short span of time.
Sadly, he died by accidental drowning a little over three years later, and although he had other material that was nearly completed, Grace would be the record on which he would base his lingering legacy. Ironically, it was not especially well received at first, but over the course the ensuing 30 years since the original release, it’s not only sold remarkably well but also earned any number of kudos and accolades naming it as one of the greatest albums of all time.
There’s, of course, no small hint of irony in that fact, especially because it’s not a readily accessible effort by any means. A combination of atmosphere, ambiance, introspection, and intrigue, it’s part elegy and part gothic circumstance. It’s not necessarily an easy listening effort by any means, but there’s an allure and mystique that begs repeated listens.
In a sense, Buckley was well positioned to achieve that acclaim. He was born the son of Tim Buckley, whose albums Goodbye and Hello, Happy Sad, Blue Afternoon and Greetings From L.A. turned folk music on its head through a mixture of melodic invention and inventive imagery. The elder Buckley died young as well, at age 28 from a heroin overdose. Sadly, Jeff would also pass away early on and at nearly the same age — 30 to be exact — making family tragedy an unfortunate repeat circumstance.
While there would be any number of posthumous releases that would appear in the years since the younger Buckley’s death — among them, Sketches for My Sweetheart the Drunk, a compilation of songs that were intended for his second studio album, as well as various live recordings — his reputation rests for the most part on Grace itself. That’s for good reason. A stirring take on Leonard Cohen’s “Hallelujah” is, in fact, a remarkable piece of work, one that finds Buckley’s fragile, forlorn vocals taking a determined stance within a sparse and simple setting. It is, to put it simply, wholly awe-inspiring.
In addition to seven songs written by Buckley, the album includes two other covers in addition to “Hallelujah.” Buckley first became aware of “Corpus Christi Carol” in high school after he discovered in folklorist Benjamin Britten’s archival collection, A Boy Was Born. “Lilac Wine” is an emotive cover of a ballad originally recorded by Nina Simone.
VIDEO: Jeff Buckley “Hallelujah”
Other songs double down on the intrigue. Opening track “Mojo Pin” and the album’s closer, “Dream Brother,” are, in themselves, unworldly combinations that possess a spectral ambiance, that’s both atmospheric and emphatic. Buckley’s voice soars into the stratosphere, and on certain songs — “Last Goodbye” in particular — his vocals bring to mind Robert Plant in full frenzy. Indeed, Zep’s In Through the Out Door would make a fine segue way with several of Grace’s selections
Buckley’s aptitude and ability as far as invention and imagination were further confirmed within the quiet contemplative tones of “Lover, You Should’ve Come Over” and the haunting “So Real.” In a sense, he created his own genre, one that might best be described as “celestial soul” given his penchant for expressing otherworldly emotion.
VIDEO: Jeff Buckley “So Real”
Despite the fact that its sales were disappointing at first, Grace has gone on to become a most influential album in light of the accolades it received in retrospect. Jimmy Page, Robert Plant and Morrissey have all sung its praises. No less an icon than Bob Dylan himself cited Buckley as “one of the greatest songwriters of this decade.” For his part, David Bowie said Grace would find a prominent place among his ten desert island discs.
A poll undertaken in the UK placed it at number 23 in a list of the 100 greatest albums of all time. However the biggest honor it was accorded took place when Buckley’s version of “Hallelujah” was inducted into the Library of Congress’ National Recording Registry some 20 years after its original release.
Simply stated, Grace is one of those select albums that can be credited with making such an enduring impression. It shares its grace with all who hear it.
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