Jeff Buckley
Grace

THE REVIEW

“Grace” is a classic of the nineties. Jeff Buckley, who died in the Mississippi on May 29, 1997, with his enchanting voice and mysterious personality, will remain one of the most significant artists of that decade. In this album, Jeff puts his soul into it. The first magical seconds of “Mojo Pin” are enough to make us understand; a slow rise from the darkness, the seductive notes and the melody molded with softness. This is the essence of Jeff; his is a song of the soul. Moreover, the calm beauty of the compositions often explodes into hysterical outbursts. In the same opening track, we find an obsessive ending that has little to do with the calm progression of the song.

The title track is a stunning folk-rock tinged with seductive colors. The warm voice first caresses the listener, enchants, and finally disturbs them in a dramatic and cathartic final crescendo.

The pleasantness of the ten tracks is undeniable; it ranges from the laid-back pop rock of “Last Goodbye”, characterized by acoustic guitars, soft orchestrations, and the relaxed tone of the singing, to nocturnal ballads like “Lilac Wine”, a mystical and solitary song, reminiscent of Jeff's father, Tim Buckley. The same atmospheres are present in “Hallelujah” and “Lover, You Should've Come Over”; the former, by Cohen, is an even more barren monologue, accompanied by a classical guitar progression. A poignant anthem, the emotional voice gives us chills continuously. The latter is a magically balanced ballad that grows with strength and captivates the listener.

The most vehement moments are “So Real”, a rock song inlaid with hypnotic patterns that explode in the compelling chorus and guitar distortions, and “Eternal Life” with its raw guitar riff that has little in common with the refinement of the album, but doesn’t fall short. Indeed, Buckley feels at ease even when he launches into unrestrained shouts.

The atmosphere is similar to a gospel, the religiosity is very pronounced; “Corpus Christi Carol”, with its classical melody, is a pleasant variation on the theme.

The finale is left to “Dream Brother”, a delicate song to the moon, the most psychedelic track of the album. A wonderful journey through empty worlds.

In conclusion, “Grace” is a luxurious synthesis of angelic melodies, emotion, and taste. On a more superficial level, it can be listened to as a simple inspired pop-rock album, but it actually hides all the magic of the best artists of the past, from Tim Buckley to Van Morrison.

It is certainly a cornerstone in the landscape of light music of the past decade.