Mucchio 1994 November 202
By Ida Tiberio
Submitted by Sai
Translated by me
An early and evil autumn raged on Milan. The rain does not give a single moment of truce and puts a strain on the seraphic and chatty spirit of those who await the opening of Planet Rock to attend a concert that promises to be very interesting. 'We believe in rock', warns with peremptory security a sign placed at the entrance of the small and charming Milanese venue. We can assume that all those present are enthusiastically associated with this warm declaration of faith and when Jeff Buckley's (validissima) band goes on the stage, he confirms that he has not put his trust in something that is not very well deserving. After a few minutes of music he finds himself immersed in the most obvious and salacious comments: "He's just like his father", "The chromosomes mean something", "Of course, genetics is not an opinion".
But, in spite of these and other jokes, the simplicity and the expressive power of this twenty-seven year old musician with a mild and adolescent air did not take long to conquer an attentive and receptive audience. Jeff Buckley, author of Grace one of the best debut records of recent months, faces the stage with a slight initial embarrassment, but soon the desire to communicate and the good harmony with the group have the best emotion and shyness. Jeff's voice, profound, evocative, ancestrally restless (and in this similar to that of his father Tim) breaks the plush and sometimes monotonous gait of a concert that, from minute to minute, becomes increasingly captivating and engaging. "Mojo Pin", pervaded by tension and intimacy, the dreamlike and fascinating "So Real", the splendid J. Shelton "Lilac Wine" ballad, they pass the live performance without difficulty.
The young Jeff Buckley has a really remarkable compositional talent and a sensitivity of an intense and refined interpreter (just think of the beautiful cover of "Hallelujah" by Leonard Cohen, unfortunately not included in the lineup of the Milanese concert). Of course, a more experienced artist would have used these skills to make the most intriguing and decorative, but the skinny, intimate beauty of "Lover You Should Have Come Over", "Grace" and "Eternal Life" does not require spectacular artifice to manifest itself. Jeff Buckley with his sober lyricism has proved to be worth, and a lot, even without bothering the mythical and suggestive image of a father never known.
By Ida Tiberio
Submitted by Sai
Translated by me
An early and evil autumn raged on Milan. The rain does not give a single moment of truce and puts a strain on the seraphic and chatty spirit of those who await the opening of Planet Rock to attend a concert that promises to be very interesting. 'We believe in rock', warns with peremptory security a sign placed at the entrance of the small and charming Milanese venue. We can assume that all those present are enthusiastically associated with this warm declaration of faith and when Jeff Buckley's (validissima) band goes on the stage, he confirms that he has not put his trust in something that is not very well deserving. After a few minutes of music he finds himself immersed in the most obvious and salacious comments: "He's just like his father", "The chromosomes mean something", "Of course, genetics is not an opinion".
But, in spite of these and other jokes, the simplicity and the expressive power of this twenty-seven year old musician with a mild and adolescent air did not take long to conquer an attentive and receptive audience. Jeff Buckley, author of Grace one of the best debut records of recent months, faces the stage with a slight initial embarrassment, but soon the desire to communicate and the good harmony with the group have the best emotion and shyness. Jeff's voice, profound, evocative, ancestrally restless (and in this similar to that of his father Tim) breaks the plush and sometimes monotonous gait of a concert that, from minute to minute, becomes increasingly captivating and engaging. "Mojo Pin", pervaded by tension and intimacy, the dreamlike and fascinating "So Real", the splendid J. Shelton "Lilac Wine" ballad, they pass the live performance without difficulty.
The young Jeff Buckley has a really remarkable compositional talent and a sensitivity of an intense and refined interpreter (just think of the beautiful cover of "Hallelujah" by Leonard Cohen, unfortunately not included in the lineup of the Milanese concert). Of course, a more experienced artist would have used these skills to make the most intriguing and decorative, but the skinny, intimate beauty of "Lover You Should Have Come Over", "Grace" and "Eternal Life" does not require spectacular artifice to manifest itself. Jeff Buckley with his sober lyricism has proved to be worth, and a lot, even without bothering the mythical and suggestive image of a father never known.
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