Music Connection Magazine, Vol. XIX, No. 11, 05/29/95-06/11/95
By Julia Rubiner
Submitted by Sai
Jeff Buckley
American Legion Hall
Hollywood
8 out of 10 stars
Contact: Kris Ferraro, Columbia Records: 310-449-2500
The Players: Jeff Buckley, guitar, vocals; Michael Tighe, guitars; Mick Grondahl, bass; Matt Johnson, drums.
Material: Jeff Buckley presented a generous, often-riveting set culled primarily from his recent release, Grace, rounded out with new compositions and well-chosen covers. Highlights included the sweeping "Grace," "Last Goodbye" (with its astonishing falsetto break) and the soulful "Lover, You Should've Come Over." Customized renditions of "Lilac Wine," Leonard Cohen's "Hallelujah" and a punk-inspired reading of the MC5's "Kick Out the Jams" were outstanding. Buckley, known fir his idiosyncratic remaking of songs by others, reinterpreted his own compositions as well, lending them an extemporaneous feel that built on the power of the studio versions.
Musicianship: Few singers in any genre can raise the hairs on the back of one's neck like Buckley; his voice is a phenomenal instrument. His performance made it clear that the intense-filled tenor distinguishing his recorded work is no studio trickery. He moved seamlessly from a hard rock scream to an angelic cry to a sensual whisper, the elasticity of his voice rendering the audience spellbound. His sidemen, too, were worthy of praise. Standing stage left, the players faced Buckley instead of the audience. They accompanied the singer in the most literal sense of the word, escorting him through an array of dizzying dynamic shifts-sometimes in a single song. Buckley himself is an accomplished guitarist, mostly content to lay down rhythm onstage but rising to a tasteful lead on occasion.
Performance: Lit from the front from a single yellow light, Buckley opened his set with an a capella Middle Eastern freestyle. He continued in this vein for some time, his huge shadow dominating the space beneath the Legion Hall's massive proscenium arch. This dramatic mood lightened, however, as Buckley cracked jokes between songs, performed tricks with his guitar, mocked the British press, lambasted People magazine, and generally charmed the crowd. Though he remained rooted to his patch of turf, his emotional delivery and body language -head tossing, shoulders tensing-made him fascinating to watch.
Summary: in another era, Buckley would have been the muse of a composer of oratorios, the unearthly beauty of his voice dedicated to the glory of God. Today, he seems on his way to the pantheon of rock gods. Perhaps his real strength is is versatility, which allows his vocal prowess to encompass both early-century art song and full on rock pyrotechnics. Best of all though, the man knows how to put on a show.
By Julia Rubiner
Submitted by Sai
Jeff Buckley
American Legion Hall
Hollywood
8 out of 10 stars
Contact: Kris Ferraro, Columbia Records: 310-449-2500
The Players: Jeff Buckley, guitar, vocals; Michael Tighe, guitars; Mick Grondahl, bass; Matt Johnson, drums.
Material: Jeff Buckley presented a generous, often-riveting set culled primarily from his recent release, Grace, rounded out with new compositions and well-chosen covers. Highlights included the sweeping "Grace," "Last Goodbye" (with its astonishing falsetto break) and the soulful "Lover, You Should've Come Over." Customized renditions of "Lilac Wine," Leonard Cohen's "Hallelujah" and a punk-inspired reading of the MC5's "Kick Out the Jams" were outstanding. Buckley, known fir his idiosyncratic remaking of songs by others, reinterpreted his own compositions as well, lending them an extemporaneous feel that built on the power of the studio versions.
Musicianship: Few singers in any genre can raise the hairs on the back of one's neck like Buckley; his voice is a phenomenal instrument. His performance made it clear that the intense-filled tenor distinguishing his recorded work is no studio trickery. He moved seamlessly from a hard rock scream to an angelic cry to a sensual whisper, the elasticity of his voice rendering the audience spellbound. His sidemen, too, were worthy of praise. Standing stage left, the players faced Buckley instead of the audience. They accompanied the singer in the most literal sense of the word, escorting him through an array of dizzying dynamic shifts-sometimes in a single song. Buckley himself is an accomplished guitarist, mostly content to lay down rhythm onstage but rising to a tasteful lead on occasion.
Performance: Lit from the front from a single yellow light, Buckley opened his set with an a capella Middle Eastern freestyle. He continued in this vein for some time, his huge shadow dominating the space beneath the Legion Hall's massive proscenium arch. This dramatic mood lightened, however, as Buckley cracked jokes between songs, performed tricks with his guitar, mocked the British press, lambasted People magazine, and generally charmed the crowd. Though he remained rooted to his patch of turf, his emotional delivery and body language -head tossing, shoulders tensing-made him fascinating to watch.
Summary: in another era, Buckley would have been the muse of a composer of oratorios, the unearthly beauty of his voice dedicated to the glory of God. Today, he seems on his way to the pantheon of rock gods. Perhaps his real strength is is versatility, which allows his vocal prowess to encompass both early-century art song and full on rock pyrotechnics. Best of all though, the man knows how to put on a show.
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