CrossBeat, Oct. 1994

Interview by Toshifumi Moria

Cooperation by Yoko Hayashi, Kazumi Someya

Translated by Tutu Fujimoto

“Frente!! Ah, this guy (Mark Sandman, Morphine), looks like Philip Glass, doesn’t he?”

  As he flipped through the July issue of this magazine, Jeff Buckley began to talk happily. An interview, with the guitar on his lap, gulping wine at a quick pace. It was held at a cafe just behind tonight’s venue, the “Howlin’ Wolf” in New Orleans. The first interview on this day has finished by a French magazine and it became our turn. During the rehearsal, he performed a hula-like dance playing Sebadoh’s tune (Jeff says), it shattered the image of "difficult and refractive introverted young man" that I had painted on my own. I was able to ask him without hesitation because it was just after that kind of rehearsal.

  Jeff's real father, Tim Buckley, is a cult folk/rock singer who was active in the 1960s-70s. His works, such as his ambitious works that actively incorporate jazz, are highly regarded today (the cover boom of the 1980s is one of the examples). Tim died in 1975 from a drug disaster at the young age of 28. His keepsake is Jeff. He exactly takes after his father in unique voice quality, and his facial expression proves his hereditary correctness. However, Jeff keeps an absolute distance from his father, who had only met him for a week. He throws his father away with even hatred. The frustration of those who have taken the same path has been conveyed from the articles of overseas. In fact, I felt nervous only when I talked about his father in this interview, too.

**********

With the full album coming soon, you're on tour first. This is the opposite of the normal way like promotion first then go touring, isn’t it?

I would say, if you have your own band and your album is coming out, it's more constructive to go on a tour. Because I don't think I can put my music into words. This is not something that competes with words, but something that you should experience and taste for yourself. The reason I've been on tour before the release of the record this time, and the last time as well, is to get everyone to make a decision, and to see by myself if everyone really sympathizes with it or not. It's about checking the honest reaction of reality.

On the other hand, you seem to have a lot of distrust of people in the music industry.

Ah, about that? I mean, in other words, I grew up being told not to believe. Or maybe I've tried not to believe it myself. But that doesn't mean I'm controlled by that kind of attitude. Actually, the music industry is...well, it's the same in any industry though, it's an individual matter. If you look at it individually, there are always honest people, and there are always people who don't care about anything. I'm one of those people. The music industry is really a human-like world.

I heard that you have formed bands and started your musical activities when you were in high school.

Ah yeah, three bands, I think. I did everything that I could play. We mostly practiced in the garage, and when we get the courage to perform in front of people, we played a gig. The first band was just a rock band, and we were doing guy music. The second band was...I was about 14 years old, and then I moved... no, no...ah yes, I moved and...what did I do? Anyway, I’ve got sick of all that moving, so I decided to leave from my mother. Only my mom went, I stayed there and graduated from high school, and moved to LA in 1984 after graduation. And after I moved to LA, I had been there for about six years, but I couldn't stand it anymore, so I moved to New York. I would be there till I die.

You've been thinking that you'll be doing music for the rest of your life since you were in high school?

Hmmm, I don't know? I've never thought about it particularly, it feels like I was doing it anyway. I don't think I wanted to be a so-called professional, but the only thing that really understood me was music. I knew there were many other arts and ways to live, but basically it was only music where I...the ocean I lived in.

I can see from the way you are doing it now that you love to play the guitar, but how about your voice? When did you become aware of your unique voice?

Since I was born. I keep singing. I’ve been singing ever since I was little. However, like the story I told you before, I’ve never thought about this particularly as well. I'm not the type of person who thinks, "Okay, I'm going to do it seriously from now on."

To return to the subject, why was NY chosen after 6 years in LA?

I mean, I wondered if I had to have my own house somewhere, what would be a good place? Anywhere, it doesn’t matter, Paris or Frankfurt is fine, but what immediately came to mind was NYC. New York is still winning that contest.

Did you have any preliminary knowledge about New York?

No, I didn’t have it at all. But you know, if you live in the United States, whatever you do, the city of New York penetrates into your life. For example, NYC appeared in comics and TV that I used to watch when I was a child, and so did movies. "West Side Story" was also set in NYC. No matter where you look, it’s New York! It was as if anything cool came from NYC. That's why I had an incredible romance in that New York City.

After you continued to change for such a long time, did you feel like you relieved of your burden when you released "Live at Sin-e," a live performance in New York?

Nah, not at all. I’ve never felt like I was relieved of my burden. As you can see, even if a book is completed, you don’t feel like “Yay, it’s done finally”? It's a real dilemma. I feel relieved...when I come up with ideas for each chapter of the book. And, when I created undeniable characters that I drew with the eyes in my mind. Once the book is completed, the burden disappears, and also every time I find a key element, it disappears. But in the next moment, another burden that I have to worry about is increasing.

So, for this full album, do you think you've packed in everything you wanted to do?

I don’t think so. This is the beginning, and also the end. I put a lot of things to rest with that album. It's meaningful, but it's already progressing from there to something new, so I don't have any more to do with it...that’s it for me.

Are the lyrics based on your actual experiences? Or was it written from an onlooker's point of view away from you?

It's impossible for me to write about something that doesn't contain my soul.

Does it mean that as long as your true feelings and emotions are there, it doesn't have to happen to you for real?

No, I can't write unless it's what I've experienced. But I'm not stubborn about writing my autobiography. The song itself has to live on its own. Otherwise, I would write letters and tell you exactly what I've done. But my favorite song goes beyond time, not just humans. That's why I sing “life”, keeping life inside...like that.

There are a lot of simple words used in your songs that evoke images. It can also be interpreted as an attempt to prioritize the expression of emotions of vocal performances...

Yes. But if you don't attack with words first of all, it's just like a beautiful woman with big tits and beautiful hips, but an empty head. I can't always rely on my voice. I shouldn't underestimate the voice, though. Voice conveys experience. But it must be equipped with the soul, the words of the soul. But it doesn't have to be what we call a word. On the other hand, if the music demands exaggerated words, I would use them.

What would be the names of the ideal songwriters for you?

Hmmm (thinking for a while), what I really respect is Bob Dylan's "Blonde on Blonde" including its workmanship and everything else in that album. I think that's exactly a norm. But my love and passion for music is far from his. I don’t know how to explain it but...okay, Duke Ellington and the Cocteau Twins‘ illegitimate child was brought up by Robert Johnson and grown up, and then thrown into a homeless shelter run by Bad Brains, something like that. But that also changes every day. What I really want to do is...here’s a basic soul, creating something, whatever it is, that resonates and talks to me from that basic soul.

By the way, in some interviews, you said that you have anger towards your real father (Tim)? Could you tell me about those stories?

I have a lot of emotions. You too, right?

And, you mean, anger is only a part of it?

Just only a part of it. I have all kinds of feelings for my father. It doesn’t matter what kind of person he was. On the other hand, there was a man (stepfather) who was with me for a long time and loved me, so my personal life is quite well balanced. No problem. Good question...I have anger towards my mom also.

That's why you stayed at home and your mother moved, right?

Yeah, I'm too close to her.

Do you think it's because of your mother's lifestyle that you've been moving?

Of course.

What was the effect of that?

Some good influence on me of course, there were some parts I had to do by myself though...But it wasn't something she did on purpose, it became a situation like that, so she was trying her best to deal with it. It depended on the man she had been dating, and love, marriage, financial situation, or her job, she was just doing it so hard for everything. But her choices always kept me on my toes, she took only wacky directions (lol). It’s like...I don't know what she's thinking until I shave off the paint...anyway, she, and also that kind of life, gave me great adaptability. If you look at all those different situations, such as different lifestyles, towns or income...I mean, I've seen a lot of things about relationships between men and women, about life, and how similar and different they are. But it also crept into my relationships. Is it fragility, or changing, the ability to select someone, absorb them, and throw them out quickly? But in a short time, you will find that it is not going to be nutritious for you. You find that it was not a person you really liked and benefited yourself. We need more effort to continue our relationships. That's also a burden.

Then, was there a time when you neglected human relationships?

For many years. For decades.

Oh, did you feel any dissatisfaction?

I just thought I had something else to do. But yes, I can be a very unsatisfied adult. For example, if I could live until I was about 30, I would like to be surrounded by people I understand, people who understand me, people who need my help, and living in need of those people’s help as well, at that moment. It’s a so very important thing. And this also means what you feel the music, feel the life.

*******

  An hour after the interview, I watched his live performance. Coincidentally, his mother that “moving addict", and his aunt also came from LA and watched Jeff closely next to us. His mother was enjoying sitting in the front seat, there was a scene where she pressed the young man who started dancing in front of her, "I can't see him, so please get out of the way." I just laughed at it remembering Jeff’s words.

  Of course his show is not so mature yet, and the band is not experienced as well, however, I felt the certain possibility in his amplitude and ability as a vocalist when I saw him singing leaving it to his ewhen I saw him singing leaving it to his raw emotions then changed suddenly as if he whispered to the person next to him. His dilemma as a second-generation artist would not fade away from him. But he would be able to fly across this world where such things are common, with the ghost of Tim Buckley in his hand.

Music and the search for Eternal Life

Jeff Buckley says grace

Art+Performance, October 28, 1994

Written and submitted by David Nagler

  When one speaks of singer/songwriter Jeff Buckley, one would use such words as epiphany, passion, and, the title of his debut album, grace. Blessed with one of the most dynamic male voices in popular music, Buckley is able to present music which almost defies classification. Which is, of course, the point.

  Even with just his own voice and a guitar, Buckley makes any elaborate song, which he writes take on a life of its own, and he makes any song by another artist his own. With a backup band including bass player Mick Grondahl, drummer Matt Johnson, and guitarist Michael Tighe, he brings both of these to new heights.

  And hearing Jeff Buckley speak...well, that's what interviews are for.

He speaks with almost a simple eloquence.

  Every word carefully in order to perfectly capture not only the meaning of his statement, but also the sound of the words.

  For instance, as Buckley spoke with art+performance from a conference room at Sony, he spoke of the Europe he just returned from touring as "intoxicating" and described the recent concert he played at New York's historic Supper Club at the College Music Journal Festival as, "a huge, beautiful inviting woman that has nothing to say."

He doesn't forget his "roots."

  His first release was a four-song EP recorded at New York's Sin-e Cafe, which Buckley still has a soft spot in his heart for. He says, "I'll never stop booking gigs there. It's a different kind of work that exists when you play in in small places rather than even something a little bit bigger. You can be very detailed in what you say and do, and people are able to see it."

  Also, Buckley isn't one to downplay his influences, as if they were a vital part of himself. He says, "There were obsessions that hogged most of the covers, but there was always something else on the outskirts. I dug hardcore...Bad Brains, Agnostic Front, Murphy's Law, stuff like that...and Robert Johnson at the same time. I can't say which one I dug more...I think I've always been out of step with everything. I was mohawked for a long time, but I liked a lot of other stuff."

He speaks with an honesty which

can be almost chilling. In discussing the opening song on Grace, "Mojo Pin," with lines like "If only you'd come back to me/filling up my side/ wouldn't need no Mojo Pin/to keep me satisfied..." Buckley refers to a "Mojo Pin" as, "a pin with black magic in it." But when pressed further he replies, "Plainly speaking...it's a euphemism for a dropper full of  smack that you shoot into your arm."

  He also speaks quite candidly about the period of his life which wasn't too hopeful. "I had a big depression where I didn't want to touch anything, I didn't want to look in the mirror, I just wanted to sleep all day and die...And then I didn't want to die anymore...in fact I wanted to live copiously. So I went about doing that, and still am-trying to be born...Sometimes voodoo can come and grab you and kill you if you're not careful."

He is very ambivalent when speaking

about his father, the late folk-free jazz pioneer Tim Buckley. Jeff had little to no contact contact with his natural father, and certainly not much of any immediate feeling for his music. The first time he heard it, Jeff says, "I was pretty young-I think I was more interested in watching Sesame Street."

  However, discussing the closing number on Grace, "Dream Brother," Jeff alludes to certain scars that still exist. The song was written for, "a friend that I still love very much and really look up to. There was a time that I felt like he was losing it. I guess all the time he was in control but it looked pretty careless and I was afraid for him. It stirred up ancient fears for me that I'd loose him. He has kids somewhere and I didn't want them to end up like me."

He is instilled with a desire to discover.

  With an American tour underway, Buckley is more than prepared. "There are really great places in the middle of the country. A lot soul in America. I'm really glad about this tour because now I get to see exactly where I live. It's fuckin' massive. And really retarded in lots of places, but there's lots of soul in other places."

  Yet Buckley is aware of the "price." He says, "It's a very a very wild existence, emotionally. You can be stretched to breaking and live like that for months and months. I'd be surrounded by strangers the whole time, which is no real connected support group. It's a pretty dangerous existence."

He truly believes in music as a sacred

entity. For one who has the means to make quite a first impression, he plays quite a few songs by other artists. But he performs these songs, from Leonard Cohen's "Hallelujah" to Benjamin Britten's "Corpus Christi Carol" to Big Star's Kangaroo" entirely out of his and the other band member's strong affections for them.

  "Music comes up in my mind, in our minds, and I like it. It fits in an evening so I put it in, and it just evolves from there. Sort of like the same sensation of listening to the radio and just the right song comes on at just the right time. I like for us to have an 'all-access pass' to anything that we need to do at the time. The will of the psyche is the will of the band."

He has a true need and love for other

people. This comes through even in the title of his album, Grace. Buckley considers "grace" to be, "the quality about people that matters. Any hardship, any pitfall, any sling or arrow in your direction that you're forced to withstand, any abuse, or any thought of even growing old, you need that quality...grace in men is especially appealing, women are very graceful, but men usually are not, and I like it when I see it in them. It also carries the meaning of having an implication, like the beginning of something or the death, saying grace."

  After speaking with Jeff Buckley, one would feel like they know everything about him, when in reality of course, they have not even hit on a thousandth of who he is. But as his music grows, so shall the true story.

  Jeff Buckley's debut album, Grace, is out on Columbia Records. He will be appearing at the Green Mill Tavern on November 8 and 9.

Jeff and the Prostitute

By request, one of my other favorite journal entries, a shining example of why I will always wish he wrote his autobiography...😣