The son rises on a bright musical career

The Birmingham Post: August 18, 1994

By Simon Evans

  As naff concepts go, the offspring of dead rock stars trying to make their own career in the music business has to be near the top of the list.

  They do after all suffer the disadvantage of being saddled with a famous name and perhaps even certain congenital musical similarities. And while the surnames of Julian Lennon and Ziggy Marley may have opened a few doors that otherwise would have remained closed, their subsequent musical careers, such as they are, have been overshadowed by the achievements of their respective fathers.

  Jeff Buckley is different. For while the record company may be careful not to allude to his musical background he cannot escape initial comparisons with his late father Tim Buckley, the rock, folk and jazz singer, who died of a drug overdose in 1975.

  Actually, Jeff Buckley only knew his father for a few days having being brought up by his mother, a classically trained pianist and cellist. He once described himself as "rootless trailer trash" born in southern California", and his love of music sustained him through childhood. He taught himself to play guitar and by the age of 17 had left home and made his way to Hollywood where he started playing in rock and reggae bands.

  In 1990 he was in New York, playing with, among others, former Captain Beefheart guitarist, who co-wrote Mojo Pin, from Buckley's debut album Grace, which has just been released on Columbia records.

  Some indication of Buckley's considerable talent was first given earlier this year when he released a four-track CD of a live performance in the East Village, New York.

  But nothing could have prepared us for Grace. The record is aptly titled, for it takes the listener to some strange but wonderful places, mixing folk, hard rock, jazz, eastern and choral music. It is a staggering achievement, and although Buckley's vocal tone is at times reminiscent of his father, the range of influences on show are all his own.

  Led Zeppelin is the most obvious, particularly in the dynamics of slow-burning ballads exploding into guitar fury. But there are also traces of Van Morrison and The Cocteau Twins in the album's moments of soulfulness and delicacy, such as the old Elkie Brooks' number Lilac Wine, which is given a complete overhaul.

  But the self-composed material more than holds its own with the likes of Leonard Cohen's Hallelujah, also covered on the album, suggesting Buckley is a writer of much promise.

  The album was recorded in Woodstock late last year and is Buckley's first with a band that includes Mick Grondahl on bass and Matt Thompson on drums. He will be bringing them over for a brief tour that takes in Edwards Number 8 in Birmingham.

  It may well be the first and last time to see Buckley in such a setting because a commercial breakthrough can only be a few airplays away.

Jeff Buckley plays Edwards Number 8 on August 31.