Correggio autograph

Courtesy of @beran1962 on IG

Tanya's autograph

Courtesy of Tanya Martin (@taj_martin on IG)

Peter's autographs

Courtesy of Peter B (@bwana3 on IG)

😂❤️

Brooke's supa mix

Yesterday and today, Jeff's friend Brooke Smith shared these pics of a mixtape he made for her (according to her, "He chose the songs!")...I love how him this tape is ! 🥰✨ (You can listen to the playlist here)

I wish I could hear it too! 😭❤️

From Jeff's record/tape collection...those interested can see the full thing here...you can also see more of his record collection on my Tumblr under the "jeffy's record collection" tag, where I've compiled all the available pics so far.

Roseland review

By Greg Fasolino

Juliana Hatfield

Jeff Buckley

Roseland

  Although technically the special guest on this bill, Jeff Buckley proved to be the one to warrant close attention. Son of legendary late '60s folk/jazz balladeer, Tim Buckley (a tragic 1975 suicide), Buckley the Son thankfully inherited his father's genetic vocal gifts, showcased on his recent debut full-length disc, Grace (not counting an earlier, appetite-whetting CD EP, Live at Sin-E). Indeed, Buckley's throat is a limber, liquid, unfettered instrument, somewhat like a cross between Robert Plant and Marc Bolan-able to turn and bite delicately into a tune with Kate Bush-like agility, and as simultaneously wry and touching as Morrissey or Morrison (Van, that is, his frequent cover choice). At Roseland, shiny-suited Buckley-backed by a sympathetic rhythm section-began small and ended big. An initially poor sound mix that occasionally drowned out Buckley's pipes (especially on a raw cover of the MC5's "Kick Out the Jams") held back the first bunch of numbers, but as the sonic background cleared, the incredible range, control, and power of this man's voice began to work its magic. The centerpiece of Grace, the loping, majestic "The Last Goodbye" really got the electricity flowing, with its alternating moods of delicacy and fat-riffed rock energy, followed by the fragile "Lilac Wine" and Grace's haunting title track. The finale found Buckley alone, accompanying himself on spare, sad guitar chording for an extended, moving version of Leonard Cohen's "Hallelujah." He even prompted a joyous murmer from the crowd when he inserted some old Smiths lyrics in the middle of the song.

  Since her beginnings with the Blake Babies, headliner Juliana Hatfield's winsome tunesmithery has held its own, but she simply wasn't strong enough a personality or singer to follow something as stunningly original as Buckley. Hatfield's latest album, Only Everything (featuring the terrific single, "Universal Heart Beat"), is a solid piece of hard bubblegum whimsy, similar to (but at this point, far eclipsing) her contemporary and former bandmate Evan Dando's Lemonheads. But this night, Hatfield's crunchy guitar and sugary pixie vocals didn't have the same kick as on the CD-the sonic whole lacked the buzzing gig energy of otherwise comparable combos like, say The Breeders or Elastica, which would have given Hatfield's impressively catchy songs (like the lovely "Live on Tomorrow") some juice. And it wasn't as if you could get swept away in a Dinosaur Jr.-like wash of noise, either; her band didn't seem to offer anything out of the ordinary. While Juliana's wholesome, waifish, alternative-girl-next-door image is cute on magazine covers, in a live setting, she suffers from a severe lack of star quality.

A Conversation with Jeff Buckley

Quotes from Beat, May, 1998 done in Wolverhampton, England, March 2, 1995

By Steve Morris

"It was very shocking to read. It's fiction."-about the suggestion that he's a phoney in this NME article

But surely part of the process of selling the music.

"Well, the performance of the music is the only selling point."

You still have to do interviews, meet and greets...

"I don't really do that very well. It takes a very small amount of time actually, it's very harmless but very draining."

"Yeah, it's strange. It's good."-about being surprised by the response to his music

Where did his music come from? What did he hear as a child?

"Mendelssohn, Chopin, the Messiah, erm, Funny Girl, West Side Story, Elton John, Joni Mitchell from my mom. From my stepfather, Pink Floyd, Grand Funk Railroad, Moody Blues, Cat Stevens, Crosby Stills and Nash, Bob Dylan. I think that was my mom too. Beatles of course and Hendrix and Zeppelin. And also the popular music of the time like Stevie Wonder had Innervisions and that was all over the radio."

His mom was an accomplished and respected musician. Had he been "guided" toward playing?

"No, no, I found it in my grandma's closet. It was an acoustic guitar, gut string. My mom never wanted me to play 'cos she had been through so much bullshit with lessons as a kid, so much pressure, she didn't want to put it on me. So she never pushed me in any one direction, ever, she saw I was doing something I liked. She just enjoyed it."

At what point did he realize he had a talent for music?

"I don't know how to tell you that, because I really don't get that sense. I mean, how do you get the sense that you are male."

"They said that about, er, pick 'em, Cocteau, Picasso whatever...some people fall short 'cos they're just gesticulating, but sometimes in art you need to be ridiculous, you have to be the clown. As long as you don't stay too long, man!

"Last night it was somebody's birthday and I did the Marilyn Monroe Happy Birthday Mr. President thing; really fun and wonderfully faggy, happy and..."

Being a Buckley of course such "fun" is not going to remain "just fun," people will "interpret."

"Yeah, that's a danger for them actually 'cos they'll never perceive anything correctly."-about his meditative style being seen as pretentious

"The album is like some of flavor you taste in the distance and it's coming close. It's pretty easy to rely on your instincts and basically you just concentrate on what you don't want to have happen."-about the making of his album

It gets harder though, life on the road making the writing of another album a lot harder.

"Totally warped and thwarted. I spend most of my time traveling, sound checking, eating bad food and being interviewed. There's not a lot of time to be alone. I get key fragments into my notebooks that I'll try to nurture later.

  "I need some time off. I want to be able to reload, I want to have something new out this year ('95). I'm so tired being afraid of sucking all the flavor out of this material, 'cos I need new material to mend this old material. Not to say that I'm tired of playing it 'cos it's always a new journey but I'm just afraid of the future being not as bright as I think it could be."

"Even if I'd called myself Johnny Goat people would still catch wind of my heritage and make the same oddity out of it."

And the people waiting for him to become his father?

"They're safe and there's no rebuttal to what they have to say. It takes a certain amount of resolve and some maturity that I'm trying to dredge up but I don't manifest yet 'cos it still hurts."

Yet there are some folks who'll want, for whatever dumb reason, to see history repeated.

"That I'm destroyed? If that exists then there'll be full on war because my only act of rebellion is to continue to live. It's probably the thing that'll piss them off the most."

Troubadour shows "Grace"

The State News: November 1, 1994

Written and submitted by Chris Solari

  FERNDALE--The bag contains...a small room, a few people and good ol' fashioned rock 'n' roll.

  Of course, for those few people who did pile into The Magic Bag Theatre in Ferndale Saturday, the real sorcery and wizardry of the Halloween weekend was performed by Jeff Buckley.

  Buckley, who recently released his full-length debut "Grace" this fall, dazzled the crowd of about 250 people in the small movie theater-cabaret setting and lived up to his growing fame as a tremendously overwhelming live performer.

  Opening act Brenda Kahn, who will release a recording in February, warmed the crowd up with a great mix of eclectic alternative and beautiful rock numbers with her very intense voice-sometimes angelic, sometimes devilish.

  But the crowd grew extremely restless waiting for Buckley to take the stage. When his group came out after what seemed a lengthy intermission (even though it was only about 15 minutes), not a word was spoken, performer or audience.

  The theater grew dark, save for a ghastly orange glow set around Buckley and his guitar. What followed was five minutes of guitar play that would have made the devil himself cringe had the beast been there. Buckley used his extensive vocal range to emanate monk-like moans and wails from the gloomy light that haunted the small theater.

  Buckley strummed languidly through the very trippy intro before leading into the notes to his first song on "Grace," titled "Mojo Pin."

  He then followed up with another song from his debut LP-"So Real." The song started off with Buckley singing softly and serenely with his guitar and drums, then kicked in and out of tempo before the electric culmination. And Buckley's facial expressions while singing gave everything from angst to happiness to amusement to pain.

  Buckley did more tunes from "Grace," such as the title song and his version of the folk classic "Lilac Wine" while mixing playful banter with the audience. Those who paid the minimal $12 fee to see the show felt almost as one in the intimate atmosphere.

  Following "Lilac Wine," which showcased the tremendous voice of Buckley, a member of the audience shouted a request for him to sing "Sweet Surrender" by his late father, Tim Buckley. The woman even had the audacity to question Jeff Buckley's vocal range. The younger Buckley almost took offense to this, quipping back at the woman, who responded by saying she loved his music as well.

  "Do you see me up here? You see something that is no longer here," he politely, yet scornfully told the woman.

  With that, he launched into a number which he said was, "about love in any f**king generation." The opening chords sounded different, but the slide came out and Buckley tore into the third track on "Grace," "Last Goodbye." Tossing the slide aside, he hit a driving pace with his guitar and followed up with the song's touching lyrics.

  After hearing the conversation between Buckley and the woman in the crowd, I finally figured the song out. To me, the tune is almost a tribute to the father who died while his son was young. And the pain in the singer's eyes...the lyrics and his face emanated his sorrows.

  Most of the older crowd who were hoping for the performer to be his father left, leaving the true fans and music lovers.

  The only drawback to the show was technical problems. A low, annoying hum from the amps could not be corrected until almost the end of the show. But Buckley, who proved himself as a virile comedian as well as musical genius, joked about it and told the crowd there were problems- not trying to side-step the issue at all.

  Buckley went in to do some great numbers, like "Lover, You Should've Come Over" and the electrically powerful "Eternal Life" that showed Buckley's voice was more than that of a troubadour. He can rock with any musician and singer out today.

  He closed with a number that, of all things, included a cello. "Dream Brothers" was a perfect end to a great set, and the remaining crowd beckoned him back for an encore.

  In the future, watch for Jeff Buckley if he pops up around the area-his show is one that no man, woman, child, dog, cat, ect, should miss.