John Fahey found revelation and redemption in the acoustic blues primitivism of this expansive expressionistic exploration. Fahey had studied philosophy, psychology, and folklore at the University of California at Berkeley and UCLA while releasing his music on his own Takoma Records. He also released albums on other labels like Riverboad, Vanguard, Reprise, and Varrick over the course of three decades. His music is rooted in a seminal revisionist blues aesthetic that utilizes odd tunings and brings in old recordings and international classical styles, while his albums have employed an extensive backstory involving an alter ego Blind Joe Death. Starting with 'Blind Joe Death' in 1959 and continuing with other accomplished albums like 'Death Chants, Breakdowns and Military Waltzes' , 'The Transfiguration of Blind Joe Death' , 'Dance of Death & Other Plantation Favorites' , 'The Great San Bernardino Birthday Party and Other Excursions' , 'The Voice of the Turtle' , 'The Yellow Princess' , and 'Fare Forward Voyagers (Soldier's Choice)' ; Fahey established a new avante garde movement in folk music that he coined American Primitivism.
The music that was released as 'God, Time and Causality' was recorded in 1977 at Spectrum Sound Studios in Portland, Oregon with producer Terry Robb and engineer Mike Moore. The sessions featured John Fahey on guitar. Takoma refused to release the recordings at the time and they remained on the shelf until 1990, when Shanachie Records put them out. Fahey explained away the title: "It's just a joke from a former philosophy major ... When I play the guitar, even when I am practising, I am besieged with images, memories, deja vu experiences, and emotions; and for every chord I play, for every tune I write, there is within me a distinct and unique image, emotion, or feeling. What made and continues to make guitar playing exciting for me, and what makes it bearable during long, long two-set jobs, is the continual show of emotions, images, memories, etc., that comes before me internally as I continue to practice or play... Where was I when I wrote this song? What is the name of this strange feeling I am having while I play this chord sequence or this song? Consciousness is in a constant state of flux." http://www.johnfahey.com/ "Red Pony"
https://www.youtube.com/watch?v=YSh-YsyjpXk VIDEO 'God, Time and Causality' full album:
https://www.youtube.com/playlist?list=PLKiEBsOXrNf7cYPM-9g6oq2_qCilYliyC VIDEO All songs by John Fahey
"Revelation" – 3:47 "The Red Pony" – 6:28 "Lion" – 6:38 "Medley: Interlude/The Portland Cement Factory/Requiem for Mississippi John Hurt" – 11:37 "Medley: Snowflakes/Steamboat 'Gwine Around the Bend/Death of the Clayton Peacock/How Green Was My Valley" – 11:46 "Medley: Sandy on Earth/I'll See You in My Dreams" – 16:29 Rockpalast part 1
https://www.youtube.com/watch?v=qPKS_JCK6ok VIDEO - On The Sunny Side Of The Ocean 2:22
- Hawaiian Two-Step / Spanish Two-Step 6:05
- Lion / Tiger (evolved from How Long) 8:08
- Wine & Roses / Red Pony / Approaching The Disco Void 15:47
part 2
https://www.youtube.com/watch?v=twG4YFFJEXk VIDEO - Wine & Roses / The Red Pony / Approaching The Disco Void 0:00
- Poor Boy Long Ways From Home / Steve Talbot on the Keddie Wye 3:12
- Steamboat Gwine Round De Bend 8:22
- How Green Was My Valley 12:20
- Candy Man / Brenda's Blues 15:10
part 3
https://www.youtube.com/watch?v=AFt2Bo4ts7Y VIDEO
- Beverly / Indian Pacific Railroad Blues 2:01
- Take A Look At That Baby / I'll See You In My Dreams / Ann Arbor / Death By Reputation 06:50
- Revolt of the Dyke Brigade / Funeral Song for Mississippi John Hurt 15:56
part 4
https://www.youtube.com/watch?v=98wAn5FOs9o VIDEO - Revolt of the Dyke Brigade / Funeral Song for Mississippi John Hurt 0:00
- The Grand Finale / Camptown Races / Old Southern Medley / The Discovery of the Sylvia Scott 6:08
- Encore Slide Medley / Poor Boy / Steel Guitar Rag 11:42
Radiohead came like a comet, creeping away from one hit wonder into a cynical polystyrene weirdness with this brilliant existential decompression. The group had found a measure of success with the single "Creep" from their debut album 'Pablo Honey' "It's funny: on one side it sped things up for us, because it meant that Radiohead became...we never felt that Radiohead was successful,..we felt Creep was successful, but it got our name put about, so that sped things up for us. But at the same time it meant that we recorded our second album about a year late, The Bends , most of it was written within months of recording our first record, and we had to tour and tour and we couldn't stop to record. So that slowed things down for us."
John Leckie and Nigel Godrich were instrumental in the production and engineering of the sessions that began at RAK Studios in London and continued at The Manor in Oxfordshire and finished up at Abbey Road Studio in London. The recording featured Thom Yorke on vocals, guitars, piano, string arrangements, songwriting, artwork, and illustrations; Jonny Greenwood on guitars, organ, keyboards, synthesizer, piano, recorder, string arrangements, and songwriting; Colin Greenwood on bass guitar and acoustic guitar; Ed O'Brien on guitars and backing vocals; and Phil Selway on drums, percussion, and acoustic guitar; with Caroline Lavelle on cello and John Matthias on violin and viola.
Philip Selway considers: "I think when we started work on The Bends it was kind of like pausing for a breath. So much had happened over the course of Pablo Honey The Bends , that felt like clear time again. We were riffing and writing around Oxford, so we were back at home and actually felt like a very recognizable process. It’s something we’ve done for years, getting together and shutting ourselves away in a rehearsal room and writing and arranging material. That felt as though, from my point of view anyway, that we were reconnecting with ourselves after having been in very, very unfamiliar territory...We were still wet behind the ears at the time, and perhaps actually having that kind of reassurance in working with somebody who was that musical and had that breadth of experience and actually wasn’t going to be phased by anything, that gave us a very secure basis to work from. It took a little while to get there. The initial sessions probably were a little fraught from our point of view, but we got there, and John guided us through that process. So he was fantastic to work with...We had high expectations of what we could do at that point. I think we were still relatively inexperienced in the studio, so our studio chops probably weren’t quite up to it at the time. And I think we wanted to be ambitious with the record. So you get all those things, and probably the initial sessions we were just feeling frustrated with ourselves, and it showed in what we did at the time. But it was part of the process. We needed to go through that to get to the good takes on the songs...We started recording at RAK Studios in London. That’s where the first sessions were, fantastic studio, and Nigel was one of the in-house engineers there. He had come up through the kind of trainee system there, so he was a very, very knowledgeable engineer by that point, and experienced...[When] we went to a studio called the Manor, which is not far away from where we lived in Oxford. We’d upped stakes from RAK Studios and just went off tour and just played material live in New Zealand and Australia and a couple of festivals on the continent in Europe. And so it kind of felt like replaying the material as a band over those shows, and going back into the Manor studios, I think things really fell into place quite quickly...At the time, it felt like a very, very long process. But looking back on it, it was actually probably about four months of recording, which is not really that much actually."
Tensions during recording continued to build until they had to break for a tour in Mexico. Ed O'Brien says: "It was like that typical Radiohead thing, things had been brewing. We're not really confrontational with another. Things had been brewing and they basically came to a head. We were all completely knackered on this Mexican tour bus, 12 of us, with six bunks and they were about 5ft 6inches long, so you're getting no sleep. It was just ridiculous. It was something we'd been spending eight or nine years working towards and it was like, we'd never been totally honest with each other in terms of... We're not into bonding, we're friends and everything, but because of maybe our upbringing or the school that we went to we don't tell each other our problems. We deal with them ourselves. It's the only way you can deal with them."
'The Bends' rose to number eighty-eight in the US, seventy-three in Germany, thirty-five in France and Ireland, twenty-three in Australia, twenty-one in Canada, twenty in the Netherlands, eight in Belgium, and number four in the UK. Colin Greenwood: "The weirdest people in the weirdest places are united by that record. We've heard so many stories about how its really popular with ravers, who play it during their post-rave comedown spliff. And The Daisies, who share the same management as us, got stopped in their van in London on the day of an IRA bomb. They were surrounded by armed police who wanted to know who the hell they were. Then they mentioned our name and this copper with a gun goes, 'Oh 'The Bends' is brilliant, and the mood relaxed instantly...Abroad we were asked endless questions about it, as if we really fitted the Britpop blueprint. 'The Bends' was many things, but it wasn't really, chirpy was it? lt was more like a darkness lumbering over the horizon with gun turrets strafing the Britpop hordes with misery. Er, sorry. Got a bit carried away there." http://www.radiohead.com/ http://www.greenplastic.com/ "Just" went to thirty-seven on the US alternative chart and nineteen in the UK.
https://www.youtube.com/watch?v=-_qMagfZtv8 VIDEO "High and Dry" went to seventy-eight on the US pop chart, sixty-two in Australia, forty in Ireland, thirty-one in Canada, eighteen on the US alternative chart, and seventeen in the UK.
VIDEO "Fake Plastic Trees" grew to sixty-five on the US pop chart, twenty in the UK, and eleven on the US alternative chart.
https://www.youtube.com/watch?v=n5h0qHwNrHk VIDEO "My Iron Lung" hit one hundred in Australia and twenty-four in the UK.
https://www.youtube.com/watch?v=pRU-6vaKaf4 VIDEO "(Nice Dream)"
VIDEO
"Street Spirit (Fade Out)" made it to fifty-nine in Canada, forty-seven in Ireland, twenty-six in the Netherlands, and five in the UK.
https://www.youtube.com/watch?v=LCJblaUkkfc VIDEO "Fake Plastic Trees"
https://www.youtube.com/watch?v=6eRp97ZRwmk VIDEO "Bones"
https://www.youtube.com/watch?v=AHsMcUm3NqI VIDEO 'The Bends' full album:
VIDEO VIDEO VIDEO
All songs written and composed by Radiohead.
1. "Planet Telex" 4:19 2. "The Bends" 4:06 3. "High and Dry" 4:17 4. "Fake Plastic Trees" 4:50 5. "Bones" 3:09 6. "(Nice Dream)" 3:53 7. "Just" 3:54 8. "My Iron Lung" 4:36 9. "Bullet Proof..I Wish I Was" 3:28 10. "Black Star" 4:07 11. "Sulk" 3:42 12. "Street Spirit (Fade Out)" 4:12
Robyn Hitchcock had the nerve to execute the personal signals of this visionary acoustic catharsis in the sweetest death of an agony of pleasure. After five albums ('Fegmania!' 'Gotta Let This Hen Out!' 'Element of Light' 'Globe of Frogs' 'Queen Elvis' 'Eye' all on his own in the same stripped down vein as 'I Often Dream of Trains' Robyn reveals: "Every so often you wonder what it would be like if you weren't making decisions by committee. I just wanted to be on my own, without anything else, as naked and simple as possible ... It was a conscious attempt to make a record without involving other people. Because The Egyptians, with A&M and everything, there were managers, there was a band, and even before we got a producer, the songs were sort of… They were still mine, but I had less control over how they turned out and what happened to them. And the awful words “radio single” and things had become a fact of life. We were just having to deal with what other bands had to deal with. But I was going to San Francisco a lot and, just with my own money, I started recording this record in Hyde Street. I was breaking up with two people at the same time, and it was a pretty epic point in my life. And I was spending most of my life on planes ... I was looking at my set list, and I realised that when I play solo acoustic I actually play more songs off of Eye than any other record. And so in terms of a collection of songs, it seems to be my own personal favourite. It’s quite an unfinished record, the vocals aren’t great… I don’t know if it’s the way I was wearing the headphones or something, but I sing quite strangely on that one. Trains Eye was much rougher, it was recorded almost as soon as some of the songs had been written, but it is quite instant. It’s a more intense show than the Trains Trains Trains Eye is probably more powerful, in some ways...I think it did [seem to sum up the end of an era]. Because jangle rock and the return of the Anglo-American folky sound, or whatever it was — which may be back again, for all I know — the curtain came down on that in ’91, with Nirvana. And certainly that was the end of that period for us. But it was just a way of re-legitimising hard rock. Those bands were loud and heavy, and the Americans love to rock. The British always feel they should have an excuse, and it needs to be a bit ironic, but the Americans are very happy to just plunge straight into it. And so grunge came out of there. And the word alternative was no longer affixed to people like REM and the Violent Femmes and 10,000 Maniacs and The Replacements, and indeed me and my band. It was affixed to much louder people, like Nirvana and Pearl Jam and beyond. And yeah, it changed. But when I made Eye I had no idea that was about to happen, and it wasn’t done with that in mind ... I think it's perhaps my strongest collection of songs. Not the best arrangements or performances -- it's a very unadorned record and not as worked out as I Often Dream of Trains Eye is in some ways a skeletal predecessor of Britpop, of people writing songs like David Bowie, the Kinks, or my great musical hero, Syd Barrett...I'm very pleased with Eye. It's got the basic thing but not much else. A lot of records have got everything, they're beautifully done, but you don't know if there's anything at the heart of them. All Eye really has is its center -- there's nothing else on it...My songs are basically bottled moments of time, moments of my life that I reserve. Some have an insight into my life that I didn't have at the time. The songs tend to be a little bit wiser, like I'm trying to tell myself something but not listening. There's a lot of post-it notes to myself on Eye . It's my voice in my own ear, a sort of Greek chorus about what was happening to me. When I sing it, I sort of feel like I was younger and a fool in lots of ways, but in my folly the voice in my ear had some wisdom, still...Now I can re-inhabit August, 1989, by singing "Glass Hotel," or December, 1988, by singing "Queen Elvis" or April, 1989, by singing "Cynthia Mask." San Francisco was much in my thoughts, and that's why I recorded it there, at Hyde Street Studios."
Hitchcock did all of the vocals and played all of the instruments on 'Eye' himself, producing the sessions with engineers Wendy Bardsley and Simon Kunath. His soon-to-be-fiancee Cynthia Hunt did the p hotography and accompanied him on the tour. The album refers back to his last two albums, as "Flesh Cartoons" was the working title for 'Globe of Frogs' while "Queen Elvis" is the title song that was not included on 'Queen Elvis' . The liner notes also include a short story: "Legends Of The South Wight: 2: The Glass Hotel" .
http://www.robynhitchcock.com/ http://www.fegmania.org/ "Queen Elvis"
https://www.youtube.com/watch?v=l7CNICueuBY VIDEO https://www.youtube.com/watch?v=Lm1Pi7AF7BE VIDEO "Beautiful Girl"
https://www.youtube.com/watch?v=u-d9U_-AgCA VIDEO "Raining Twilight Coast"
https://www.youtube.com/watch?v=7tpgNokW8h0 VIDEO "Glass Hotel"
https://www.youtube.com/watch?v=lf4trad-kwo VIDEO 'Eye' full album:
https://www.youtube.com/playlist?list=PL68C2DBE79D992245 VIDEO All songs written by Robyn Hitchcock.
Side One
"Cynthia Mask" — 4:35 "Certainly Clickot" — 2:14 "Queen Elvis" — 4:22 "Flesh Cartoons" — 4:22 "Chinese Water Python" — 2:12 "Executioner" — 3:43 "Linctus House" — 5:12 Side Two
"Beautiful Girl" — 2:12 "Raining Twilight Coast" — 4:38 "Clean Steve" — 3:51 "Agony of Pleasure" — 2:23 "Glass Hotel" — 3:26 "Satellite" — 1:43 "Aquarium" — 4:19 bonus tracks
"Sweet Ghost of Light" — 3:07 "College of Ice" — 3:41 "Transparent Lover" — 3:35 "Queen Elvis II" — 4:22 "Century" — 3:41 "Shimmering Distant Love" — 3:21 "Lovers Turn To Skulls" — 1:40 "The Beauty Of Earls Court" — 3:59 live at SUNY, Binghamton, NY 10/2/1990
https://www.youtube.com/watch?v=gZTXkUsUejc VIDEO 01 - Intro Story (cuts in)
02 - Oceanside
03 - Intro to Madonna
04 - Madonna of the Wasps
05 - Clean Steve
06 - Intro to Raymond
07 - Raymond Chandler Evening
08 - The Devil's Coachman
09 - Wax Doll
10 - Wey Wey Hep Uh Hole
11 - Story - Intro to Queen
12 - Queen Elvis
13 - Story-Intro to Autumn (tape flip)
14 - Autumn Is Your Last Chance
15 - Intro To Bass
16 - Bass
17 - Intro to My Wife
18 - My Wife and My Dead Wife
19 - Beautful Girl
20 - Pre-Encore Applause
21 - Intro To I Got A Message
22 - I Got A Message For You
23 - I Thought I Saw Somebody Else (aka Chain Mary to the Bed)
24 - Cynthia Mask
25 - Pre-Encore Applause 2
26 - Sometimes I Wish I Was A Pretty Girl
27 - I Often Dream Of Trains
http://www.2kmusic.com/en/webvideo/robynhitchcock/2HQlMMUfgvg/interview-with-robyn-hitchcock-cincinnati-ohio-october-1990 https://www.youtube.com/watch?v=2HQlMMUfgvg#t=776 VIDEO
"Kung Fu Fighting"
VIDEO
Jeff Buckley waited in the fire and found redemption and release in the portentous prayers of this ecstatic elemental effusion. Buckley was the son of the folk jazz poet Tim Buckley , who died of a drug overdose in 1975: "There are all of these expectations that come with this "'60s offspring" bullshit, but I can't tell you how little he had to do with my music. I met him one time when I was eight; other than that, there was nothing. The people who raised me musically are my mother [ Mary Guibert] , who is a classically trained pianist, and my stepfather [ Ron Moorhead] ...I just always sang. My mom and I would always listen to the radio while driving to school. "Summer Breeze" would come on, and she would sing the second harmony, and I would sing the third harmony. Music was like my first real toy. I was an only child for a while, and I was alone a lot of the time—and I liked it. I still like being alone ... I’m your basic average white boy, basically (laughs). Southern California, was born in Martin Luther King hospital in LA in ’66. Lived every place in Southern California ... Mmm…things happened. With marriages and relationships and jobs and stuff we had to do. One time we got evicted – all kinds of cool travails. But I finally left when I was 17. I let my mom move on and then I finished high school and went to LA. I lived there for about six years and by the end of that I was completely depressed and then I moved to New York ... I started writing when I was 13. I got my first electric guitar when I was 13, but I’d always been singing. I had my first little acoustic when I was six. But I started being in bands when I was 13. Crappy rock bands, avant-garde things where we’d like ‘wanna go against the norm, man’. A lot of crazy shit, Musically it sounded like, I dunno, Captain Beefheart and David Bowie. One of the guys was way into Genesis, like the old Genesis. Remember we were kids, man. We were just fucking around. But by the time I was 14 or 15 I finally landed back in Anaheim, which is where Disneyland is: that place is such a wellspring of hatred for me. Because of its straightness, and because of the conservatism and debilitating that is to any artistic soul – just anybody that’s different. Every time I came to a new school I was always the new kid and I could stare out over the classroom and know exactly who wanted to kick my ass and who was gonna be my friend, like where the misfits were ."
Buckley spent years in the Los Angeles area as a studio musician before relocating to New York City, where he honed his craft playing covers at clubs in the East Village. He eventually signed with Colombia Records, who released an EP 'Live at Sin-é' . Buckley would reveal: "I enjoy being ecstatic. I like visiting all the emotions directly. Every emotion has a sound. My human identity forms my music ... [inspiration] comes directly from my dreams … People. That I meet. Sometimes I’ll have an indefinable feeling about them that translates into a sound in my head. Or the music of my childhood, or the music of the times when I really needed it. And I really need it now. There’s the holy trinity of Beatles, Hendrix and Zeppelin, but they have an incredible range. Anything with soul. I fall in love with all kinds of music and still have disgusting amount of hero worship ... Erm, Billie Holiday…Erm… Judy Garland, Edith Piaf, Bob Dylan, the Pistols, PiL, Duke Ellington; that’s one of the rare cases where amazing, incredible. Crazy music comes out of joy. The Velvets, the Pixies – I miss them. It pisses me off the Kurt Cobain’ll write a good song and it’ll just get fucking run into the ground by MTV. Oh… if you wanna talk about older stuff, I adore Patti Smith. And I carry Allen Ginsberg with me everywhere. Sun Ra. Oh God, we could go on for hours. Critically acclaimed, being on TV doesn’t mean shit. I’d like for people just to turn away from those things and go out by themselves and really get surrounded by the music, loving it or hating it. ‘Cos it really doesn’t matter unless you taste it. unless you taste it you don’t know it, not even from your CD player ... [Being a freak magnet] is my fault really because I welcome it. Apart from the music, my identity – my soul – welcomes extraordinary, extracurricular experience: possibly dangerous, possibly stupid; I’ve done a couple of those. Like getting stranded in Chicago in the ghetto, having a great time for four or five hours then getting picked up by the cops and the adventures that ensued therein. Things that would totally make my friends worry about me all the time. And they do. Like talking to people you’re not supposed to. The fringes are where life is happening. There’s the conventional world, and then there’s the eccentric world way out on the fringes and that’s usually what speaks to me most ... There are two kinds of beauty: there’s people that are born with a melodious soul, those that make music; and then there’s those who can appreciate it. And neither one is more important. One can’t happen without the other. The musician makes the music with the audience if he or she is doing the right thing ... Words are limited, actually. It’s a heightened way, but then sometimes if I say into the microphone as part of the music, ‘I know that you’re afraid to love me’ at the right time, it’s a balance between both. Music is for all the broken homes that’ve ever existed, ‘cos for once it’s the perfect marriage between a male and a female, the language is very structured and very male and the voice is wide open and chaotic and very female. I mean, the energies. It’s like blood is this flowing thing and it needs the structure of the vein to take it to the right places. And without it there’s internal bleeding and death. And that’s why it’s so powerful. And that’s what I see. But it’s basically just songs about my life and little things ... It has helped me, but I don’t… Last night it cured a headache. I had a huge headache in my shoulders and by the end of ‘Grace’ it was gone. It’s like storytelling, all songs and stories take you through this journey, this path, through your psyche, like a dream. And it can take you anywhere. So sometimes it even heals.”
'Grace' was recorded at Bearsville Recording Studio in Woodstock, New York with Jeff Buckley on vocals, guitar, organ, appalachian dulcimer, harmonium, and tabla; Mick Grøndahl on bass; Loris Holland on organ; Matt Johnson on percussion, drums, and vibraphone; Gary Lucas providing "Magical Guitarness"; Misha Masud adding tabla; and Michael Tighe adding guitar. String arrangements were done by Karl Berger. Buckley produced the sessions with Andy Wallace: "[Working with Andy Wallace] was good. But I don’t know, I think just by judging at the way the last two songs we’ve recorded sound – we can get the sound ourselves. I can produce it myself. All we need is an engineer. Bearsville was beautiful, we stayed in cabins. The town itself is sleepy, friendly. A lot of reggae shows and young white hippies – all Birkenstock quasi-dread noseringed collegiate potcuppers. It’s a friendly community, but me being a New Yorker – I went insane having nothing to do in my little cabin. The axe murderer cabin I was staying in. The “writer’s cabin” which for some reason had cable TV. Wrong thing to put in a writer’s cabin. But the studios themselves are really good and easy to work in and beautiful. But next time? When and where – I won’t tell a soul. I’ll just show up with the master tapes and say “yup. It’s done, we made it. It’s great.” I’d really love to sneak away and do it that way ... It’s strange how all this is happening because I never, ever gave a demo anyone. I never shopped a deal and I never brought my work to anyone “official”. It would have been wrong somehow, wrong for the music. It needs to have a real sacred setting for people to understand it. You’ve got to start things off with friends who are like-minded or even strangers that are like-minded. Sending your music to established artists or labels or magazine, I mean there is something to be said for tenacity, for trying to pursue recognition that way, but it just doesn’t make sense for the best work. And if you do make an amazing work, it’s sometimes not the best way to be heard. You have to get on a sacred space, like a stage, and do your testifying that way."
'Grace' found its way to number one hundred and forty-nine in the US, eighty-four in the Netherlands, sixty-seven in Canada, forty-seven in France, thirty-nine in Belgium, thirty-eight in Norway, thirty-one in the UK, fourteen in Ireland, nine in Australia, and five on the US heat seekers chart. In the years since Buckley's tragic drowning in the Wolf River in 1997 during the recording of his posthumous 'Sketches (For My Sweetheart The Drunk)' 'Grace' has gone on to chart again at number forty-four in both in Australia and the UK. It has sold over two million copies worldwide.
http://www.jeffbuckley.com/ The single for 'Grace' hit number eighty-nine in Australia.
https://www.youtube.com/watch?v=A3adFWKE9JE There's the moon asking to stay
'Last Goodbye' went to eighty-eight in Australia, fifty-four in the UK, and number nineteen on the US modern rock tracks chart.
https://www.youtube.com/watch?v=526VvItsx1Q 'So Real' never charted.
https://www.youtube.com/watch?v=EcaxrqhUJ4c https://www.youtube.com/watch?v=dN5pycI843k 'Eternal Life' edged its way up to number forty-four in Australia.
https://www.youtube.com/watch?v=ih461KBkRL0 https://www.youtube.com/watch?v=HYgj715N3lI His cover of Leonard Cohen's 'Hallelujah' became his biggest success after his death, going to number seventy in Australia, thirty-eight in Austria and Switzerland, twenty-two in New Zealand, fourteen in Finland, ten in Europe, eight in Ireland, seven in Norway, five in Sweden, three in the Netherlands, two on the Canadian digital download chart and in the UK, and number one on the US digital download chart.
https://www.youtube.com/watch?v=y8AWFf7EAc4 https://www.youtube.com/watch?v=WIF4_Sm-rgQ 'Grace' full album:
g
VIDEO Original track listing
1. "Mojo Pin" Jeff Buckley, Gary Lucas 5:42 2. "Grace" Jeff Buckley, Gary Lucas 5:22 3. "Last Goodbye" Jeff Buckley 4:35 4. "Lilac Wine" James Shelton 4:32 5. "So Real" Jeff Buckley, Michael Tighe 4:43 6. "Hallelujah" Leonard Cohen 6:53 7. "Lover, You Should've Come Over" Jeff Buckley 6:43 8. "Corpus Christi Carol" Traditional, Benjamin Britten 2:56 9. "Eternal Life" Jeff Buckley 4:52 10. "Dream Brother" Jeff Buckley, Mick Grøndahl, Matt Johnson 5:26 VIDEO 1 Mojo Pin
2 Grace 05:42
3 Last Goodbye 11:03
4 Lilac Wine 15:40
5 So Real 20:12
6 Hallelujah 24:53
7 Lover, You Should've Come Over 31:49
8 Corpus Christi Carol 38:32
9 Eternal Life 41:30
10 Dream Brother 46:22
Jeff Buckley on 'Grace' https://www.youtube.com/watch?v=gd_3IYzGfHk Australian bonus disc:
"So Real" – live and acoustic in Japan, January 1995
"Dream Brother" – live in Hamburg at Club Logo, February 22, 1995
"Grace" – live at the Shepherd's Bush Empire, London, March 4, 1995 (exclusive to this release)
"Mojo Pin" – live at Wetlands, New York City, November 1994
'Grace' Legacy Edition https://myspace.com/jeffbuckley/music/album/grace-legacy-edition-16364625 bonus tracks
"Forget Her" (Jeff Buckley) – 5:12
"Dream Brother" (Alternate Take) – 4:56
"Lost Highway" (Leon Payne) – 4:24
"Alligator Wine" (Jerry Leiber/Mike Stoller) – 3:21
"Mama, You Been on My Mind" (Bob Dylan) – 3:26
"Parchman Farm Blues/Preachin' Blues" (Bukka White/Robert Johnson) – 6:20
"The Other Woman" (Jessie Mae Robinson) – 3:05
"Kanga-Roo" (Alex Chilton) – 14:14
"I Want Someone Badly" (with Shudder to Think) (Nathan Larson) – 2:36
"Eternal Life" (Road Version) – 4:50
"Kick Out the Jams" (Live) (MC5) – 3:06
"Dream Brother" (Nag Champa Mix) – 5:24
'Goodbye and Hello' https://www.youtube.com/playlist?list=PLF9E6AFF17DAFD5E1 'Amazing Grace' VIDEO 'Everybody Here Wants You' VIDEO Live at Sin-é https://www.youtube.com/playlist?list=PLCC077751504D4053
Live at Sin-é original EP
"Mojo Pin" (Jeff Buckley, Gary Lucas) – 5:52 "Eternal Life" (Jeff Buckley) – 5:43 "Je n'en connais pas la fin (I Don't Know the End of It)" (Raymond Asso, Marguerite Monnot) – 5:00 "The Way Young Lovers Do" (Van Morrison) – 10:02 Live at Sin-é (Legacy Edition) https://myspace.com/jeffbuckley/music/album/live-at-sin-legacy-edition-13341436 VIDEO
Disc one
"Be Your Husband" (Andy Stroud) – 4:55 "Lover, You Should've Come Over" (Jeff Buckley) – 9:25 "Mojo Pin" (Jeff Buckley, Gary Lucas) – 5:37 Monologue - Duane Eddy, Songs for Lovers – 1:18
"Grace" (Jeff Buckley, Gary Lucas) – 6:49 Monologue - Reverb, The Doors – 1:40
"Strange Fruit" (Lewis Allan) – 7:43 "Night Flight" (John Paul Jones, Jimmy Page, Robert Plant) – 6:40 "If You Knew" (Nina Simone) – 4:28 Monologue - Fabulous Time for a Guinness – 0:40
"Unforgiven (Last Goodbye)" (Jeff Buckley) – 5:36 "Twelfth of Never" (Jerry Livingston, Paul Francis Webster) – 3:35 Monologue – Café Days – 0:15
Monologue – Eternal Life – 0:36
"Eternal Life" (Jeff Buckley) – 5:50 "Just Like a Woman" (Bob Dylan) – 7:26 Monologue - False Start, Apology, Miles Davis – 1:03
"Calling You" (Bob Telson) – 5:49 Disc two
Monologue - Nusrat, He's My Elvis – 3:13 "Yeh Jo Halka Halka Saroor Hai" (Nusrat Fateh Ali Khan) – 6:09 Monologue - I'm a Ridiculous Person – 0:39
"If You See Her, Say Hello" (Bob Dylan) – 8:18 Monologue - Matt Dillon, Hollies, Classic Rock Radio – 1:33
"Dink's Song" (trad., John/Alan Lomax) – 11:14 Monologue - Musical Chairs – 1:09
"Drown in My Own Tears" (Henry Glover) – 4:11 Monologue - The Suckiest Water – 0:08
"The Way Young Lovers Do" (Van Morrison) – 10:06 Monologue - Walk Through Walls – 0:26
"Je n'en connais pas la fin" (Raymond Asso, Marguerite Monnot) – 5:02 "I Shall Be Released" (Bob Dylan) – 5:20 "Sweet Thing" (Van Morrison) – 10:36 Monologue - Good Night Bill – 0:16
"Hallelujah" (Leonard Cohen) – 9:15 Bonus DVD
Interview with Jeff Buckley
"The Way Young Lovers Do" (Van Morrison) "Kick out the Jams" (MC5) "New Year's Eve Prayer" (A poem written by Jeff Buckley)
