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Rock - Released August 23, 1994 | Columbia - Legacy

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With Grace, his first full-length statement as a bandleader, songwriter/guitarist Jeff Buckley sets out upon a road less traveled, avoiding the safe and predictable in favor of the ecstatic and the personal. Not that such obvious influences as the Beatles and Led Zeppelin have disappeared from this young talent's music. Buckley's voice is an exquisitely malleable instrument, and from his daring vaults into the upper registers to his long, enraptured middle-register ornaments and moans, he suggests the breakthroughs of a young Robert Plant or Van Morrison. Songs like "The Last Goodbye" (with its coy slide intro and raga-ish string backgrounds) and "Lover, You Should've Come Over" (with its late Beatles harmonies and Edith Piaf vocal ornaments) are powerful evocations of failing relationships ("too young to hold on, and too old to just break free and run"). "Lilac Wine" and "Hallelujah" feature his glassy, translucent guitar and poignant vocals in mystical, folkish settings, while "Dream Brother" achieves an almost Doors-like melancholy. Elsewhere, Buckley showcases his new band's power on "Mojo Pin" and "Eternal Life," which draw upon blues imagery and metaphors to create a subtle, hard-rocking atmosphere.
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Rock - Released August 23, 1994 | Columbia - Legacy

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Rock - Released May 26, 1998 | Columbia

Jeff Buckley was a mess of contradictions: a perfectionist who believed in spontaneity, a man who was at once humble and vain, a musician who shunned his father's tumultuous legacy while creating one of his own. These are some of the reasons why he took his time writing and recording the material for his second album, laboring over many songs for months at a time. Given such painstaking methods, it shouldn't have been a surprise that recording was an equally fastidious process. Buckley recorded enough material for an album with producer Tom Verlaine, but deciding that the results weren't quite right, he scrapped them and moved to Memphis to record the album again. He reworked a few songs as home demos as he prepared to cut the album, but it was never made -- Buckley died in a tragic drowning accident before entering the studio. As a way to enlarge his legacy, his mother and record label rounded up the majority of the existing unreleased recordings, releasing them as the double-disc set Sketches for My Sweetheart the Drunk. Excepting a few awkward moments and middle-eights, it's hard to see why Buckley rejected the Verlaine productions that make up disc one. The material isn't necessarily a progression from Grace; it's more like a stripped-down, edgier take on the sweeping, jazz-tinged goth folk-rock that made the first album so distinctive. Neither the nearly finished first disc nor the homemade demos and re-recordings on the second disc offer any revelations, but that's not necessarily a disappointment. Sketches adds several wonderful songs to his catalog, offering further proof of his immense talent. And that, of course, is what makes the album as sad as it is exciting. ~ Stephen Thomas Erlewine
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Folk/Americana - Released July 3, 2001 | Columbia - Legacy

Jeff Buckley resented being called a folk singer, but he made his name playing solo sets like this one on the New York coffee circuit. Sony released this live EP before his first fully produced rock album, Grace, perhaps to attract attention to the raw power of Buckley's greatest gift, his voice. These four songs certainly accomplished that end. Buckley hurdles seemingly unreachable octaves, suspends notes for what seems like minutes, and belts out his falsetto without a scintilla of restraint. That's a positive inasmuch as it allowed him to show off his considerable talent; it's a negative when it sounded like he was showing off. But his ten-minute cover of Van Morrison's "The Way Young Lovers Do" is a tour de force of strumming and scatting, and his acoustic "Eternal Life" has an electricity that is paradoxically lacking on the plugged-in album version. [A deluxe edition released after his death added dozens of additional live tracks.] ~ Darryl Cater
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Rock - Released March 11, 2016 | Columbia - Legacy

Nearly 20 year on from his untimely death on that faithful day in 1997, Jeff Buckley remains a highly influential songwriter in 2016. Fans of the son of Tim Buckley have eagerly awaited the release of You And I, a new album bringing together ten previously unreleased recordings, including many covers of classics by Bob Dylan, Sly & the Family, Gerry & the Pacemakers, Led Zeppelin, Bukka White, Louis Jordan, or even the Smiths. © CM/Qobuz
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Rock - Released November 16, 2016 | Columbia - Legacy

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Nearly 20 year on from his untimely death on that faithful day in 1997, Jeff Buckley remains a highly influential songwriter in 2016. Fans of the son of Tim Buckley have eagerly awaited the release of You And I, a new album bringing together ten previously unreleased recordings, including many covers of classics by Bob Dylan, Sly & the Family, Gerry & the Pacemakers, Led Zeppelin, Bukka White, Louis Jordan, or even the Smiths. © CM/Qobuz
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Rock - Released May 9, 2000 | Columbia

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Rock - Released May 26, 1998 | Columbia - Legacy

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Rock - Released May 22, 2007 | Columbia - Legacy

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Folk/Americana - Released July 3, 2001 | Columbia - Legacy

The morbid fascinations, myths, and legends that spring up around the untimely deaths of rock stars were phenomena that Jeff Buckley vehemently detested. In the wake of Buckley's own demise, his mother, Mary Guibert, along with his former bandmembers and fans, worked tirelessly to downplay the hyperbolic press the man and his music have endured. Surprisingly, the most successful move Guibert and company made to this end was to release a pair of incendiary live records, 2000's Mystery White Boy and 2001's import-only Live a l'Olympia. Recorded over two nights in July of 1995, the tapes that comprise l'Olympia are, even by Buckley's own usually self-deprecating estimate, the finest display of his talent as a consummate performer. His concerts -- and these two were no exception -- were transcendent; blistering, overwhelming, and ecstatic, they bordered on the supernatural. However, he could also croon tender love songs, and was often hilarious -- here he audibly (but lovingly) mimics the great Edith Piaf (keep in mind, he's in front of a French audience) and convincingly speeds through a truncated cover of Led Zeppelin's "Kashmir" at a simulated 45 rpm. Though the album was mastered from a soundboard cassette, the sound quality is excellent, making it relatively easy to overlook minor problems with fidelity, especially when considering the performance itself. Buckley and his band revel in the wild adoration of their fans (something they hadn't experienced prior to the Olympia gigs), and eventually reduce the crowd to a hushed, awe-inspired mass, more a congregation than an audience. Lest you balk at the import price tag the album carries, know that Buckley's live shows were the lifeblood of his music. On Live a l'Olympia, songs from his sole studio LP, Grace, as well as unreleased tracks and cover tunes, become entirely different entities, exploding and writhing with unrestrained passion, then calming in a solemn but reverential display of love and respect. In the end, l'Olympia is the best proof that Jeff Buckley's greatest legacy is his lust for life, dynamic personality, and -- above all -- his music. ~ Bryan Carroll
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Rock - Released August 23, 2019 | Columbia - Legacy

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Rock - Released November 16, 2016 | Columbia - Legacy

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Rock - Released June 1, 2009 | Legacy Recordings

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Rock - Released May 9, 2000 | Columbia - Legacy

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Folk/Americana - Released June 2, 2009 | Legacy Recordings

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Alternative & Indie - Released April 6, 2018 | Cult Legends

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Rock - Released May 22, 2007 | Columbia - Legacy

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Rock - Released August 23, 2019 | Columbia - Legacy

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Rock - Released February 1, 1996 | Columbia - Legacy

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Rock - Released May 9, 2000 | Columbia - Legacy

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Jeff Buckley in the magazine