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Would be 50 years old this year, and it’s hard not to think about what he’d be up to right now. As an adopted son of New York City’s downtown art scene in the 1990s, he could be wailing truth to power, like. As someone who hated how the early internet infringed on his privacy, he could have turned into an elusive icon, like. A virtuoso guitarist with perfect pitch and a keen ear for improvisation, he may have leaned into Los Angeles’ embrace of modern jazz, jamming with and. As a punk purist who was drawn to severe sounds and radical ideas toward the end of his life, maybe he would have turned into an anti-establishment musical figurehead, like.

He could have coupled electronics with progressive politics and the voice of a fallen angel, like. Or, as an acolyte of George Carlin and David Letterman who was known for his outlandishly comical stage banter, maybe he would have given up music altogether and tried his luck at biting comedy. Would he have been excited by the way his version of “Hallelujah” became such a ubiquitous hymn, or repulsed by its overuse?

Jeff Buckley fue un cantautor estadounidense nacido en 1966 y fallecido en 1997. (posteriormente se edito 'Sketches for My Sweetheart the Drunk'. Download Jeff Buckley – Sketches for My Sweetheart the Drunk (1998) 01 – The Sky Is A Landfill (Album Version) 02 – Everybody Here Wants You. Find album reviews, stream songs, credits and award information for Sketches for My Sweetheart the Drunk - Jeff Buckley on AllMusic - 1998 - Jeff Buckley was a mess of contradictions: a&hellip. Download SATISFIED MIND by JEFF BUCKLEY free. #1 rated music site. 6.5 Million songs. Sketches for My Sweetheart the Drunk (disc 2) Jeff Buckley.

Then again, without his tragic story as ballast, would “Hallelujah” have ever seen a resurgence at all? Such what-ifs are inevitable when an artist dies too soon, but fruitless daydreaming is especially tantalizing when it comes to Buckley. His talents were so limitless, his range so vast, and his explorations of them so inchoate. In his 30 years, he lived a head-spinning number of musical lives, as chronicled in David Browne’s essential biography,.

Growing up in Orange County in the ’70s, Buckley was obsessed with the prog theatrics of Styx,, and. In his early days as a professional musician, he played with reggae and hair metal bands. During that time, he paid the bills as a guitarist and songwriter for hire, creating hacky tracks for a variety of L.A. Up-and-comers, from R&B crooners to precious singer-songwriters. He made a proper name for himself in tiny Manhattan clubs through ecstatic solo covers of everyone from to to Pakistani qawwali singer Nusrat Fateh Ali Khan.

Such fluidity would be unique in any era, but especially in the early ’90s, when the internet had yet to fully flatten barriers between styles, Buckley’s musical interests were freakishly broad. At a 1993 show, he mimicked Khan’s chanting vocals over the “Smells Like Teen Spirit” riff as a delightfully bemused audience tried to take it all in. Following the impromptu mashup, he quipped: “I’m a ridiculous person.” This ridiculousness miraculously came together on 1994’s, an album that combined psychedelia, -style hard rock, shimmering pop, torch balladry, and a hymn originally written in the 16th century. Tokyo city nights. Released in the middle of grunge mania, it was an ethereal tonic. Grace was not an instant hit by any means—the record sold 2,000 copies in its opening week and only went platinum at the beginning of this year.

But Buckley’s label, the Sony-owned Columbia, home to legends like and, put a ton of money into the project nonetheless, sending the singer around the globe with his band on tour to help kick off what they hoped to be a decades-long career. Though he was signed to a major label, Buckley was forever mindful of upholding the sacredness of his music and avoiding the evils of commercialism—necessary objectives at a time when alternative culture was being streamlined by corporations at a breakneck pace.