He had emerged in New York City's avant-garde club scene in the 1990s as one of the most remarkable musical artists of his generation, acclaimed by audiences, critics, and fellow musicians alike. His first commercial recording, the four-song EP Live At Sin-é, was released in December 1993 on Columbia Records. The EP captured Buckley, accompanying himself on electric guitar, in a tiny coffeehouse in New York's East Village, the neighbourhood he'd made his home.
Buckley made his public singing début at a tribute concert for his father called "Greetings from Tim Buckley". The event, produced by show business veteran Hal Willner, was held at St. Ann's Church in Brooklyn on 26 April 1991.
By the time of the EP's release during the fall of 1993, Buckley had already entered the studio with Mick Grondahl (bass), Matt Johnson (drummer), and producer Andy Wallace and recorded seven original songs (including "Grace" and "Last Goodbye") and three covers (among them Leonard Cohen's "Hallelujah", Benjamin Britten's "Corpus Christi Carol") that comprised his debut album Grace. Guitarist Michael Tighe became a permanent member of Jeff Buckley's ensemble and went on to co-write and perform on Grace's "So Real" just prior to the release of the album.
In early 1994, not long after Live At Sin-é appeared in stores, Jeff Buckley toured clubs, lounges, and coffeehouses in North America as a solo artist from January 15th to March 5th as well as in Europe from March 11th to 22th. Following extensive rehearsals in April to May of 1994, Buckley's "Peyote Radio Theatre Tour" found him on the road with his band from June 2nd to August 16th. His full-length full-band album, Grace, was released in the United States on August 23rd, 1994, the same day Buckley and band kicked off a European tour in Dublin, Ireland; the 1994 European Tour ran through September 22nd, with Buckley and band performing at the CMJ convention at New York's Supper Club on September 24. The group headed back into America's clublands for a Fall Tour lasting from October 19th until December 18th.
On New Year's Eve 1994-95, Buckley returned to Sin-é to perform a solo set; on New Year's Day, he read an original poem at the annual St. Mark's Church Marathon Poetry Reading. Two weeks later, he and his band were back in Europe for gigs in Dublin, Bristol, and London before launching an extensive tour of Japan, France, Germany, Italy, Holland, Belgium, and the United Kingdom which lasted from January 29th to March 5th. On April 13th 1995, it was announced that Jeff Buckley's Grace had earned him France's prestigious "Gran Prix International Du Disque -- Academie Charles CROS -- 1995"; an award given by a jury of producers, journalists, the president of France Culture, and music industry professionals, it had previously been given to Edith Piaf, Jacques Brel, Yves Montand, Georges Brassens, Bruce Springsteen, Leonard Cohen, Bob Dylan, Joan Baez, and Joni Mitchell, among other musical luminaries. France also awarded Buckley a gold record certification for Grace.
From March 5th through April 20th, Buckley and his band rehearsed for an American spring tour with gigs running from April 22th until June 2nd. From June through August, Jeff and company toured the United Kingdom, France, Denmark, Belgium, Germany, the Netherlands, Italy, and Switzerland. The band took off for Down Under to play six Australian shows between August 28th and September 6th, 1995. In November 1995, Buckley played two unannounced solo shows at Sin-é. He performed songs including the new "Woke Up In A Strange Place" on Vin Scelsa's "Idiot's Delight" show on WXRK-FM on December 17 and celebrated New Year's Eve 1995-96 with performances at New York's Mercury Lounge and Sin-é.
Jeff Buckley and his touring ensemble went back to Australia, where Grace had earned a gold record certification, for the "Hard Luck Tour," which ran from February 9th to March 1st of 1996. Drummer Matt Johnson left the group after the final Australian show. The posthumous album Mystery White Boy brings together some of the high points from Jeff's 1995-1996 live performances. The DVD/home video release Live In Chicago documents, in its entirety, Jeff's concert at The Cabaret Metro in Chicago on May 13th, 1995.
In May of '96, Jeff played four gigs as a bass player with Mind Science of the Mind, a side-project of Buckley's friend, Nathan Larson of Shudder To Think. In September Buckley played another unannounced solo gig at his old favorite haunt Sin-é. December of 1996 found Jeff Buckley embarking on his "phantom solo tour"; designed to experiment with new songs in a live setting (as in his Sin-é days), these unannounced solo gigs throughout the Northeast U.S. were played under a succession of aliases: the Crackrobats, Possessed By Elves, Father Demo, Smackrobiotic, the Halfspeeds, Crit Club, Topless America, Martha & the Nicotines, and A Puppet Show Named Julio.
At midnight on February 9th, 1997, Jeff Buckley debuted his new drummer, Parker Kindred, in a show at Arlene Grocery on New York's Lower East Side. He also played a couple of solo gigs in New York during the first months of 1997: a gig at the Daydream Cafe (featuring band members Mick Grondahl and Michael Tighe as "special guests") and a solo performance February 4th as part of the Knitting Factory's 10-Year Birthday Party.
Buckley and his band had recorded intermittently — with Tom Verlaine as producer — during Summer/Fall 1996 and early winter 1997 in New York and in February 1997 in Memphis. After the conclusion of those sessions, Jeff sent the band back to New York while, during March and April 1997, he remained in Memphis and continued to craft his work-in-progress, making various four-track home recordings of songs to present to his bandmates. Some of these were revisions of the songs recorded with Verlaine, some were brand new compositions, and some were surprising cover versions. The new lineup debuted Buckley's new songs at Barrister's in Memphis on February 12th and 13th. Beginning March 31st, Jeff began a series of regularly scheduled Monday night solo performances at Barrister's. His last show there was on Monday, May 26th, 1997.
Buckley passed away in a drowning accident in the Wolf River, a tributary of the Mississippi River, on May 29th, 1997. The night Buckley died, he was on his way to meet his band to begin three weeks of rehearsals for My Sweetheart, the Drunk; producer Andy Wallace, who'd helmed the boards on Grace, was to join them in Memphis in late June to record his new album.
In addition to his Columbia Records releases, Live At Sin-é and Grace, Jeff Buckley has appeared as a guest artist on several other recordings. He can be heard singing "Jolly Street," a track on the Jazz Passengers 1994 album In Love. He contributed tenor vocals to "Taipan" and "D. Popylepis," two recordings on John Zorn's Cobra Live At The Knitting Factory (1995). On Rebecca Moore's Admiral Charcoal's Song, Buckley plays electric six-string bass on "If You Please Me," "Outdoor Elevator," and "Needle Men" (on which he also plays drums). He both plays guitar and sings backup vocals on Brenda Kahn's "Faith Salons," a key track on her Destination Anywhere album (released 1996). Patti Smith's critically acclaimed Gone Again album features Buckley adding "voice" to the song "Beneath the Southern Cross" and "essrage" (a small fretless Indian stringed instrument) to "Fireflies." On Kerouac: Kicks Joy Darkness, a various artists' spoken word tribute to beat poet Jack Kerouac, Jeff Buckley performed on "Angel Mine"; Jeff plays guitar, sitar, and mouth sax (adding words at the poem's conclusion) on the track. Buckley can be heard reading Edgar Allan Poe's "Ulallume - A Ballad," on Closed on Account of Rabies: Poems and Tales of Edgar Allan Poe (disc 2: The Devil's Brew) (Poems & Tales by Edgar Allan Poe) on Mouth Almighty/Mercury Records. He sang "I Want Someone Badly" (Epic) for Shudder To Think's soundtrack to First Love, Last Rites. Sandy Bell, a friend of Buckley's during his L.A. days, released the resurrected track "Hollywould" in 2000, which she co-wrote and recorded with Buckley.
An ardent enthusiast for a myriad of musical forms, Jeff Buckley was an early champion among young American musicians for the work of Nusrat Fateh Ali Khan, the world's foremost Qawwali (the music of the Sufis) singer. Buckley conducted an extensive interview with Nusrat in Interview magazine (January 1996) and wrote the liner notes Nusrat's The Supreme Collection album, released on Mercator/Caroline records in August 1997. On May 9th, 2000, Columbia Records released Mystery White Boy, an album of live performances, and Live In Chicago, a full-length concert (available on DVD or VHS) recorded live at The Cabaret Metro in Chicago on May 13, 1995, in the middle of Jeff's "Mystery White Boy" tour.
Following the release of Grace on August 23rd, 1994, Jeff and his group spent much of 1994-1996 performing around the world on the Unknown, Mystery White Boy, and Hard Luck tours. Mystery White Boy brings together, for the first time, some of the high points of those shows. Produced by Michael Tighe (guitarist for Jeff's band throughout their international touring and the recording of Grace) and Mary Guibert (Jeff's mother) and Mystery White Boy provides an evocative cross-section of Jeff's repertoire: previously-unreleased Buckley compositions, electrifying live interpretations of songs from Grace, and obscure and marvelous cover choices. The recordings heard on Mystery White Boy have been hand-picked from scores of concert tapes by Mary Guibert and the members of Jeff's band who played such a large role in helping Jeff realize his musical vision.
According to Mary, the tracks on Mystery White Boy are "the individual performances that represented transcendent moments from each of the concerts we'd identified as being in the 'overall outstanding' category."
"It was obvious which performances were contenders for the record," concurs Michael Tighe, "and in some cases a performance would be so supreme and unpredictable that I knew it had to be brought to the public."
The posthumous album Sketches For My Sweetheart The Drunk was released in 1998 and included songs Buckley was working on while in Memphis for his upcoming release.
Tribute songs:
PJ Harvey - Memphis
Rufus Wainwright- Memphis Skyline
Mark Eitzel - To the Sea
Zita Swoon - Song for a Dead Singer
Amy Correia - Blind River Boy
Duncan Sheik - A Body Goes Down
Chris Cornell - Wave Goodbye
Katatonia - Nightmares by the Sea
Willie Nile - On the Road to Calvary
Rachael Sage - Grace
Aimee Mann - Just Like Anyone
Cocteau Twins - Rilkean Heart
Jim Major - Angels Fall (Song for Jeff Buckley)
A film about Buckley's life, a biopic called "Mystery White Boy", is currently in pre-production. Actors have not yet been cast, according to IMDB.
Ulalume
Jeff Buckley Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Jeff performed a reading of this poem by edgar allan poe for the tribute compilation closed on account of rabies, produced by hal willner.
The skies were ashen and sober,
The leaves they were crisped and sere,
The leaves they were withering and sere;
It was night in the lonesome October
Of my most immemorial year;
In the misty mid region of weir,
It was down by the dank tarn of auber,
In the ghoul-haunted woodland of weir.
Here once, through an alley, titanic,
Of cypress, I roamed with my soul,
Of cypress, with psyche, my soul.
These were days when my heart was volcanic
As the scoriac rivers that roll,
As the lavas that restlessly roll
Their sulphurous currents down yaaneck
In the ultimate climes of the pole,
That groan as they roll down mount yaaneck
In the realms of the boreal pole.
Our talk had been serious and sober,
But our thoughts they were palsied and sere,
Our memories were treacherous and sere,
For we knew not the month was October,
And we marked not the night of the year
(ah, night of all nights in the year!);
We noted not the dim lake of auber
(though once we had journeyed down here),
Remembered not the dank tarn of auber,
Nor the ghoul-haunted woodland of weir.
And now, as the night was senescent
And star-dials pointed to morn,
As the star-dials hinted of morn,
At the end of our path a liquescent
And nebulous lustre was born,
Out of which a miraculous crescent
Arose with a duplicate horn
Astarte's bediamonded crescent
Distinct with it's duplicate horn.
And I said: "she is warmer than dian;
She rolls through an ether of sighs,
She reveals in a region of sighs:
She has seen that the tears are not dry on
These cheeks, where the worm never dies,
And has come past the stars of the lion,
To point us the path to the skies,
To the lethean peace of the skies;
Come up, in despite of the lion,
To shine on us with her bright eyes,
Come up through the lair of the lion,
With love in her luminous eyes."
But psyche, uplifting her finger,
Said: "sadly this star I mistrust,
Her pallor I strangely mistrust;
Oh, hasten! oh, let us not linger!
Oh, fly! let us fly! for we must."
In terror she spoke, letting sink her
Wings until they trailed in the dust;
In agony sobbed, letting sink her
Plumes till they trailed in the dust,
Till they sorrowfully trailed in the dust.
I replied: "this is nothing but dreaming:
Let us on by this tremulous light!
Let us bathe in this crystalline light!
Its sibyllic splendor is beaming
With hope and in beauty to-night!
Ah, we safely may trust to it's gleaming,
And be sure it will lead us aright;
We safely may trust to a gleaming
That cannot but guide us aright,
Since it flickers up to heaven through the night."
Thus I pacified psyche and kissed her,
And tempted her out of her gloom,
And conquered her scruples and gloom;
And we passed to the end of the vista,
But were stopped by the door of a tomb,
By the door of a legended tomb,
And I said:"what is written, sweet sister,
On the door of this legended tomb? "
She replied: "ulalume! ulalume!
'tis the vault of thy lost ulalume!"
Then my heart it grew ashen and sober
As the leaves that were crisped and sere,
As the leaves that were withering and sere,
And I cried: "it was surely October
On this very night of last year
That I journeyed, I journeyed down here,
That I brought a dread burden down here,
Of this night of all nights in the year,
Ah, what demon has tempted me here?
Well I know, now, this dim lake of auber,
This misty mid region of weir,
Well I know, now, this dank tarn of auber,
This ghoul-haunted woodland of weir."
Said we, then--the two, then--"ah, can it
Have been that the woodlandish ghouls
The pitiful, the merciful ghouls
To bar up our way and to ban it
From the secret that lies in these wolds
From the thing that lies hidden in these wolds
Had drawn up the spectre of a planet
From the limbo of lunary souls
This sinfully scintillant planet
From the hell of the planetary souls? "
Ulalume by Jeff Buckley is a musical interpretation of Edgar Allan Poe's poem of the same title. The poem tells the story of a narrator and his lost love, Ulalume, who he visits on the anniversary of her death. The lyricist adds his own interpretation to the story resulting in a haunting and emotionally charged song. The opening stanza of the song sets the scene with a vivid description of the atmosphere: "The skies were ashen and sober, / The leaves they were crisped and sere, / It was night in the lonesome October / Of my most immemorial year;". The singer then shares his memories of Ulalume, which leads to the appearance of a strange star, which he believes may guide them to the afterlife. However, Psyche, his companion, is afraid of the star and convinces the singer to leave. They eventually find themselves at the entrance to a tomb, where the singer realizes Ulalume is buried.
Buckley's interpretation of Ulalume demonstrates his ability to convey deep emotions through music. The somber tone of the song creates an eerie and melancholic atmosphere that perfectly fits the subject matter. Buckley's interpretation is not only a tribute to Poe's work but also a masterful example of how music can amplify the emotional impact and meaning of poetry. The haunting melody and unique vocal style make this song a standout amongst Buckley's impressive repertoire.
Line by Line Meaning
The skies were ashen and sober,
The sky was grey and dull.
The leaves they were crisped and sere,
The leaves were dry and withered.
The leaves they were withering and sere;
The leaves were drying up and deteriorating.
It was night in the lonesome October
It was a lonely October night.
Of my most immemorial year;
It was a very old memory.
It was hard by the dim lake of auber,
It was near the murky Lake Auber.
In the misty mid region of weir,
In the foggy and unknown region of Weir.
It was down by the dank tarn of auber,
It was near the damp water of Auber.
In the ghoul-haunted woodland of weir.
In the spooky and haunted forest of Weir.
Here once, through an alley, titanic,
Once we walked through the giant cypress trees.
Of cypress, I roamed with my soul,
I wandered through the cypress grove with my soul.
Of cypress, with psyche, my soul.
My soul was with Psyche in the cypress trees.
These were days when my heart was volcanic
Those were the times when I had strong emotions.
As the scoriac rivers that roll,
Like the streams of volcanic lava that move.
As the lavas that restlessly roll
Like volcanic lava flowing steadily.
Their sulphurous currents down Yaanek
The streams of lava were coming down the volcano.
In the ultimate climes of the Pole,
In the northernmost regions of the earth.
That groan as they roll down Mount Yaanek
The lava streams make a loud sound as they roll.
In the realms of the Boreal Pole.
In the domain of the northern regions.
Our talk had been serious and sober,
We were having a heavy conversation.
But our thoughts they were palsied and sere,
We knew our thinking was becoming sluggish and weak.
Our memories were treacherous and sere,
We couldn't remember things well.
For we knew not the month was October,
We didn't realize it was October.
And we marked not the night of the year
We did not take note of the night of the year.
(Ah, night of all nights in the year!);
It was the most important night of the year.
We noted not the dim lake of Auber
We didn't pay attention to the dark Lake Auber.
(Though once we had journeyed down here),
Though we had been there before.
Remembered not the dank tarn of Auber,
We didn't recall the moist water of Auber.
Nor the ghoul-haunted woodland of Weir.
Nor did we remember the haunted grove of Weir.
And now, as the night was senescent
As the night was coming to a close.
And star-dials pointed to morn,
When the stars showed the morning was near.
As the star-dials hinted of morn,
The star positions suggested the arrival of dawn.
At the end of our path a liquescent
Near the end of the way, a liquid light appeared.
And nebulous lustre was born,
A hazy, dull light appeared.
Out of which a miraculous crescent
From the midst of it emerged an extraordinary crescent.
Arose with a duplicate horn
A crescent moon with two protrusions appeared.
Astarte's bediamonded crescent
A diamond-studded crescent moon, which is Astarte's symbol.
Distinct with it's duplicate horn.
Clear, with noticeable double projection.
And I said: 'She is warmer than Dian;
I thought it was brighter than the goddess of moon, Diana.
She rolls through an ether of sighs,
It moved through the light with a delicate softness.
She reveals in a region of sighs:
It showed itself in a clouding, mystifying atmosphere.
She has seen that the tears are not dry on
It noticed that my tears didn't dry up.
These cheeks, where the worm never dies,
On my cheeks, which are always moist with tears.
And has come past the stars of the Lion,
Came through the Leo constellation.
To point us the path to the skies,
It showed us the way to the heavens.
To the lethean peace of the skies;
To the undisturbed peace of the sky.
Come up, in despite of the Lion,
Come up, against the opposition of the Leo constellation.
To shine on us with her bright eyes,
To give us light with her radiant eyes.
Come up through the lair of the Lion,
To pass through the Leo constellation and its hideouts.
With love in her luminous eyes.'
With a loving light in the eyes.
But Psyche, uplifting her finger,
But Psyche, lifting up her finger.
Said: 'Sadly this star I mistrust
Sadly, I don't trust this star, she said.
Her pallor I strangely mistrust;
I find its pale color questionable.
Oh, hasten! oh, let us not linger!
Oh, hurry! Let's not delay.
Oh, fly! let us fly! for we must.'
Fly, because we have to.
In terror she spoke, letting sink her
She spoke with great fear, lowering her wings.
Wings until they trailed in the dust;
Dropping her wings to the ground, letting them drag in the dust.
In agony sobbed, letting sink her
She cried out in pain, letting her wings fall.
Plumes till they trailed in the dust,
Until her feathers dusted the ground.
Till they sorrowfully trailed in the dust.
Sadly, they lay on the ground.
I replied: 'This is nothing but dreaming:
This is just a dream, I said.
Let us on by this tremulous light!
Let's follow this trembling light.
Let us bathe in this crystalline light!
Let's bathe in this clear light.
Its sibyllic splendor is beaming
Its remote and prophetic splendor is shining.
With hope and in beauty to-night;
Providing hope and beauty tonight.
Ah, we safely may trust to its gleaming,
We can trust this shining light.
And be sure it will lead us aright.
And be confident it will guide us correctly.
We safely may trust to a gleaming
We can be assured that the shining light
That cannot but guide us aright,
Will guide us in the right direction.
Since it flickers up to heaven thru the night.'
Since it brightly shines up to the sky in the night.
Thus I pacified Psyche and kissed her,
So I calmed Psyche and kissed her.
And tempted her out of her gloom
And tempted her to the light out of her sadness.
And conquered her scruples and gloom;
And overcame her hesitation and sadness.
And we passed to the end of the vista,
And then we proceeded to the end of the view.
But were stopped by the door of a tomb,
But we were blocked by the entrance to a tomb.
By the door of a legended tomb.
By the entrance to a mythological tomb.
And I said:'What is written, sweet sister,
I asked, my dear sister, what is written on the tomb.
On the door of this legended tomb?'
What is written on this mythological tomb's door?
She replied: 'Ulalume! Ulalume!'
She said, 'Ulalume, Ulalume!
'Tis the vault of thy lost Ulalume!'
It is the tomb of your lost Ulalume, she told me.
Then my heart it grew ashen and sober,
My heart became grey and serious.
As the leaves that were crisped and sere,
Just like the dry, withered leaves.
As the leaves that were withering and sere,
The leaves were drying up and deteriorating.
And I cried: 'It was surely October
I cried, it must be October.
On this very night of last year
On this exact night, last year.
That I journeyed, I journeyed down here,
That I ventured and came here.
That I brought a dread burden down here,
That I brought a terrifying burden here.
Of this night of all nights in the year,
It was the most critical night of the year.
Ah, what demon has tempted me here?
What devilish force has made me come here?
Well I know, now, this dim lake of Auber,
Well, now I know, this gloomy Lake Auber.
This misty mid region of Weir,
This foggy area of Weir.
Well I know, now, this dank tarn of Auber,
Now I understand this wet and murky Auber water.
This ghoul-haunted woodland of Weir.'
This forest populated by haunted creatures of Weir.
Said we, then--the two, then--'Ah, can it
We then asked each other, 'Could it be?
Have been that the Woodlandish ghouls,
Have the forest ghouls
The pitiful, the merciful ghouls,
The compassionate and merciful ghouls,
To bar up our way and to ban it
Blocked our way and prohibited
From the secret that lies in these goals,
Access to the secret hidden in the hills,
From the thing that lies hidden in these goals,
The thing that is concealed in these hills,
Had drawn up the spectre of a planet
Had brought up the ghost of a planet.
From the limbo of Lunar souls--
From the limits of Lunar spirits.
This sinfully scintillant planet
This wickedly shining celestial body.
From the Hell of the planetary souls!'
From the hell of the planetary spirits!
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@AppleSauceReturns
his voice is like haunting velvet, if that makes sense. Amazing rendition of this masterpiece. R.I.P Jeff and Poe.
@GillianDeVaal
I could listen to him read a phone book. what a beautiful speaking voice. and don't get me started on his ethereal singing voice.
@johnallred9842
GillianMcLain
He was (and is) incredible. Sexy times a trillion !
@artemisg.8057
I could agree more!!! unforgettable voice
@IldaUchiha
The guy who read this amazing poem is Jeff Buckley,an outstanding musician who drowned in Memphis at the age of 30. Talk about being blessed! I suggest you to hear him sing. I know for sure,you WILL be blessed.
@mave143
Still listening to this complete masterpiece bringing two legends together in 2023 #Buckley #Poe
@daisyglaze1817
I love how Jeff says my name (Dian). I've always been a fan of Poe and Jeff Buckley. I remember 17 yrs ago when I had found out this poem was read by Jeff I was ecstatic and couldn't wait to get to the part where he says "Dian". He says it so beautifully.
@IldaUchiha
I could listen to his voice in eternity and still get amazed at how perfect it is. Jeff,thank you for enriching this world with your hauntingly beautiful soul.
@Esirre
can any man write like Poe? a masterpiece
@YukiKunikida
Esirre Lansa can any man sing like Buckley?