Customer Reviews

Songs to No One 1991-1992

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3 star:		(1)
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1 star:		(1)

 

 

It's probably a good bet that the majority of people who buy this CD are doing it because of the name Jeff Buckley. I did. Of course there's no denying the incredible talent that Jeff gave us. But what this album did for me is to spark the fuse into learning more about the music of the extraordinarily versatile, Grammy-nominated Gary Lucas. What few may realize is that without Gary, there is no "Grace" or "Mojo Pin," as he is the creator of those hauntingly sweet musical notes (Jeff wrote the words). Although the song "Grace" from Jeff's solo LP is a beautifully polished studio version, this CD contains not one, but two earlier variants which exude a nascent energy not so evident on Jeff's solo album.

Although the song "Grace" is one of my favorite songs in the world, I actually prefer the two versions on "Songs to No One" because the raw tones of Gary's guitar and Jeff's voice sound much more vulnerable and passionate without such a full, heavy back-up orchestration. On the club Roulette live performance of Grace, Jeff starts out with an innocent little harmonica tune which seems to swiftly end in a minor chord which gently, but firmly captures the ear and immerses the soul into a musical orgy with those infamous first rifts of the song. I'm not particularly fond of the harmonica spotlights later found in the song, but for true lovers of "Grace," it's interesting to hear early launches of the song.

This version of "Mojo Pin," is refreshing because of its simplicity. I never realized how much the heavy bass and drums really weighed down this song on the album, "Grace." Jeff's voice is beautifully showcased, being impelled and kept lightly afloat by Gary's fluid whisperings of guitar. The end of the song is a bit raucous, but it feels like a welcome release of energy.

This album is not for those looking for neatly packaged, polished, bubblegum pop music, which is probably why some of the reviews here are not glowing. This music requires a sophisticated ear with depth to absorb the true musical genius of both musicians, which is sometimes baked underneath a slightly rough exterior caused by these demo and live performances, which, to my understanding, were never intended to be released in album form. Personally, I hope this CD helps propel word of the grotesquely underrated luminary who obviously had a great impact on Jeff's development: Gary Lucas. I've recently discovered his diverse repertoire of rich troves and have unearthed some of the most incredible harmonies I've ever heard in my life. If you're a fan of Jeff Buckley, I'd highly recommend Gary's albums, "Skeleton at the Feast," and "Level the Playing Field," both highly-praised albums by well-respected critics. They're both utterly spectacular.

Before you read another review calling this album redundant and unenlightening, read a review that should banish all negative reviews to the farthest corners of your brain if the following suggestions are heeded.

First point: Song 2 "How Long Will It Take" alone makes the CD worth having.

With that said, proceed to second point for carefully crafted "listening suggestions." These suggestions are designed for the sole purpose of enhancing your appreciation and love for this and other Buckley albums.

Second point: This album is best left til dessert. It simply can't be written off by anyone who does not have more than passing familiarity with at least 3 of the 4 albums listed below. Listen to it after listening to 1) Grace 2) My Sweetheart the Drunk 3) Live at Sin-e 4) Mystery White Boy, in no particular order except for #1, Grace

Heeding these suggestions will result in a rich appreciation of the diversity and magic of Buckley's early work.

Mojo Pin (track 3)and both versions of Grace (tracks 5 and 11) provide a rare glimpse into both the studio and live evolution of 2 songs which would later become part of Grace, the only album released during Buckley's lifetime and a musical coup de gras of the highest order. This early version of Satisfied Mind, track 6, is also a true gem.

the saddest day in music for me was the day that jeff buckley died. we'll never know where he was going to take us with that voice. this cd is only able to offer us some more insight into where those places might have been. "hymne a l'amour" alone is worth a trip to the record store and the price of the cd. "harem man" is also a necessary addition to any buckley collection. the man had passion. the man had an incredible gift. this cd proves it once again.

In 1991 the chief draw to these tapes would have been the acclaimed former Magic Band guitarist Gary Lucas. Now, of course, the presence of a 25-year old Jeff Buckley who was yet to make his recording debut is of overriding interest and the reason for these shelved demos, radio broadcasts, club performances and studio sessions recorded between August 1991 and April 1992 seeing the light of day. One of the major voices of his generation, he was sadly only to live another five years and to produce only one finished album in his lifetime.
No shoddy cash-in, this collection was commissioned and assembled under the watchful eyes of Mary Guibert, Jeff Buckley's mother, and Michael Dorf, from the Knitting Factory, where some of these live recordings originated. Its eleven tracks, beginning with a shattering performance of Edith Piaf's Hymne A L'Amour, document a critical moment in the formative period of Buckley's career, and include early versions of Mojo Pin and Grace, pivotal songs that Jeff Buckley wrote in collaboration with Gary Lucas while they were in the band Gods And Monsters, and which appeared on the album Grace with Gary Lucas guesting on guitar. The pair had met in April 1991 at the time of a tribute concert held at St Ann's Church in Brooklyn for Tim Buckley, Jeff's father, when both had wanted to perform the song Sefronia.
The twelve months that followed were transforming for Jeff Buckley's singing and musical direction and some of the key moments are documented here, including moments from the night at the Knitting Factory on 22 March 1992, broadcast live on the Music Faucet Show on WFMU, ten days after he had announced his decision to leave the band for a solo career, where, at the end of a tension-filled performance, he stayed on stage to perform an unaccompanied and poignant rendition of A Satisfied Mind.
This track has been embellished for this release for some reason, with additional guitar performed by Bill Frisell. This is a questionable practice but the end result does not sound unnatural or overstated. One other track has been doctored; She Is Free, which was a duet rehearsal recording made at Gary Lucas's home in January 1992, now more extravagantly features the band Sex Mob simulating the sort of direction Jeff Buckley was to develop within his music in the following year. Both Mary Guibert and the producer Hal Willner assure us that these overdubs improve the original recordings and that Jeff Buckley would have approved, though I feel slightly uneasy listening to something by him that he never heard.
Listening to the raw talent on show in these recordings, the subsequent success of Jeff Buckley, live and on record, was clearly inevitable

I didn't even know about this album until I was browsing around at the store, and then I saw it there. I noticed that it had a few songs from Sketches and Grace, but I bought it anyways. Little did I know how incredible it would turn out. The songs on the album showcase beautifully Jeff's voice. Nevermind trying to equalize him with the band. Also, some of the other songs are different than what I was used to hearing. "Harem Man" and "Malign Fiesta" were heavier with the rock and roll, but Jeff's voice still beats it all. I love this album.

is reincarnated through this album. I'm not saying that this is the best post-mortum release to be added to his name, but it marks a stage in his development as an artist finding his place. The recorded demo of "Grace" shows the trial period along with this phenomenal version of "Satisfied Mind." I know Jeff wouldn't have allowed us to hear these and we probably would've been blessed with much greater, more complete releases. However, this brings light to our famed Mystery White Boy and I am thankful for this.

Jeff Buckley and Gary Lucas met at the Greetings From Tim Buckley tribute concert at St. Ann's Church. The two wanted to play Sefronia, and so they were paired together for the event. A friendship and a musical partnership grew. The following are the recordings done during the union.

This CD is a curiosity, a must for those with the desire to fill their Jeff Buckley collection and a raw, strange musical experiment for others who might be unfamiliar with Buckley's other work.

Fans, do not be discouraged from buying the CD. Jeff's vocals are as amazing as always. Lucas's style is obviously different than Buckley's, but it is also interesting to see how the two worked together and shaped each other's music. However, the vocals and the guitar don't mesh nearly as well as they did when Buckley created his own band with Michael Tighe, Mick Grondahl, and Matt Johnson. Still, we get to hear the beginning stages of several songs Buckley recorded later in his career including Mojo Pin, a really nice variation of Grace both recorded in a studio and performed live, and Satisfied Mind. There are also several new songs. The live Cruel has the feel of a classic rock song mixed with a few modern elements. She is Free stands out too; you'll probably find yourself bobbing your head along to its mellow rhythm.

The CD was not meant to be released to the public; the recordings were used for personal use. We get to hear Buckley playing with his voice, using different and primitive methods to create something that works. All of the imperfections are included here like wrong notes, false starts, feedback from the microphone, and moody humming. However, this is something special to hear, something we only hear in Buckley's live recordings and something cherished by most fans for being spontaneous and real. The CD ends with a very funny but short bit with Buckley acting as if he were a preacher, yet another reminded that he was a truly gifted performer.

I'm a long time Buckley fan who has always been disappointed that his star never got to shine as brightly as it could have. Despite that fact, there has been quite a lot of material released posthumously which i have been very grateful for. However, as it is alot of demos and unintentioned releasing, atleast in the case of Buckley, it's not the polished gem Grace was. Having said all this, Songs to No One, an aptly named compilation, goes back and exhibits Buckleys inspiration and early songwriting. A cool historical piece with some interesting views into songs that developed into different animals as his career progressed. Recommend to any music fan, but especially to those who know and love all of Buckleys catalog.

I love this album. I have never heard some of these sorts of songs from Jeff Buckley before. I didn't realize he had this musical experience as far as being in this band with George Lucas. They certainly were a good duo for writing songs. George had the different but awesome licks on the guitar that matched very well with Jeff's singing style. I love the lyric Jeff comes up with he is one of the best lyricists I have ever heard. I can really see he puts a lot of thought into all aspects of the music. This album is really a treat to have if your interested in Buckley's musical development.

While this album has a sloppy, workshoppy feel, I have to say that it gives me lots of pleasure! It's nice to see Jeff looking adorable, young and androgynous in the photos (the booklet is nicely put together). Gary Lucas' willingness to experiment obviously gave Jeff a chance to work some melodies out, so this is a jazzier, more experimental Jeff Buckley than we've ever heard before. There's a kind of mellowness and humor in these songs, and little sense of the urgency, intensity and potential tragedy of records like Grace, and Sketches. It's Jeff before the myth took hold. Maybe he still had a sense of hopefulness about life and his future when he created these songs.

Particular standouts for me are "Hymne a l'Amour," which roams all over the place in an interesting way, "Song to no one," which does the same thing, "She is free," and "Harem Man." I enjoyed hearing the tentative early versions of "Mojo Pin" and "Grace." There's an emotional version of "Satisfied Mind" which doesn't have the piercing clarity and perfection of the version on "Sketches," but that's all right. The only clunker for me is "Cruel," which is a sort of morose heavy metal screamer.

This project was put together with love by Hal Willner, and it shows. Gary Lucas should feel proud too. He nurtured Jeff's rising talent and didn't get a lot back, but you can tell while listening to the songs that these two musicians had fun together, and that Gary gave Jeff a safe, supportive place to develop his vocal chops! To sum up, a good-hearted album that devoted Buckley fans will want to add to the collection.