Sketches For My Sweetheart The Drunk - Jeff Buckley

So where do we start with this review? Where can we start? May be an even betetr question. "Sketches for... My Sweetheart The Drunk", was going to be "My sweetheart the drunk", the follow up to the critically acclaimed "Grace", the 1994 album Jeff Buckley recorded with his band (Matt Johnson, Micheal Tighe and Mick Grondahl-Percussion, Guitar and Bass respectively) (others are creditted such as Gary Lucas, and Karl Berger ...
...the band did several years of touring, until the record label became impatient and wanted a second album from Jeff. This album was going to be "My sweetheart the drunk", the album that never got completed.

Whilst on tour Matt Johnson left, and the band were forced into getting a new drummer (eventually settling for Peter Kindred), but the rest of the line up remained intact . And with this they set off to record new material ... more

So where do we start with this review? Where can we start? May be an even betetr question. "Sketches for... My Sweetheart The Drunk", was going to be "My sweetheart the drunk", the follow up to the critically acclaimed "Grace", the 1994 album Jeff Buckley recorded with his band (Matt Johnson, Micheal Tighe and Mick Grondahl-Percussion, Guitar and Bass respectively) (others are creditted such as Gary Lucas, and Karl Berger for lesser roles).

After "Grace" Jeff and the band did several years of touring, until the record label became impatient and wanted a second album from Jeff. This album was going to be "My sweetheart the drunk", the album that never got completed.

Whilst on tour Matt Johnson left, and the band were forced into getting a new drummer (eventually settling for Peter Kindred), but the rest of the line up remained intact . And with this they set off to record new material for "My sweetheart the drunk".

To begin with the band recorded a session with Tom Veraline (a former punk lead man from the band "Television") (this appears on the first disk of the album). These are all fully mixed and studio recorded, but Buckley was displeased with them (which is why it wasn't released as an album).

The second disk consist's mainly of the 4 track demo's he made in his house away from the band whilst spending time on his own and contemplating the album. It also has 2 unmixed versions of songs from the Veraline saessions and the song with which his memorial ended.

Disk 1 track listing- (credits are in brackets where the whole thing wasn't Buckley)
"The Sky Is a Landfill" (Jeff Buckley, Michael Tighe) - 5:09
"Everybody Here Wants You" - 4:46
"Opened Once" - 3:29
"Nightmares by the Sea" - 3:53
"Yard of Blonde Girls" (Audrey Clark, Lori Kramer, Inger Lorre) - 4:07
"Witches' Rave" - 4:40
"New Year's Prayer" - 4:40
"Morning Theft" - 3:39
"Vancouver" (Jeff Buckley, Mick Grondahl, Michael Tighe) - 3:12
"You and I" - 5:39

So the opening track "The sky is a landfill", has been noted as being anti-establiment from the lyrics ("You sing in praise of suicide. We know you're useless,
Like cops at the scene of the crime,
With your steroids and your feedbag and your stable
and your trainer,
I got a mail bomb for you, Mr Strong Arm.")

And it has also been noted as being about the way men treat women badly
("Moving with grace the men despise,
and women have learned to lose.")

This (like the whole of the first disk) was recorded with Tom Veraline, and has been compared to "Eternal life" from "Grace" with the angry lyrical composition and strong charging vocals. The musical backing adds to the feel of the song which right from the opening line shows one way that Buckley could have taken his career had it not been cut short. The heavy almost post-punk feel with anger strained along every word which is sang as clear as day. An excellent start to the album, and questions must be asked as to why this wasn't released as "My sweetheart the drunk". 10/10

The second track, "Everybody here wants you", is somewhat ballad like, and shows a second direction where Buckley could have taken his talents. A tender, soft caring love song, with lyrics that rival the opening tracks and a voice that would bring an angel to it's knees in tears. The song has emtions, images, brilliant lyrics and vocals and everything you need to make a perfect song. The best of the lyrics though, are probably the opening ones:
"Twenty-nine pearls in your kiss, a singing smile,
coffe smell and lilac skin, your flame in me."
10/10

The third track "Once opened", is another softer tender song, with lyrics that will again blow your mind and the vocals will blow your blown mind ever more. A simple single guitar offers the musical support for Jeff's vocals to shine as ever. Although this song is brilliant, it does seem like a let down compared with the two previous songs (then again "Stairway to heaven" would also feel like a let down compared to them).

The fourth song, "Nightmares by the sea" is on the first and second disk (the second disk version is a none mixed version, and sounds basically the same just without the polish). This song shows a darker side musically to Jeff that we rarely see, and this is shown in both the vocal and lyrical content as well as the musical one. Despite the praise I've heaped upon it, it's not as good as the opening two songs, but it's standard is high. As with all of Buckley's work it's hard to review it with any consistancy compared with other artists' as he was (and is) so much better than a high marjority of them. 8/10

"Yard of Blonde girls" is the fifth song, and is the only non-Buckley written (or collaborated) song on the first disk. It was written by Audrey Clark, Lori Kramer and Igner Lorre, AKA The Nymphs, who originally recorded it. Having not heard the original I'm unfit to compare the two, but this version again allows Buckley's subliminal vocals to shower us in wonderment and amazement, like rain falling on the musical perfection performed by Tighe, Grondahl and Kindred. 8/10

"Witches rave" is one of my least favourite songs off the first disk, as the music seems poor (compared with the high standard from the rest of the disk). The vocals also sound oddly below the standard that Buckley is known for. The lyrics though are admittedly brilliant again right through the song. Not a cliche'd line in sight (or ear shot for that matter), even the greatness of the lyrics can't save this song though. 6/10

"New years prayer", the other song from this disk thats also on disk two. This is basically a mantra as opposed to a "song", and I'll be the first to confess this is by far the worst track on the album. The vocals are far below that of the opening 5 songs, and just not what you've come to expect from Buckley on the whole. This same idea applies to the music, which has dropped to the lowest point on the album, but what m,akes matters worse for this song, is the lyrics don't save it either. A drab affair, that maybe the highlight of other peoples' albums, just not this one. 4/10

"Morning theft", This is a brilliant return to the quality shown in the opening 5 songs. A brilliant guitar opening before Buckley returns to form with his vocals in check, and a performance to be proud of. It's just a shame the previous two songs were such a drop in quality, but in a way it makes you happier that you can hear songs like this and appreciate them much more. The lyrical stakes have been upped by several gears as seen in this particular line:
"A heart that beats as both siphon and reservior"
The vocals seem to capture the moment so wonderfully well and it's a song that you sit and wonder why it had to end. 10/10

"Vancouver", Another brilliant opening guitar intro, before Buckley's vocals kick into action in a rather "choppy", pacey and fast vocal song. The lyrics are again in a league with only other Buckley lyricsm and yet on paper they seem liek they'd be hard to sing he manages them with blissful ease as he takes us through a medley of vocal styles and registers that really showcase his vocal talent. 9/10

The final track off the first disk is "You and I", this song, despite being recorded by Tom Veraline, is the only one actually mixed by him (as opposed to Andy Wallace). A deep dark sounding vocal helps give the song a gothic feel, almost as though it was recorded in an empty church. The song shows Jeff's vocal range and another way in which his career could have gone. The dark sounds seem a fitting way to end what would have been "For my sweetheart the drunk" had it been released and he still died. 8/10

Disk 2 track listing-
"Nightmares by the Sea" (Unmixed) - 3:49
"New Year's Prayer" (Unmixed) - 4:10
"Haven't You Heard" - 4:07
"I Know We Could Be So Happy Baby (If We Wanted to Be)" - 4:27
"Murder Suicide Meteor Slave" - 5:55
"Back in N.Y.C." (Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, Mike Rutherford) - 7:37
"Demon John" (Jeff Buckley, Michael Tighe) - 5:13
"Your Flesh Is So Nice" - 3:37
"Jewel Box" - 3:37
"Satisfied Mind" (Red Hayes, Jack Rhodes) - 6:00

"Nightmares by the sea" and "New years prayer" are both rougher sounding version of the same songs on the first disk, this was "pre-production" sounding and never got mixed.

"Haven't you heard", This track is on here at the bans request, with them believeing it was the best thing they'd done from the Clouse sessions (after the Veraline sessions the band went to do some sessions with Michael Clouse). The bands opinion of this seems somewhat right, it's a brilliant performance of an amazing song., and would take some beating. The band seem to perform as not only a single unit, but as a unit that works to perfection in every possible way. The guitar, bass and drums all form a musical masterpeice, which when added to Jeff's soaring vocal's makes you realise how great the band really were. The sonic unity somewhat hides the fact that Kindred had only been with the band for a few months. 10/10

"I Know We Could Be So Happy Baby (If We Wanted to Be)" This is the first of the 4-track demo recording's contained in the CD. Again the vocals and lyrics sit so well together almost like brother and sister (with out the arguements of course), and with the guitar Buckley plays the song just feels like such a unity of sonic perfection. With lyrics such as:
"But there's no easy answer, none to blame or forgive.
We were two cripples dancing, to the bitter end we live."

We can only wonder what could have become of this great talent. The instruments (other than the guitar) where from experimenting (i.e. "Tapping on the mic" would be a "kick drum"). The song is apparently about Rebecca Moore, his one time lover, and this adds a wonderful touching peronal effect to it all. 10/10

"Murder Suicide Meteor Slave", This is the second of the 4 track demo recordings he did in his house in Mempis. With an odd title you presume it's going to be quite a weird song, and you'd be right. The weirdness leaves you intreguied as to what was really going on, or going to happen to this song. My flat mate seems to think it sounds like White stripes do live, if so I must say the white stripe live must sound terrible as the sound quality here is very low, it's the qorst quality of the home recorings on the disk. Again just Buckley singing and playing guitar, on his own. The ending sounds some what evil and scary, with the dark sounding "happy" repeated. Apparently at the time it was written Buckley was suffering from manic depression (Bi-polar disorder) (according to David Browne's "Dream Brother") but yet he was also meant to have been relaxing, chilling and having never felt better (friends of his) so this maybe signs of the bi-polar.
6/10

"Back in N.Y.C" This is a perculiar cover of a Genesis song, again a 4-track demo quality recoring that sounds better than the previous song. Buckley started his career with covers (among others, Edith Piaf, Nina Simone and Leonard Cohen) so I guess it's not too much of suprise to presume he was going to do covers on here. At over 7 mins 30, it's longer than the original, which on it's own is quite perculiar as Genesis often performed songs of a longer length of time (some songs going well over 10 mins). The quality although better than the previous song is still low (but it's to be expected with a 4 track). The vocals as always sound great and show them selves to be second to none, the guitar sounds as good as can be expected with the low quality of recording equipment used. The simple but strong beat allows Jeff's vocals to seek the perfetion they always seem to find. Unlike the original version of the song the lyric have changed, but keep a similar overall feel. Being a Genesis and Buckley fan I find it hard to really criticise this attempt at the song. 8/10 (Biased...probably, but it's my review.)

"Gunshot glitter", this song starts really lo-fi then it becomes less so, before heading back to the lo-fi feel of the opening, this makes it hard to really rate the song, but I'll try anyway.

The vocals are sadly as poor as the overall recording, though the lyrics are as always mind blowing, it's just a shame we need to get them from the inlay booklet (copied hand written notes) rather than get them from listening. They give a fascinating and vivid display of emotions and images, though sadly it's fair to say they are too vivid and actualy help to kill the song. With both the poor sound quality and too flashy but yet hard to listen to lyrics the only fair mark for ti is 4/10.

"Demon John" Another 4-track recording from Jeff's house in Menphis, so yet again low quality recording. The lyrics are again phenomanal with lines such as:
"Is it to excavate all your sins? Boil within?
Slaughter like the daughter of the devil you send me."

Again the worst thing about it (and about almost the entire album) is the fact it is merely only a "sketch" of what could have been. This leaves you somewhat visualising something that never will be, and it's somewhat depressing, that unless an equally talented artist comes along and covers a vast amont of the songs off this album, we've got to miss out. This song has everything, from fascinating lyrics, to fantastic vocals and the music to match both of them and it's a shame the song never made it to the studio for proper recording. 9/10

"Your flesh is so nice" In the inlay book, theirs some things written by Bill Flanagan. In his linear notes he described this song as "horny", and to be honest it really is, and that should be recogniseable from the title alone. A song that some fans relate to Jeff jokingly saying saying "I'm a lesbian in a mans body", with lines such as:

"And voluptous fingers
Wanna let her lick me
Stick the thick of my pussy
From across the street
She looks good enough to eat me"

Again it's a 4 track unfortunately, but with lyrics like the above do we really need to hear it in any better detail? (And for a four track the sound quality is relatively high for both the vocals, the guitar and the "experimental" noises). As seen above the lyrics are nothing like Buckley's usual thing, so it maybe that he was writing this to amuse himself rather than actually make the release to the general public. Whatever the story, the song is brilliant, amusing and how lust should really be written about. 9/10

"Jewel box", If the rest of the album didn't sell you it, this one track will by it's self. Bill Flanagan also mentions this song by name in the liner notes as being "...one of the prettiest things he ever wrote" (he being Jeff), and I'll admit, Bill is spot on. This is the last 4 track (though it's quality seems far higher than the others), and again you wonder "What could have been?". The song opens happily enough with happy sounding guitar playing, and the vocals match the guitar brilliantly well, and for the first time you forget he's dead and just smile in amazement at how great the song really is. His voice is back to the purity of the stuff before the 4-track demo's and you again see his unwordly gift of being able to scale 3 octaves and hit any and every note at choice. Bill Flanagan wasn't just being nice in his compliments, as shown by these lyrical excerpts:
"Diamonds from he pavement
Where the broken glass had been.
Just like this troubles that I'm leaving to the wind.
Like sapphires in boxcars speeding towards the end."

"Crystalize illusion shine, forgot I'm here
Jewel box of sadness, bring to catch your tear
Oh, you left some stars in my belly."

"Silver studs of promise hide in the red crushed velvet folds.
Inaction, intention, like emeralds I stole.
My speech of custom gold."

The best song on the album, and thats saying a hell of a lot. 10/10.

The final track "Satisfied mind" is a Buckley main stay, right from his time with Gary Lucas in 1991-11992 (Songs to no one) through his "Cafe' days" (Live at Sine') through 1996-07 (Mysterious white boy) and untimately through to his memorial. This exact version was the one played at his memorial in 1998. The song written by J Hayes and J Rhodes and originally performed by Ben Harper (also done by the Byrds and George Jones among others).
As with every performance Jeff ever did of this song, the guitar and vocals seem almost intimate to not only him, but to the listener as well (helsp that this isn't a 4-track). The music, vocals and lyrics seem to form a holy trinity of musical goodness that is rarely supassed.
Some what ironic that this was played at his memorial considering the lyrics seem to mention death an awful lot such as:
"my life is over and my time has run out
my friends and my loved ones, i'll leave these no doubt
one things for certain, when it comes my time
i'll leave this old world with a satisfied mind
i'll leave this old world with a satisfied mind
my life is over and my time has run out"

A brilliant addition to the CD and it was infact picked by Jeff's mum, Mary Guilbert. 10/10

So thats the two disk's covered.

With them of course comes the inlay booklet, it contains, pictures of Jeff, thank you's, notes by Bill Flanagan and Mary Guilbert, lyrics (or attempted lyrics in some places, deciphered by Miss Guilbert from Jeffs hand writing) and journal excerpts.

The album is a must for Buckley fans old and new, and despite having it's flaws, it has much charm as well which endears it's self to the audience, but leaves us all asking why did he go for a swim that fateful night?  

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