As well as trying to discover new music, I'm also quite interested in figuring out just who is/are the greatest recording artist of all time. While I certainly understand the futility of such a venture, considering the inconsistency of public opinion, the fluidity of tastes, and the ever-changing landscape of music, that hasn't stopped me from keeping a running list of the 50 Greatest Artists Of All Time. Now, I understand that there are some serious flaws in this list, such as (at the time of this writing) Toadies ranking higher than Radiohead, or the inclusion of Panic! At The Disco at all so I have decided to spend some time listening to other albums by people on this list. Take Jeff Buckley, for instance. He has been sitting at the top of the list (and probably deservedly so) ever since Grace blew my mind back in March of 2010. Even with the inclusion of live album, Mystery White Boy, Buckley is still sitting pretty at number 1 on the list.
This brings us to Sketches For My Sweetheart The Drunk, a posthumous album whose title references the unfinished, originally titled record, My Sweetheart The Drunk. At twenty tracks long, spanning two discs, the album is an investment of time and wonder, whose difference of style from other albums is an unknown combination of incompletion and adventurous spirit.
"The Sky Is A Landfill" is a great song with an anti-establishment, or at least anti-something kind of power to it. When you combine Buckley's incredible talent with the intensity of antagonism, magical things happen.
"Yard Of Blonde Girls" demonstrates the kind of accessibility that I had nearly forgotten that Buckley was capable of. When I hear the song, I can't help but liken it to a collaboration between Our Lady Peace and Smashing Pumpkins. Now that's a crossover I would pay to see. It's not likely, so I'll just listen to a lot of "Yard Of Blonde Girls" instead.
"Witches' Rave" has a great groove to it once it gets going, hitting its stride when Buckley goes into that gorgeous, controlled falsetto.
In a few occasions, the album presents alternate versions of its music. "New Year's Prayer," for instance, has a great, mysterious sound to it that is similar, but even sexier, the second time around.
"Vancouver" presents problems for me. There's a certain kind of sound that Buckley sometimes goes to, a really loosely structured, free-floating sort of thing, which I don't love. But, once we get to the end, at the climax, "Vancouver" remembers how to be absolutely incredible.
Follow that up with the nearly silent, and undeniable haunting "You And I."
"Haven't You Heard" is a great example of the versatility of Jeff Buckley. There's a not-so-great falsetto thing that starts around 1:40 but it's followed up by this great, heavy blues portion around 2:10.
I'm sure that, simply because I don't like it, "Murder Suicide Meteor Slave" is some people's absolute favourite Jeff Buckley song, but it's dissonant and difficult to listen to. There are a few triumphant, consonant moments, but the fact that I am tempted to call them "redemptive" should tell you how poorly I think about the rest of the song.
"Your Flesh Is So Nice" is the kind of sexy song that isn't so much sexy as it is sexual. It's not something you'd put on while you're doing the deed, but you'll probably want to after hearing it.
With twenty tracks, it's hard to imagine being able to fill it entirely with wonderful gems. There is some really incredible music on here, but not every album can be another Grace.
Other Recommended Tracks:
"I Know We Could Be So Happy Baby (If We Wanted To Be)"
"Satisfied Mind"
Rating: 3.8 stars
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