Jeff Buckley, who tragically passed away in 1997, remains a figure of enduring intrigue of popular culture. The American singer-songwriter is celebrated as one of the 20th century’s most cultishly revered musicians, often likened to Nick Drake, another gifted artist whose life ended far too soon. Adding to Buckley’s mystique—partly due to the media landscape of the time—is the scarcity of personal insight. Beyond a few recorded interviews and second-hand accounts from those who knew him best, much of the man behind the music remains elusive.

It confirms just how full-bodied Buckley’s work is that nearly 30 years after his death, his limited back catalogue continues to earn more diehard followers. It only takes one listen to a handful of his songs to comprehend just how exceptional his vocal range, guitar playing, and songwriting abilities were. Yet, while his talent is evident, most fans know little about Buckley’s character, save that he was a shy, kindly soul who struggled his whole life to escape the shadow of his father, the folk legend Tim Buckley.

However, one account many have missed paints him in a more multifaceted, authentic light than most others. It adds clear shades to the relatively one-dimensional tragic figure his fans are familiar with.

According to Steve Berkowitz, the executive producer of Buckley’s sole album, 1994’s Grace, the first weeks of recording the album were a “volcanic eruption of artistry” for the musician, who experimented with an array of arrangements for his songs. In 2002, Berkowitz recalled that Buckley had “hundreds of ideas”.

Despite enjoying such an abundant flow of creativity, the suggestion that Buckley recorded these ideas for posterity irked his spontaneous nature. After Grace arrived, he explained why he hated the “excruciating” recording process: “It’s in a crystallised form, so it’s very nerve-wracking: which brain cell do I put down here forever and ever?”

Most musicians would agree with that. Yet, the toil of creating his masterpiece was not over there. Towards the end of the album sessions, a review of his storied 1993 EP, Live at Sin-é, sent him into a meltdown. It adds a different dimension to the late artist we’re used to hearing about.

When a review of the EP was published in Newsday, which negatively compared it to popstar Michael Bolton’s latest album, understandably, Buckley couldn’t handle it. Describing them as two white vocalists with expressive voices drawn directly from “black idioms”, the critic then argued that Buckley and Bolton both oversang and relied on sheer will over technique.

Buckley was so hurt that he postponed the Grace sessions for two days. Then, a few months later, he was clearly still put out by being compared to Bolton. When asked about the review by Interview magazine, he made his thoughts very clear on the ‘How Am I Supposed To Live Without You’ singer.

“Oh, shit, that’s really disgusting!” Buckley expressed. “The thing is, I’m not taking from that tradition. I don’t want to be black. Michael Bolton desperately wants to be black, black, black. He also sucks.”

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