Knowing Not Knowing
"Early in the spring of 1997, singer and songwriter Jeff Buckley headed down to Memphis to begin pre-production on what would have been his second full-length album. A few weeks after Buckley arrived, his bandmates flew in from New York to join him. He was in high spirits: the songwriting was going well, and he was reunited with his group. The same night his band arrived Buckley went out for a late-night stroll to a Memphis harbor and waded into the river. He had always admired Led Zeppelin, and was singing "Whole Lotta Love" when a boat passed in front of him. He lost his footing, perhaps dragged into the water by the boat's wake, and was never seen alive again. He was thirty years old, two years older than his father, the folksinger Tim Buckley, had been when he died of a drug overdose. "I first met Jeff Buckley and saw him perform about two years before he passed away. It was near midnight and Buckley was sitting int he back office of a Tower Records store in lower Manhattan. Buckley had become a scion of the Lower East Side antifolk scene, and was preparing for an in-store performance in support of his album GRACE. "But first he needed to do something: he insisted on listening to a crackly old recording of "The Man That Got Away" by Judy Garland, in the pretext that he wanted the store manager, who had given the CD to Buckley, to understand how magnificent a gift it was. Buckley needed to demonstrate the album's beauty. He had also picked up gratis CD reissues of vintage Aretha Franklin and Nina Simone records, and two albums by Nusrat Fateh Ali Khan, who had a major influence on Buckley's singing. While Buckley could occasionally summon the same kind of ecstatic vocal power that was Khan's trademark, his singing had more in common with Garland's delicate, vulnerable warble. "Buckley was an unglamorous star. That night he was wearing a wretched pair of weathered combat boots- the sort you occasionally see homeless men selling- a frumpy gray cardigan sweater, and jeans that hadn't been washed in a long time. Ditto his hair. In an oddly white-trash bit of accessorizing, Buckley's wallet was attached to his belt by a chain, in the style favored by motorcyle gangs. Three days of beard growth rounded out his anti-coif, but his sex appeal remained intact: a nervous girl approached to ask if, as she suspected, he was a Scorpio. Another pressed a poem she had written for him into his hand. He folded it carefully and put it in his pocket, as though he would cherish it forever. Maybe he did. Buckley was at an odd moment in his career when he died. Having moved to New York several years before from California, where he was raised by his mother, he crawled his way up through the ranks of teh insular lower Manhattan music scene. He had beome a mini-star in that highly circumsribed mircrocosm, perched on the cusp of national and international success. That night at Tower records the line between Lower East Side local hero and international stardom seemed pretty thin. On one hand, his debut album sold several hundred thousand copies (although more in Europe than America), and there was a trhrong of photographers and autograph-seekers pressing around him. ON the other hand, he wasn't above hauling his own gear onstage, more or less indistinguishable from the half dozen stringy-haired sound men and roadies who were putting together the sound system in the first place. "Buckley had no video in heavy rotation on MTV, largely because he insisted that people judge the music on the way it sounded before supplying them with an accompanying image. For the same reason, he refused to even suggest a single to radio deejays. 'What I'd love,' Buckley said, 'is if a deejay had a lineup of songs, and he'd just use one of my songs as part of a really nice evening. But that's the way I would deejay, not the way they do it. They usually have playlists.' "For a guy with folksinging in his blood, Buckley had assembled an arsenal of prog-rock guitar effects you'd expect at an Emerson, Lake, and Palmer show and had set his amp at cat-spaying volume. (In fact, he had been raised on Led Zeppelin and Kiss.) Several dozen more stringy-haired people with assorted rings in their lips and noses (his fans) materialized. AS he stepped onto the makeshift stage, a grumpy security guard began clearing some fans from a stairway, but Buckley interjected: 'Wait! Those are my friends! Can they stay there? I give them special permission.' What started as dispensation for four friends ended up being extended to anybody who wanted to stay. "The set began with a ghostly wail from Buckley, and a mildly Middle Eastern guitar line. He sang with a vibrato that quivered like the tongue of a snake. It was so atmospheric that you hardly realized his bandmates were rocking their tits off. That was the tension: Buckley ululating in sensual falsetto, the band churning out mid-seventies Led Zep knockoffs. He seemed a strangely ethereal cherub in the midsst of all that visceral thrash. "After the show, Buckley signed autographs, taking several minutes with the thirty or so fans who lined up for an audience with the tousle-haired singer. Rather than just scribbling an autograph, he wrote a personal note to each person. Everything he did seemed to place poetry before commerce, but I couldn't help wondering if it was all an elaborate ruse, a crafty stance aimed at those disenchanted with the slickness of pop posturing. Didn't Buckley, after all, want to make a lot of money and sell records? "'If it happens it'd be great,' he said later that night, over omelettes and wine at an all-night eatery, 'but we just play to express. I want to live my life playing music, so that we can be immersed in it. In order to learn how deep it goes, you have to be in it.' "As to why he took so much time with each of the fans who asked for an autograph, Buckley articulated his basic anti-rock-star stance: 'The way I experience a performance is that there's an exchange going on. It's not just my ego being fed. It's thoughts and feelings. Raw expression has it's own knowledge and wisdom." He trailed off, as though humbled by the mere thought of his audience wanting to hear him play, or asking him for an autograph. 'I've been in their position before and all I wanted was to show my appreciation to the performaer. So I feel like it's kind of generous of them to even be asking me for an autograph.' "'It's true that there's also the people who want a piece of you,' he conceded. 'But it's pretty hard to keep feeling protective all the time, because there's really nothign to protect yourself against. Sometimes people shout at me on the street, and they feel they know me through my music. But that doesn't substitute for a real personal relationship. I don't feel like people know me, I just htink we share a love for music in common, and for some reason they key into the way I play. I feel appretiative when people come up to me, and I feel good when we connect. Usually, it serves as a nice comedown after a performance. Any other conduct would bust the groove, because I'm buzzing when I get offstage, and I'm consciously protecting that connection because that's what got me through the performance in the first place. It's an invocation and worship fo this certain feeling, this direct line into your heart, and somehow music does that more powerfully than anything else. It's like ! a total, immediate elixir.' "By all appearances Buckley conformed to the stereotype of the poetic artist: largely lacking the practical, thick-skinned psychic barrier that separates most of us from the harsh realities of life. With a rabbit-like nervous disposition and a hypersensitive vulnerability that bordered on the tragicomic, he looked like he was about to burst into tears at any moment. His face was contorted and slightly tortured-looking during most of the interview, though I got the impression it wasn't so much the experience of being interviewed that was torturing him but the pain of grappling with his own thoughts and the world around him. "Relationships were at the heart of Buckley's world. Although he was marketed as a solo artist, the attitude he had toward his listeners mirrored the relationshiop he formed with his three-piece backing band. 'Playing with a band is all about accepting a bond, accepting everything the way it is. It takes a lot of patience and a lot of taking chances with each other. It wakes seeing each other in weak and strong lights, and accepting both, and utilizing the high and low points of your relationship.' "It wasn't only interpersonal relationships that Buckley held sacred-- he was aware of making his music in relation to all the sounds around him. The environment was Buckley's co-composer: to his ears, no melody or rhythm was separate from the sounds going on in the background. 'It's not like music begins or ends. All hinds of sounds are working into each other. Sometimes I'll just stop on the street because there's a sequence of sirens going on; it's like a melody I'll never hear again. In performance, things can be meaningful or frivolous, but either way the musical experience is totally spontaneous, and new life comes out of it, meaning if you're open to hearing the way music interacts with ambient sound, performance never feels like a rote experience. It's pretty special sometimes, the way a song affects a room, the way you're in complete rhythm with the song. When you're emotionally overcome, and there's no filter between what you say and what you mean, your language beco! mes gutteral, simple, emotional, and full of pictures and clarity. Were you to transcribe it, it might not make sense, but music is a totally different language." "'People talk all day in a practical way, but real language that penetrates and affects people and carries wisdom is something different. Mayve it's the middle of the afternoon and you see a child's moon up in the sky, and youfeel like it's such a simple, pure, wonderful thing to look at. It just hits you in a certain way, and you point it out to a stranger, and he looks at you like you're weird and walks away. To speak that way, to point out a child's moon to a stranger, is original language, it's the way you originate yourself. And the cool thing is, if you catch people in the right moment, it's totally clear. Without knowing why, it's simply clear. That sort of connection is very empirical. It comes from the part of you that just understands immediately. All these types of things are gold, and yet they are dishonored or not paid attention to because that kind of tender communication is so alien in our culture, *except* in performance. There's a wall up between people all day long ,but performance transcends that convention. If pop music were really seen as a fine art or if fine art were popular, I don't know what the hell would happen-- this wouldn't bee the same country, because if the masses of people began to respect and really open to fine art, it woudl bring about a huge shift in consciousness. "'Music is so many things. It's not just the performer. it's the audience and the architecture of the song, and each builds off the other. Music is a setting for poignancy, anger, destruction, total disaster, total wrongness, and then- like a little speck of gold in the middle of it- excitement, but excitement in a way that matters. Excitement that is not just aesthetically pleasing but shoots some sort of understanding into you.' "Buckley's songs were composed with made-up chords, bright harmonic clusters that seem too obvious not to have been written before, yet they rarely feel formulaic. There's a lot of open strumming, suggesting that the songs were written largely for the sheer physical pleasure of playing them. He and his band modified the arrangements during each performance, playing with an elasticity and openness typical of Buckley's personality. 'Hearing a song is like meeting somebody. A song is something that took time to grow and once it's there, it's on its own. Every time you perform it, it's different. It has its own structure, and you ahve to flow thorugh it, and it has to come through you.' "Buckley's entire career reflected on his outsider's approach to the music business. When he arrived in New York, rahter than recordings a demo or finding an agent, he simpley began to perform for free. He palyed at a small cafe on the Lower East Side of Manhattan, and before long, crowds were lined up out the door. As a result, representatives of record companies sought out Buckley, rahter than the other way around. 'There is a distinct separation of sensibility between art as commerce and art as a way of life. If you buy into one too heavily it eats up the other. If instead of having songs happen as your life happens, you're getting a song together because you need a cetain number of songs on a release to be sold, the juice is cuked out immediately. That approach kills it.' "Still, it took a strong belief in one's art to sit in a small cafe and trust that the world's record companies would come calling. buckley palyed down his seemingly effortless approach to career as though it were common-sense. 'I just wanted to learn cetain things. I wanted to just explore, like a kid with crayons. It took a while for me to get a record contract, but it also took a trememdous amount of time for me to feel comfortable playing, and that's all I was concerned with. And I'm still concerned with that, mainly. "'I don't think about my responsibility as a musician in terms of any kind of religious significance. I don't have any allegiance to an organized religion; I have an alligience to the gifts that I find for myslef in those religions. They seem to be saying the same thing, they just have different mythologies and expressions, but the dogma of religions and the way they're misusued is all too much of a trap. I'd rather be nondenominational, except for music. I prefer to learn everything through music. If you want divinity, the music in every human being and their lvoe for music is pretty much it. It's the big indication of their spirituality and their ability to love and make love, or feel pain or joy, and really manifest it, really be real. But I don't believe in a big guy with a beard on a throne, telling us that we're bad; I certainly don't believe in original sin. I belive in the opposite of that: you have an Eden immediately form the time you are born, but as you are conditioned by your caretakers and your suroundings, you may lose that original thing. Your task is to get back to it, so you can claim responsibility for your own perfection.' "buckley considered the development of awareness to be the main goal of his life. 'I think of it as trying to get more aligned with the feeling of purity in music, however it sounds. I think music is prayer. Sometimes poeple make up prayers and they don't even know it. They jsuit make up a song that has rhyme and meter, and once it's made it can carry on a life of its own. It can have a lot of juice to it and a lot of meaning: there's no end to the different individual flavors that people can bring to the musical form. 'In order to make the music actual, you have to enable it to be. And that takes facing some ting sinsude you that constrict you, your own impurity and mistakes and blockages. As yo uopen up yourself, the music opens up different directions that lead you in yet other directions.' "Asking most pop musicians if they're satisfied with records sales is liek asking moleds about the aging process: they say they don't care, but it's hard to believe. For commercial recording artists, sales are the only objective indicator of whether they're doing things right- that fans are sincerely motivated to walk into records stores by the tens or by the millions, pull out their wallets, and pay for the music. But with his quiet, unaffected boice nearly a whisper, Buckley steadfastly maintained tha the really didn't want to sell a million records- and it was strangely believable. When he talked aobut multiplatinum-selling bands who felt "disappointed" by a mere five million copies sold, the disgust he felt for commercialism was palpabale. 'The only valuable thing about selling records, the only thing that matters, is that people connect and that you keep on growing. You do many choices based on how many poeple you reach, meaning, now that I have a relationship with strangers worldwide, I have to try not to let it become too much of a factor and just accept it. The limited success we've had in the past is definately a factor, it's just there. It jsut is. The whole thing is such a crapshoot, you can't really control what your appeal is going to be. My music ain't gonna make it into the malls, but it doesn't matter. I don't really care to make it into the malls. "'Whether I sell a lot of records or not isn't up to me. You can sell alot of records, but that's just a number sold- that's not understood, or loved, or cherished. "'Take someone like Michael Jackson. Early on he sacrificed himself to his need to be loved by all. His talent and his power were so great that he got what he wanted but he also got a direct, negative result, which is that he's not able to grown into an adult human being. And that's why his music sounds sort of empty and wierd. "'Being the kind of person I am, fame is really overwhelming. First of all, just being faced with the questions that everybody faces: Do I matter? Should I go on? Why am I here? Is this really that improtant? All that low self-esteem shit. Your'e constantly trying to make sure that your sense of self-worth doesn't depend on the writings or opinions of other people. You have to wean yourself off acclaim as the object of your work, by learning to depend on your own judgment and knowing what it is that you enjoy. Youhave to realize what the difference is between being adored and being loved and understood. Big difference. "'I don't really have super-pointed answers to the big questions. I'm just in the middle of a mystery myself. I'm not even that developed at having a real psycho-religeous epistemology about what I feel. All I can tell you is that I feel. It's just the same old fitht to constantly be aware. It's an ongoing thing. It'll never be a static perfect thing or a static mediocre thing, it just has it's rise and fall.'" The following chapter has been transcribed from Shambhala Publishers' _Inside the Music: Conversations with Contemporary Musicians about Spirtuality, Creativity and Consciousness_, by Dimitri Ehrlich; ISBN #1-57062-273-6
