Download Album Zoe Grace

Grace Under Pressure, however, feels like the band was done experimenting with guitars-plus-synth and now got it down to a more refined state. Looking at the album as a whole piece of music, the album certainly sounds more complete than Signals did. Each song fits with the one prior and leads nicely into the one after it. The balance of hard rocking guitars and bass works nicely with synth nicely whether serving as a lead or as a supportive instrument.

1993's Live at Sin-e EP gives the best idea of what Columbia's A&R; rep must have seen in Buckley at the time. At shows, he was the picture of a high diva: sprawling, boundless and with more than a pinch of self-conscious glitter. However, as he revealed in The Making of Grace, the behind-the-scenes feature that leads off the third disc DVD in Columbia's new "Legacy" edition reissue of his debut full-length, he needed a band. He already had Grondhal, met drummer Matt Johnson through Grace executive producer Steve Berkowitz, and, midway through recording the album, brought in guitarist Michael Tighe (who eventually contributed "So Real", to which Buckley added a chorus and put on the record in place of the bluesy "Forget Her"). Producer Andy Wallace speaks on the documentary about his concerns over how much of the record should reflect Buckley's solo performances, but true to form, the singer wanted it all.

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On her sixth album, Grace, Wright translates with phenomenal fluency between inner awareness and outward demonstration, individual seeking and conscious communion, ecstasy and empathy. The achievement's all the more remarkable when you consider that this 10-song set is the fruit of her will to overcome the alienation she felt from her native region in this distressingly divided political climate. Before completing the album with producer Joe Henry, she took a road trip through the rural South, reacquainting herself with the people and places she came from. She told me that there was an urgency to the journey: "I need to remember what I know to be my home ...and the way people relate and the way Southern people work, the way they cooperate, the way they're in tune with the earth. I need to study that right now for my own well-being, because I know the truth. I know my life."

Wright has often sketched southern landscapes across her albums, but she's primarily done it with deft application of tone, texture and allusion, as opposed to taking a more literalistic approach to supplying a sense of place. It's a mild surprise, then, that she found so much to inspire her in the courtly, regional romanticism of the jazz standard "Stars Fell on Alabama" and "Southern Nights," the symphonic R&B classic by Allen Toussaint. In her hands, each becomes scenes of contemplative luxuriance.

Above all, Wright conveys profound attentiveness: in her composed rendition of "Every Grain of Sand," an appreciation of divine presence from the third of Bob Dylan's born-again albums; in her supple, soothed version of Sister Rosetta Tharpe's sanctified blues number "Singing In My Soul"; in the album's sole original, "All the Way Here," which Wright co-wrote with Maia Sharp. Wright's Tharpe cover, with its buttery vocal runs and playful poise, conveys a deep sense of assurance, while the latter song, an elegant, orchestrated pop ballad, testifies to inner-directness. "Took a cold call from deep inside," she murmurs, "voice was sweet and sanctified. In my bones a revelation, that love was mine to fight or to follow all the way here."

Eventually, Columbia Records signed Buckley, having caught wind of his musical prowess, and they released Live at Sin-e in November 1993. Now the real work was to begin, and Buckley set about recording his debut album with producer Andy Wallace, backed by a band comprised of Mick Grondahl, Michael Tighe and Matt Johnson.

Upon getting home (again if memory serves me correctly) my older brother was waiting for my mom to take him to the music store, probably Music Plus, to get the new Rush album. Oh, you mean Grace Under Pressure as a gleefully pulled out the new album on cassette tape like a magician.

The power and influence of Grace increases with each passing year. Here, Daphne Brooks traces Jeff Buckley's fascinating musical development through the earliest stages of his career, up to the release of the album. With access to rare archival material, Brooks illustrates Buckley's passion for life and hunger for musical knowledge, and shows just why he was such a crucial figure in the American music scene of the 1990s.

EXCERPT:

Jeff Buckley was piecing together a contemporary popular music history for himself that was steeped in the magic of singing. He was busy hearing how Dylan channeled Billie Holiday in Blonde On Blonde and how Robert Plant was doing his best to sound like Janis Joplin on early Led Zeppelin recordings. He was thinking about doo-wop and opera and Elton John and working at developing a way to harness the power of the voice...In the process, he was re-defining punk and grunge "attitude" itself by rejecting the ambivalent sexual undercurrents of those movements, as well as Led Zeppelin's canonical "cock rock" kingdom that he'd grown up adoring. He was forging a one-man revolution set to the rhythms of New York City and beyond. And he was on the brink of recording his elegant battle in song for the world to hear.

Nearly ten years since the release of their debut album, The Hymn of a Broken Man (2011), Times Of Grace are finally seeing the release of their much anticipated sophomore record, Songs Of Loss And Separation. The band started out as a passion project between singer Jesse Leach and guitarist/producer Adam Dutkiewicz, who both primarily operate as members of the legendary modern metal outfit, Killswitch Engage. While in Killswitch, the two have actively toured the globe showcasing the power of sheer adrenalized riffs and breakdowns, and they even managed to earn their 3rd Grammy nomination back in 2019. However, since touring came to a halt, both Adam and Jesse found themselves with extra time and some untapped creative juices that they decided to use for their long dormant side project, Times Of Grace.

What were some of the key factors that you guys wanted to prioritize when going into this second album, specifically to differentiate it from your other projects like Killswitch, but also build upon what you had with the first Times Of Grace Record?

At the time of his death, Buckley had been working on a follow-up to Grace, a debut that was well-received by critics (Entertainment Weekly named it one of its ten best albums of 1994), but sold poorly. ff782bc1db