One reason for this, perhaps, is that the singles are not singles in the traditional sense. Though Grace was critically acclaimed following its release, sales were initially slow, and its tracks received little radio airtime. The album was comprised of seven original songs and three covers: ‘Lilac Wine’ ‘Corpus Christi Carol’ and ‘Hallelujah’, the latter of which was originally penned by Leonard Cohen. What came out of the Bearsville Studios in Woodstock, New York, complimented by overdubbing sessions in Manhattan and New Jersey, was nothing short of astounding. 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. Not only could he sing like an angel descended from heaven, but his guitar skills were second to none, and he regularly went off on improvised jams with his signature tone from a butterscotch Fender Telecaster and a distinctive plate reverb.Įventually, Columbia Records signed Buckley, having caught wind of his musical prowess, and they released Live at Sin-e in November 1993. The way Buckley performed these renditions made it clear that he was a unique artist with a prominent musical career ahead of him. He acquired a regular slot at Café Sin-e in the East Village and performed solo, covering many of his favourite artists, including Bob Dylan, Van Morrison, Nina Simone and Nusrat Fateh Ali Khan, amongst many others. Much of Buckley’s public performances took place in cafes and clubs in Lower Manhattan around 1992. With a buzz growing around Buckley’s future career, he moved to New York City and set about writing some songs with Gary Lucas, including ‘Grace’ and ‘Mojo Pin’.
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