If You Like Jeff Buckley, Then...

Jeff Buckley probably gets more deep swoons from more people than any 90s artist. More than Radiohead, more than Nirvana, more than Pavement (thank God). Guys, girls, teenagers, elder Boomers, passive radio listeners, hard core music fans, whatever, Jeff Buckley is that kind of artist. His was the kind of talent that was not just extravagant, but was also very open about its extravagance, wailing that you be fully aware of its brilliance. In a world in which everyone wants so desperately to be the star of their own movie and spends most of their waking hours constructing virtual personnae for themselves, it is only more awesome when you witness a true talent, a true star. That was Jeff.

But this type of magnificence presents a difficulty for recommendation purposes. If Jeff Buckley was truly so spectacular, who are you going to recommend that can possibly stand within his radiance without being burned to a cinder?

It's a tough trick (isn't it always?). Assume, for now, that we can't match the raw talent. Can we find something in Jeff's essence that is more attainable to the rest of the mortal world? That depends, since he has several essences. On a purely aesthetic/expressive level, his range flows from the worldly romanticism of Edith Piaf, to the poetic mysticism of Van Morrison, to the honey & vinegar soul of Nina Simone, and many others. So far, so good. He has that superhuman falsetto, not merely clear, but soaring and tearing at the same time. Still, so far so good. Other people have falsettos, too. If we count the artists that came in Jeff's wake and add in the artists that piled on after Radiohead's OK Computer, we could easily fill an entire book with emotive, male vocalists that feature aching falsettos. What most do not have that Jeff did have is a counterbalance to the fey fragility that the falsetto conveys. In Jeff's case, that counterbalance came from many hours with Robert Plant and Led Zeppelin. What it amounts to is rock star balls & bombast, melodrama backed by force. This is crucial. Most male vocalists who lay claim to "sounding like Jeff" have the sincerity, the emotion, the falsetto, but are completely devoid of ROCK. And that is the difference between a vulnerable young man and a neutered wuss.

I'm not above recommending some of these types of male singers to Jeff fans because I know that the surface appeal has some common factor, but I also know they fall short. Considering the masculinity issues at stake here, I think certain female vocalists probably get closer to the heart of Jeff's deep, yet narcissistic and virtuosic soulfulness than most males do. I'd say Tori Amos is the closest thing Jeff ever had to a true artistic peer during his lifetime. Although not devoid of her own flightiness, when it comes to laying it down behind the piano and microphone (especially live), she, like Jeff could, really lets it wail with a full force gale. That kind of power is essential to the Jeff Buckley core. That's what still gets the back of the neck hairs standing on end. Sadly, that kind of power is truly rare.

Still, giving it my best shot, here's what I have in Pockit Rockit and why:

Essence: intense, sensitive, narcissistic, emotive, soaring, wailing vocals. Range and dynamics are key: hushed love songs to howling songs of loss. A little melodrama, but a lot of passion.

Means: range and technique, but also depth of musical foundation, from soul to qawwali to chanson to pop to jazz to heavy rock.

Special Sauce: Rock power, to transcend the puppy dog softness and teenage melodrama.

1) Tori Amos: Like I said, she's the closest peer--closest in essence, talent, and power--to Jeff. Truly awesome talent and expressive artistry as a vocalist and instrumentalist. Both soaring and hushed, and extremely intense with her own material while also passionate and sensitive with her many, usually remarkable, cover songs (her one misstep was the cover of Slayer's "Raining Blood"). My favorite is still her first album, Little Earthquakes, with "Mother," "Winter," and "Precious Things" really showing what she's all about.

2) Ours: New Jersey band who had a brief moment of possibility with a Columbia Records contract. Never happened. Too bad, since the vocalist, Jimmy Gnecco, probably came closer to matching Jeff's raw vocals than any other vocalist I've heard. He has all the sensitivity and all the power. There's even a touch of Bono in his tone. And the band also had a suitably big sound to nearly match the vocals. Sadly, the songs weren't always there, especially when they went for more modest-sounding tracks. But they really should have made a bigger impact. Their first album, Distorted Lullabies, is easily well worth getting at Amazon for $0.99.

3) Sunny Day Real Estate: Another rare band with an emotive, falsetto male vocalist that is capable of amazing force, as well as vulnerability. When they first burst onto the scene, they were touted as a possible successor to Nirvana. Didn't happen, though their smaller fanbase may have been more passionately devoted than Nirvana's. It wasn't until after some intra-band turmoil that they produced their controversial swan song, The Rising Tide. Some fans saw it as a heavy rock betrayal; I hear it as their finest, an album of oceanic strength and dew drop delicacy. Not dissimilar qualities to what made Jeff Buckley so affecting.

4) Martin Sexton: Here's where things start getting a little difficult. Sexton is really roots-based, folk-blues-rock dude. Far earthier than Jeff ever was. Connecting him to Jeff is based on two specious, though not necessarily erroneous, elements. First, and it always has to start here, is the voice. Sexton sounds much more like a grown man than Jeff. With that, there is a greater modesty and everyday quality to Sexton's voice, compared to Jeff's supernova light. But out of the jeans and cowboy boots, Sexton lets loose a startling falsetto of his own, letting his usually hidden feathers spread out behind him. This leads to the second, deep similarity between Martin and Jeff: they both make the ladies swoon. Check out his song "Glory Bound" or his cover of Prince's "Purple Rain" to get an idea of what he does.

5) David Sylvian: Speaking of swooning, Sylvian was one of the masters. Girls would swoon, boys would swoon...his voice was so breathily entrancing that it seemed he would likely swoon, as well, if he weren't so elegantly removed. In many ways, his emotionless rapture, European artiness and ethereal (even cold) glory are the antithesis to Jeff's outward, expressionistic, scene-stealing dazzle. Jeff burns red, while David glows a pale blue. But male beauty and its artistic display could resonate through many fans, not necessarily sexually as much as the realization of an idealized state. Dead Bees on a Cake is probably the best place to start, with "I Surrender" "Midnight Sun" and "Thalhiem" being among his best.

6) Rufus Wainwright: So much for my Led Zeppelin, heavy rock claims. Rufus is a proud friend of Dorothy and, in fact, performed a massive Judy Garland program in New York last year. His voice can soar, but it tends to come out of his upper throat and nose, rather than the screaming wail that was often Jeff's stock in trade. Rufus is too refined for screaming. But much of Jeff was not about screaming, either. Much of Jeff was refined and elegant, as well. Elegance and refinement aside, both are/were sophisticated artists capable of generating deep emotional responses in their listeners. Both are deeply passionate and soulful, with brilliant grasp of melody and dynamics. So they're approaches are a bit different, both are dazzling talents with narcissistic streaks and I'm willing to make the leap that many Jeff fans would be, if they're not already, huge fans of Rufus'.

7, 8, 9, 10) Arid, Autumns, Prayer Boat, Starsailor: Four decent, but flawed, bands that have their own appeals without knocking the ball out of the park. These are some of the better of the bands I mentioned above that get that falsetto thing right, but either miss the power or the dynamics that made Jeff special. Arid, nice vocalist of course. But he is by far the best part of the band's fairly bland, mainstream "alternative" sound. Best tracks: "Little Things of Venom." Autumns, probably the most original of this quartet. Their albums have atmosphere and flow due to their big washes of "shoegaze" style guitar. The vocals reach some nice crescendos, but I'm still left wanting more in the way of memorable melody. Their self-titled album, Autumns, is worth checking out. Prayer Boat sound good on their first song: soaring vocals, rising swells and all. But song after song, you hear the band's limits in vocal delivery, compositional variety, and all-around impact. Starsailor got some attention, along with peers such as Keane, in the wake of Coldplay's initial success. Again, pleasant band, some good melodies, but just not remarkable enough to demand space in your CD player or iTunes. They did name themselves after the most experimental album of.......

11) Tim Buckley: Jeff's dad. It's all-too-obvious, but it must be said again that Tim was the most dazzling vocalist of the late 60s, US folk scene. The most spectacular technique, the widest range, coupled with probably the greatest willingness to push his talent into the realms of the unexplored. To say there is likely some familial influence does nothing to diminish the richness of Jeff's personal influences and his successes with synthesizing them into his own vision. Still, if you like Jeff, you must check out Tim's work, not just because he was Jeff's father and similarly died early, but because he was a jaw-dropping vocalist, in his own right (even if you still like Jeff better). Start with Happy Sad or Blue Afternoon or the live Dream Letter.

Artists I left out but maybe shouldn't have:

Here's where I could have put some of Jeff's influences/artists he has covered: Nina Simone, Edith Piaf, Van Morrison, Nusrat Fateh Ali Khan, Leonard Cohen. They are all immortal--among the greatest artists ever recorded. Everyone should at least check them out. However, between the radical stylistic differences between these artists and Jeff Buckley and the fact that I feel each artists represents only a facet or two of Jeff's essence, I opted not to include them in the "If you like Jeff..." list. As with every list, maybe I was wrong. But that's why this blog's here and that's why the website is dynamic. I'm more than happy to hear all arguments!

If You Like the Doors, Then.....

I don't think about the Doors very often. But when I finished Simon Reynolds' Rip It Up And Start Again, chronicling the various "post-punk" scenes that emerged from the scorched earth of the Sex Pistols necessary implosion, the Doors came back onto the radar screen. A recurring and interesting detail in the book was how frequently the Doors (specifically, Jim Morrison) were cited as an influence by post-punk bands. The fact that most post-punk bands were virulently anti-Classic Rock makes their fandom only more fascinating.

Some, if not most, of that influence/allure surely stems from the charisma of Morrison and the power he held over his audience. This plays into the tendency many post-punk bands had to work laboriously to construct conceptual foundations for their bands. One preoccupation that often found nearby these foundations was fascism. Sometimes, this was a fascination/repulsion thing, sometimes it was closer to a fascination/fascination thing. Either way, the charismatic leader (or "shaman," as Doors' keyboardist, Ray Manzarek, refers to Morrison) was inescapably alluring to post-punk bands, either for its conceptual ties to fascism or for its more ego-driven appeal to the leaders of certain groups.

Musically, the thing with the Doors is that they are particularly hard to peg. What is it about the Doors that a Doors fan most connects to? It could be any number of things since the band can be romantic and even sappy one moment, possessed and malevolent the next. I've mentioned the child/dark-side schizm of Pink Floyd's Syd Barrett. The Doors had something similar, but less fantasy-based, something more worldly and sexual. They were sometimes a blues-rock band, led by a keyboard player and lacking a bassist entirely. They were sometimes a commercial pop band for teen girls. And they were sometimes flat-out psychedelic as they went on improvised trips while Morrison went off into his primal/Freudian/existential black hole. Blues-rock, jazz, psychedelia, pop, hard rock, pretty/ugly, seductive/destructive, accessible/experimental. As with many classic bands that have been able to maintain an audience for forty years, there are many different facets about the Doors, each of which radiates at a different strength to each fan. Then again, it may just come back to Morrison.

I remember very well when I was trying to put together POCKIT ROCKIT, how surprised I was that I found these guys to be one of the very hardest bands to match effectively. The best approach I could devise was to approach one or two elements in the Doors make-up, such as the vocals or the instrumentation, and try to match those, rather than match the entire essence. In fact, I still scratch my head about trying to come up with better recommendations for the Doors. So, while I'm not necessarily the biggest fan, I have a great deal of respect for the Doors for being, in retrospect, one of the more idiosyncratic and original bands of their day.

ESSENCE: Like I said, this is tough. The best I could come up with is sort of kaleidoscopic, trying to capture the tightrope walk between the mainstream, the Dionysian-decadent and the insane, the possibility of pop pleasure or a slip through the rabbit hole. Or is it all a put-on?

MEANS: Different vibes on different tracks, Manzerak's organ, jazzy jamming skills, Morrison.

SPECIAL SAUCE: Does it have to be repeated? Morrison held it all together. I'll add that the de-emphasis on the guitar perhaps enabled the space for Morrison's presence and for the more atmospheric feel of some of the band's best material ("Riders on the Storm," "The End" etc).

Who I have in POCKIT ROCKIT and why:

1) Phantom's Divine Comedy: closest to the Doors actual "sound," if a bit more melodramatic.

Although their one-off album is from around 1974, these guys come the closest to actually nailing the Doors sound, the jazzy, trippy pop/rock with a hint of malevolence on the horizon, almost to the point of vaudeville. Getting the vocals right, or even close, is not easy, and this group hits it.

2) Nick Cave: The closest modern embodiment of the Morrison ethos: ragingly intense, movingly tender, always passionate.

Here's where we start leaving the Doors time period and try to translate their essence in new ways. Cave is probably my first choice in this regard. For one, he has that rich baritone that always holds the possibility of flying unhinged with Old Testament passion. Sexy, commanding. He can do lush, romantic, poetic ballads of love...or of murder. Or he and his crack band can release the bats, bellowing with hellfire and brimstone. Start with Live Seeds or Henry's Dream since both show Nick's range magnificently. Then move on to Tender Prey, probably my favorite.

3) Jefferson Airplane: some similar dark/light dynamics, but from a more folk--rather than blues-based--background.

Airplane had that peace, love, flowers...blood in the streets dichotomy, at times. Hippies, for sure, the acid was sometimes bad and it came it out in the music, from folk pop to heavy psychedelia. Grace Slick was also a suitably charismatic/sexy frontperson for a while.

4) Joy Division: Radically different sound, but some core, essential similarities of dancing around the void and the baritone vocals. Raw and doomy but rewarding.

This requires a little bit of a leap, since the bands are of clearly different times and places. However, JD's searingly intense vocalist, Ian Curtis, was one of those post-punk Jim Morrison fans I mentioned earlier. He also sang in a low, monotone, baritone, which had some connection to Morrison, but far starker, more harrowing, more suffocating, just as Joy Division's music is to the Doors'. But between the singers related neuroses/obsessions/demons and the bands' abilities to wake the razor of song and oblivion, JD may truly resonate with certain Doors fans, though I'm under no delusions that it will work will all of them. Start with Closer.

5) High Tide: A Morrison-type vocalist fronting a band more like Black Sabbath or King Crimson, around 1970.

At least the vocals have Morrison's deep, moody vibe, though the band is clearly heavier, doomier, and more prog rock-inclined than the Doors. Top quality band. Whether Doors fans or Black Sabbath fans will be more inclined to like their two great albums, Sea Shanties and High Tide, is anyone's guess.

6) Love: Great band, some existential issues, pop/experimental, but the actual sound is significantly different.

Wonderful band, but I have a few reservations. Yeah, they were in the same LA psych scene. Yeah, they could be baroque one moment and grungy the next. Yeah, hope and despair intermingled in some of their music. Yeah, Arthur Lee was a major personality. But I can't help but feel that more Beatles fans than Doors fans would turn on brightest to Love, considering the band's expertise with composition and arrangement, more than Dionysian expressionism.

7) Spirit: Many moods/textures, rock/jazz/blues/folk/psych. But also significantly different sound.

Another excellent band from the late-60s LA psych scene. But again, not exactly an accurate match for the Doors. The leader was the guitarist while the vocals were not remarkable. There was plenty of eclecticism, but I'm not sure the same tension, the same possibility of falling through the rabbit hole, is there in the way it is in essence for the Doors.

8) Danzig: Don't take this one too seriously, but if Morrison-like vocal power is what you want, Danzig's bellowing might hit the spot.

Kind of a lark, this one, but maybe not. Danzig is a campy blues-metal performer who uses Satanic and dark magic imagery in his schtick. However, if anyone in music of the last 20 years was actually influenced by Morrison's vocals, it was Danzig and his amazingly powerful vocal pipes. Throw in some Elvis and Vampira and you're set.

9) Agents of Oblivion: A genuinely passionate and soulful elegy by a band for their fallen bassist. Intense range of emotions and an astonishing vocal performance.

An outsider/dark horse pick and a possible result of my personal affection for this record. The side project of New Orleans metal band, Acid Bath, following the death of their bassist, this was kind of an elegy to him. As such, it has the range of moods I imagine a Doors fan would appreciate: wailing sorrow, red-eyed anger, tenderness, brutality. What holds the album together is what holds the Doors material together: a preternaturally powerful vocalist. Dax Riggs is really a wonder on this recording, from fallen angel falsetto to raving bluesman. A rare performance, Doors connection or not. Even better that the connection might be there, as well.

10*) Velvet Underground: This was a major omission. Though there are substantial differences, the core similarities are closely parallel.

I actually did not include them in the Doors list although, in retrospect, perhaps I should have. If one of the essences of the Doors is decadence and transgression, the VU were every bit their match. Given, the VU's decadence was a more NY/European, artsy/literary world of deSade, Masoch, Burroughs, Artaud, etc while the Doors had a more Californian, primal vibe with the two schools meeting half-way with Brecht/Weill. But either way, the drive was towards breaking taboos, crossing boundaries of sexuality and drug intake. The surface manifestations might have been different, but the underlying drives were relatively similar.

11*) Iggy Pop/Stooges: This was also a major omission, although more justified than the VU. Simply, the Stooges' raw-as-hell, blitzingly minimal, bestial rock attack sounds nothing like the Doors more elegant and refined organ-based sound. Also, Iggy's talk of working class aimlessness and limited horizons was a far cry from Morrison's mystic, rock god invocations. However, when it comes to raw, physical force, animalistic sexuality, on-stage abandon, off-stage hedonism, the whole nine, there are perhaps no two artists more aligned than Iggy Pop and Jim Morrison. Their essences are nearly identical, with substance ingestion to kill the largest land mammals in North America to sexual encounters with any and everyone from 13-year-old girls to transvestite dudes, to physical endurance that should have left them in traction for decades, factoring in the differences due to geography (L.A. via Texas vs. suburban Detroit). So, if you're keying in on the sound of two bands, the Doors and Stooges don't match. If you're keying in on the life-forces of the driving artists of these two bands, you probably couldn't do much better than linking these two madmen.