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A blue pigeon it is, that circles the blue sky,
On sidelong wing, around and round and round.
A white pigeon it is, that flutters to the ground,
Grown tired of flight. Like a dark rabbi, I
Observed, when young, the nature of mankind,
In lordly study. Every day, I found
Man proved a gobbet in my mincing world.
Like a rose rabbi, later, I pursued,
And still pursue, the origin and course
Of love, but until now I never knew
That fluttering things have so distinct a shade.
“Morning Theft”: ballad partly inspired by his relationship with Cocteau Twins singer Elizabeth Fraser
Time takes care of the wound
So I can believe
You had so much to give
You thought I couldn't see
Gifts for boot heels to crush
Promises deceived
I had to send it away
To bring us back again
Your eyes and body brighten
Silent waters, deep
Your precious daughter in the
Other room, asleep
A kiss “Goodnight” from every
Stranger that I meet
I had to send it away
To bring us back again
Morning theft
Unpretender left
Ungrateful
True self is what
Brought you here, to me
A place where we can
Accept this love
Friendship battered down by
Useless history
Unexamined failure
But what am I still to you
Some thief who stole from you?
Or, some fool drama queen
Whose chances were few?
That brings us to who we need
A place where we can save
A heart that beats as
Both siphon and reservoir
You're a woman, I'm a calf
You're a window, I'm a knife
We come together
Making chance in the starlight
Meet me tomorrow night
Or any day you want
I have no right to wonder
Just how, or when
You know the meaning fits
There's no relief in this
I miss my beautiful friend
Bloom inside, my beautiful flower
If you feel your blood moving under your skin
Then let it kiss every inch of you
Let the friction of its rushing through your riverbed
Arise like applause in your breast
And sparkle like kisses upon your belly
Close your eyes and fly
Stretch your legs and sing
Because inside you the sea is swelling in love with the moon
No such things as self defense or bondage
Or regret from the past, the ocean only lives and creates and flows
But always in love with the moon
Speak out to me
My beautiful sparrow
In the morning you fly over a city
Of lunatics walking in pain and waiting for betrayal
All you know is the wind
The rhythm of the fragrance of the world
Only, you can sing me awake
Sing it to me with the smell of your back
Sing it to me with the heat of your lips
Kiss me where you want and the song is all I can hear
Inside you the sea is swelling over
Spilling over my head
And I stay submerged
Waiting for your rose to open to me
And your song to sink into my skin
Jeff Buckley – His Own Voice (P.142)
Just like affection rushing in your riverbed
Arise like applause in my head
Just like the ocean, always in love with the moon
It's overflowing now, inside you
We fly right over the minds of so many in pain
We are the smile of light that brings the rain
(Opened Once)
Flower
Bloom inside, my beautiful flower
Jan 13, 1995 – Then Samantha saw Jeff, in his winter coat, with a flower in his lapel ... He wanted to see Liz Fraser in Twickenham.
Rose
Waiting for your rose to open to me
love and a thousandfold rose for Buckley (Milk & Kisses liner note)
Willow
Speak out to me
My beautiful sparrow
Close your eyes and fly / Stretch your legs and sing
willow sparrow (=Spanish sparrow): often seen in flocks.
“when will you weep for me, sweet willow” (All Flowers In Time)
“Morning theft / Unpretender left / Ungrateful” (Morning Theft)
“meet the sunrise through the window shining” (Flock of Soul)
Light
He had been to England for a week over the new year, to visit Elizabeth Fraser, the singer with Cocteau Twins, whose voice, he told me, stopped him in his tracks. “It sounds like light,” he said.
“Oooh, fall in light, fall in light, fall in light” (New Year's Prayer)
“Cover me in sublime light” (Flock of Soul)
There ain't a star born that brightens
More than you, you always should have known,
I'll illuminate your question,
Long time ago I'd died and gone (Thousand Fold)
Twinlights: [Geography] Navesink Lighthouse Station... the reflection in the night sky could be seen from seventy miles at sea.
“Not long before the wisps of starlight” (Flock of Soul)
“We come together / Making chance in the starlight” (Morning Theft)
“And in the half-light where we both stand / This is the half-light, you see me as I am” (Opened Once)
Flood
Inside you the sea is swelling over
Spilling over my head
And I stay submerged
“Your eyes and body brighten / Silent waters, deep”, “A heart that beats as / Both siphon and reservoir” (Morning Theft)
Come feel the deep / It's love in a flood (Flock of Soul)
The lips, the heart / Feel the flooding / Feel the fire / The heart, the soul / Illuminated, illuminated (Treasure Hiding)
Avant-garde singer and actress Rebecca Moore was Jeff's lover during the early 90s, and the inspiration for much of Grace. Her album Home Wreckordings includes the wistful Live in Blue Sparks: “all kinds miss Jeff....I'm not afraid, I walk with my little horned kids”. Stilletto'd Young Stars explores the pathos of love lost and the loneliness of art. “If the song was meant to be, it'll come again some day – like you.”https://web.archive.org/web/20230419220847/https://mojopin.org/pages/tribute_songs.php
Home Wreckordings 1997–1999 (2000), a layered dreamscape that was created in the two years following Buckley's untimely death in 1997.
Wikipedia – Rebecca Moore
“He writes or so, it seems the poet relates elation beyond his dreams. Now you're gone...where songs are born, sent back to us each nite in the bellys of sweet fireflies.”
“Trumpets of your soul will sound even though you're in the ground.”
“Young life crosses young love / The knife wanders through me so slow, It cuts between us as we grow” (🎵 Sky Blue Skin)
🎵 Thaw
“There's no heaven I know but this one I've made inside my head.”
“Father stand right next to him my diamond eddie diamond jim. I will meet you in those fields again...”
🎵 Cartoonlust
“I need a shape I need to make this wrong decision
Hey hello before I go you know I really missed you...
Todays the day I try to be Mr Dead and Mrs Free”
“I go melting down standton street – to the suitcase hall of fame; Hey old flame – I still hear your name everyday, you're still outside that place you love to hide”
“I just had a talk with my Rebecca, the real one. That I know, not the one I left in pieces on 86 Stanton.”
🎵 Sister Marianne
“may music always be your fuel and may you shine the brightest jewel”
You are so full of yourself but I love you for your drag queen sort of ways...At his funeral cracking jokes into your cigarette ashes flew
where most control their whole idea of a scene and then call it a day
so all together jump and slide with the iridescent suicide
pretty bored days you better learn to fly on your own
“There's room for both of us to fly” / 🎵Gunshot Glitter
as a dolphin leaning on a pinball machine he's sweating out your gasoline reciting verses of our troubled days
Reviews
On this Moore retrospective we hear her fascinating, intimate experiments with strings and electronics backing her will-o-the-wisp voice, a disembodied, floating expresser in rhythm section-less arrangements. Recorded at home over a two-year period, this album is the personal level of material that can only arise from one's domicile and the simplified beauty of creativity on fire in a bare-bones studio. Moore plays all the instruments herself with a few guest musicians on two tracks, one of them Earth, Wind & Fire's “Fantasy.” The other track she calls for help on is another rendition; a convincing, nightmarish apotheosis of “Telegram Sam.” Recalling Björk's Homogenic, Home Wreckordings is a subtle and adventurous work of rare beauty.
Allmusic – Home Wreckordings Review by Tom Schulte
Google Translated
By the way, I'm not one of those people who see genius in everything unconventional. And here's why. As soon as all the “progressive” teenagers heard that, say, RADIOHEAD or NINE INCH NAILS “is cool”, they started sweeping music that is generally very difficult to perceive, hard to “read”, very personal and simply not intended for the masses off the shelves of our (and not only) hero city, forcing themselves to listen to the non-commercial anguish of these representatives of modern rock (?), and in their souls remaining absolutely indifferent to what the musicians actually want to convey to them. And those few who are really ready to plunge into the abyss of Yorke and Reznor's morbid fantasy, seeing all this unhealthy excitement, will remain indifferent to POP. Because pop is when EVERYONE listens, not SOMEONE. And if so, then what did they fight for?.. But all this applies to the listeners. But if you think about the fact that the avant-garde can also be pop, then a completely different picture emerges, gentlemen. What is interesting here is what, one might say, opportunities open up, for example: you can pass off something tasteless, false and vulgar as a high flight of your own thought, explaining this and that simply by the world's unpreparedness for private genius and already classicality. What's that?! That's how they fool people. The reader will probably think that all these unflattering words to one degree or another apply to Ms. Rebecca Moore, and that this performer is a complete zero, but this would be a mistake. It's just time to set priorities in the situation with frankly non-commercial music. Otherwise, there will be a swamp. Rebecca Moore does what once brought the now actress Bjork to the ranks of “stars”, i.e., under the shadow of otherworldly, shamanic and inharmonious chants, giving out all her immeasurable creative potential. As I read somewhere, if Bjork were a pop singer, she would compete even with the classic representatives of pop music. But that would be too easy. Rebecca Moore, a person with a difficult fate, a subtle soul and rich in feelings, talks to listeners on her discs, or even just chats, or argues, or sings a lullaby, in general, communicates confidentially (but with some detachment). Music also serves as a style, sometimes absolutely incomprehensible, atypical and therefore harsh, with the absence of the already familiar to the ear “chorus-verse-chorus” and all other attributes of the mainstream. Maybe, unlike Bjork, Moore's work is more modern and rock, more, more acoustics, more “live” instruments and fewer sound tricks. Maybe even the latter's work is closer to the explorations of Sinead O'Connor than to Bjork. Who should I recommend this disc to? I don't know, I'm afraid to disappoint the convinced “over-the-gar-divas” and leave people with more traditional musical taste perplexed. I'll say the following (since it's also somehow inconvenient to evaluate such music): this is not something easy to remember and simple, this is not music at all in its usual sense. This is a confession of an individual. A monologue. How you understand it is your business. P.S. I really liked the song (?) “Sister Marianne”. But this does not mean at all that I understood this track. It’s just that it’s the most simple and unpretentious in the ordinary, average music lover’s understanding of the issue.
“Hey Rebecca...next time (you & I here). Paris sucks without you.”
Ironically, the singer on one of the This Mortal Coil covers, “Song to the Siren,” was none other than the Cocteau Twins’ Elizabeth Fraser, with whom Jeff would later have a romantic relationship.
“I only met Jeff a few times. He was introduced to us when he was just a young teenager having come to one of our shows at the Zenith in Paris. We were all thrilled to meet him. It was especially poignant I am sure for Elizabeth and Robin who had recorded that beautifully sparse and atmospheric version of his father’s ‘Song to the Siren’ for This Mortal Coil a few years prior” — Simon Raymonde
1990
He was, by then, deep into British pop—not surprisingly, the sulkiest and most sensitive of it, bands like the Cocteau Twins, the Smiths, and the Cure.
By 1990, he had already been in touch with and spent time with Tim’s widow, Judy, and her twenty-seven-year-old son, Taylor, whom Tim had adopted. When Judy Buckley gave him tickets to a concert by the Cocteau Twins, Jeff told a friend he kissed Judy on the mouth—partly, he said, out of appreciation, and partly to feel exactly what Tim had seen in this woman.
1991
They’d been introduced when Cocteau Twins toured the US in 1991.
1992
August
What do you love about “Twelfth of Never”?
I cover the Nina Simone version. It’s just the way she does it. I can’t get into Elvis’s version; it doesn’t capture my imagination, though he had a beautiful voice. Every time I hear “Can’t Help Falling In Love,” I cry. I can’t separate Charles Manson from The Beatles or the Clam Bake movie from Elvis, though. But I love all music. I’m the Cocteau Twins’ biggest fan. They allow their deepest eccentricities to be the music itself, and not just something they want to project. Liz Fraser is one of the only originals. They’re just regular people too. I got to meet her once. She was very shy, which puts a weird curve on that music as well. Imagine that sound coming out of her mouth when she’s in the kitchen scrambling eggs. I lose my mind when I’m washing the dishes.
(This is that first press interview, conducted on August 12)
1993
May
He began to fill it with stacks of books and compact discs, the latter running the taste gamut from classic rock (the Allman Brothers, the Doors, Cat Stevens) to kitsch (Sammy Davis Jr., The Mighty Wurlitzer) to alternative rock (Cocteau Twins, Guided by Voices, Sebadoh) to nearly fifty qawwali discs.
Nov
“I’d love to sing with Jeff Buckley—Tim Buckley’s son. He is currently making his first album, and if it’s anything like a radio session I heard by him, it should be amazing. He’s written this song called ‘Grace’, which literally makes the hair on my neck stand on end. I was sweating like a fucking June bride when I first heard him. Music has never done that to me before.
In March 1994, when we were on tour in the US promoting our new album Four-Calendar Cafe, Jeff came to see us play at Roxy in Atlanta. He invited us to come and see him play at the night set at Omage, a bar that was close by, so Elizabeth and I decided we would go . . . While she never spoke to me in any detail about her feelings, I knew that Elizabeth had cared deeply for Jeff as interviews with her since will testify. I can’t say for sure if this tragedy directly influenced her decision, but Elizabeth called me some time after and said that she couldn’t continue with the band any longer.
Mar 4 1994 Cocteau Twins at The Roxy, Atlanta, GA, USA
Four-Calendar Café Tour
94-03-04 Omage Atlanta, Georgia, America Unverified
May 2
Talking of orgasms, did you and Liz Cocteau Twin ‘do’ it? Everyone thought you were an ‘item’ some months back. “Oh no. Oh no,” Jeff looks shocked. “We were just friends–very, very close friends. She’s such a good person, so sweet. Fucking her would be like fucking a sister–no, Liz and I were never bed buddies. That was all lies. “I am fucking Courtney, though,” he adds. “All those rumors are true, obviously.” Jeff is lying so much, his pants are on fire.
I was in the room when they met. It was at the Cocteau Twins' aftershow at the Royal Festival Hall in London. The Cocteau's manager Raymond Coffer introduced them to each other, right in front of me. They were both so animated to meet each other, both grinning like school kids. — @ElectricLabel
It is claimed that Fraser spoke about her relationship with Buckley on Cocteau Twins 1995 EP Twinlights. In a 1996 interview with Alternative Press, she teased this notion and revealed that when she went on tour with Cocteau Twins in 1994, in support of their album Four-Calendar Café, she fell in love with a man. She wouldn’t name him, and this had led fans to believe him be Buckley. She admitted: “My love addiction was worse than ever. I was maniacal.”
https://www.setlist.fm/setlist/cocteau-twins/1994/royal-festival-hall-london-england-3bd2e8a8.html
August 19
Jeff flew to London by himself, where he spent time with one of his musical heroes, the Cocteau Twins’ Elizabeth Fraser. In addition to carrying on a brief relationship, the two wrote and recorded an impassioned paean to romantic connection, “All Flowers in Time,” at a London studio. The band reconvened in Dublin in late August and began a month-long European tour. (David Browne)
Jeff flew into London by himself in advance of the band and went to visit Liz Fraser again. It was during this visit, I think, that they went into the Cocteau Twins’ studio in Richmond and recorded a song they’d written together. (Dave Lory)
94-08-16 Wetlands
New York, New York, America
94-08-22 'Mark Radcliff Show', Oxford Rd Studios, BBC
Manchester, England
September 22
Q: Is it true that you are romantically involved with Elizabeth Fraser of the Cocteau Twins at the moment?
A: No, but she's great. Her and Simon are the two of the most decent people I have ever met.
Jeff Buckley performing The Way Young Lovers Do (Van Morrison), Kick Out The Jams (MC5), and reciting a poem of his called, New Years Eve Prayer. Recorded at Sin-é, in New York City, on 31 December 1994. /sin-e/ny-eve-poem
1995
January 13
Then Samantha saw Jeff, in his winter coat, with a flower in his lapel and carrying his ghetto blaster, looking like Paddington Bear, a lost creature from the other side of the world. “We got to our hotel and I said, ‘Do you want to eat, have a drink, or whatever?’” recalls Sam. “He said, ‘I’d really like to go and see a friend.’ I said, ‘Don’t do this to me. I’m supposed to keep you here.’ He said, ‘I’m not going to do anything outrageous. I just want to hang with a friend for the evening.’ He wanted to see Liz Fraser in Twickenham.
Just before this trip, he had been to England for a week over the new year, to visit Elizabeth Fraser, the singer with Cocteau Twins, whose voice, he told me, stopped him in his tracks. “It sounds like light,” he said. They’d met briefly a couple of times and had been talking on the phone since just before we first met. He’d gone to stay with her in Twickenham.
95-01-12 Columbia Records Radio Hour
New York, New York, America
95-01-14 Tivoli
Dublin, Ireland
95-01-15 Fleece and Firkin
Bristol, England
95-01-16 Robert Elms Show, Greater London Radio
London, England
95-01-16 ?
London, England
95-01-17 ?
London, England
95-01-18 The Astoria II
London, England
June 18
Michael Tighe: That was Iceblink Luck from the Cocteau Twins from HoLV
JB: And I'm glad that I get to play that one...I get to...we get to play a few others I brought in uh... Melvins (...) blah blah blah. By the way! I'm Jeff Buckley
“My love addiction was worse than ever. I was maniacal. Twinlights is about that man. My ‘last goodbye,’ as it were. I was too needy and he was too much of an avoidance person. Naturally.” (Twinlight EP)
1996
March
“A friend was kind of comforting me on the phone and they were just being so sweet, really. They had empathy for what I was going through, and they said, ‘I wish I could get the poison out of you. I wish I could just take it out of you and replace it with milk and kisses.’”
milk and kisses for the first man
my old man
love and a thousandfold rose for Buckley
my Rilkean Hearted friend
(Milk & Kisses liner note dedication to Jeff)
1997
May
The news that Buckley had disappeared – he drowned, swimming in the Wolf river in Memphis – came while Fraser was recording Teardrop with Massive Attack. “That was so weird,” she says. “I'd got letters out and I was thinking about him. That song's kind of about him – that's how it feels to me anyway.”
https://www.theguardian.com/music/2009/nov/26/cocteau-twins-elizabeth-fraser-interview
I have no desire to make contact with all the thought of “no, no”.
I shiver now, to think of how this answer asked her, no.
Long time gone.
I run to my hide out. (Thousand Fold)
Known Performance
97-05-?? Sketches For My Sweetheart The Drunk Demos, Memphis, Tennessee, America
I don’t know what happened there, but I knew later that they were lovers and saw that he went misty-eyed when he spoke about her. They’d been introduced when Cocteau Twins toured the US in 1991. In 1983, Liz and her fellow Cocteau Twin and partner, Robin Guthrie, had cut a cover of his dad’s beautiful, desolate “Song To The Siren” with This Mortal Coil, a version so arresting that Jeff would have no choice but to be attracted to it. She in turn had gone to check Jeff out, and remarked later that she had “sweated like a June bride” when she first heard him sing. She had separated from Guthrie by this time and was having an unhappy time in the band. “To meet Jeffrey was like being given a set of paints,” she said in a TV documentary. “I had all this color in my life again. I couldn’t help falling in love with him; he was adorable.” She noted that he had idolized her and she had fallen for the son of someone whose music she loved, and it felt a bit creepy. But they couldn’t help themselves. She also remarked that they had read each other’s diaries. I wonder now if he was writing about her then on that long drive.
“I just wish I'd been more of a friend,” she says, softly. “His career was everything to him, and I wish I had been more understanding – happy with a different kind of relationship. I missed out on something there, and it was my fault.”
Reference
1. Dream Brother: The Lives and Music of Jeff and Tim Buckley
2. Jeff Buckley: From Hallelujah to the Last Goodbye
Jeff Buckley – His Own Voice (P.142)
Cockatoo Twins poster from Bojack Horseman
From 
截圖：
