Born on November 17th, 1966, Jeff was the son of folk legend Tim Buckley (who died at the age of 28 of a drug overdose). Jeff did not really know his father and was raised by his mother. During his formative years, Jeff came into his own as a musician and singer. His haunting vocals were matched by his amazing guitar work and musical arrangements. Much has been written about Jeff Buckley and his short life, and more will continue to be written. As we approach the 17th anniversary of his passing, I feel that an investigation of the songs his peers and contemporaries wrote about him following his death can attest to his influence and impact.

What proceeds is a chronology of those songs, and short blurbs about their connections to Jeff.

October 21st, 1997:
Juliana Hatfield, “Try Not To Think About It” (from “Please Do Not Disturb”)
Quite possibly the very first tribute to Jeff is Juliana Hatfield’s “Trying Not To Think About It,” which appears on her first solo recording, the EP “Please Do Not Disturb.” Jeff was the opening act for Juliana during several shows in 1995. After learning of his passing, she penned this song, even more tender for her sweet angelic voice. She also credits Jeff’s mother Mary Guibert and the strength and fortitude she showed following his passing.

One night when Jeff opened for Juliana he tackled her drummer and then dived off the stage into the crowd. Who knows what was going through his mind that night!

Sometime between 1997 – 1999:
Rebecca Moore – “Live in Blue Sparks” (from “Home Wreckordings 1997-1999”)
According to Lydia Hutchinson’s article “Remembering Jeff Buckley,” the day before Jeff’s fatal swim he called Rebecca Moore and left the following message: “Think of me and smile … I’m gonna work my ass off, baby … I’ll see you on the other side.” Rebecca was an ex-girlfriend of Jeff’s and supposedly his inspiration for several songs on “Grace,” including “So Real,” and “Lover, You Should’ve Come Over.”

April 20th, 1998
Massive Attack – “Teardrop” (from “Mezzanine”)
Elizabeth Fraser contributed vocals and lyrics for several tracks on Massive Attack’s “Mezzanine” LP. Interestingly, Madonna had been a candidate for the track, but in a two-to-three vote, the group went with Fraser. Elizabeth had had a complicated relationship with Buckley, and had previously written songs about him back in 1996. Sadly, while she was writing the lyrics for what would become “Teardrop,” she received news of Jeff’s passing. In theory, this song was written closer to June 1997, but it was not released until a little later.

Here’s a video of “Teardrop,” with a creepy fetus lip-syncing along to Fraser’s vocals:

June 1st, 1998
Heather Nova – “Valley of Sound” (from “Siren”)
This is a fan song. Heather Nova apparently wept after seeing Jeff perform for the first time and wrote this. A date is not known, but it predated Jeff’s drowning. While technically not a tribute song, because of its release almost a year to the day after Jeff’s passing, it unintentionally became one.

September 8th, 1998
Hole – “Boys on the Radio” (from “Celebrity Skin”)
Apparently Jeff and Hole singer/founder Courtney Love had a fling. While the song is not exclusively about Jeff, his passing greatly influenced it. As Courtney told Spin magazine in May 1998, “It’s from our ‘Unplugged’ days. It started out all peppy and poppy, but then Jeff Buckley died, and it became a homage to Evan [Dando] and Jeff and Brian Wilson. It’s all about self-destructive pop boys.”

October 6th, 1998
Duncan Sheik – “A Body Goes Down” (from “Humming”)
Duncan Sheik never met Jeff, so technically this appears to be just a fan’s tribute song. But there’s a connection here: Matt Johnson, Duncan’s drummer on his “Humming” LP, had been Buckley’s drummer on “Grace” and for his Mystery White Boy tour. Sheik gave Matt the option not to play on the track if it was too personal; not only did Matt give Duncan his blessings on the song, he chose to perform on the track, too.

May 18th, 1999
Ron Sexsmith – “In a Flash” (from “Whereabouts”)
This is another song that is simply crafted by a fan — an incredibly talented fan, Canadian singer-songwriter, Ron Sexsmith.

July 27th, 1999
The Frames – “Neath the Beeches” (from “Dance the Devil”)
Glen Hansard, frontman for The Frames, knew Jeff, pre-“Grace” success. Jeff had served as Hansard’s guitar tech in 1991 when Hansard toured the U.S. with The Commitments (in support of the film of the same name). Hansard and Buckley even performed together at the legendary Sin-e.

September 1st, 1999
Chris Cornell – “Wave Goodbye” (from “Euphoria Morning”)
Another song that technically was written closer to Jeff’s passing in 1997 is Chris Cornell’s “Wave Goodbye.” Cornell and Buckley had been friends since 1993. Following Jeff’s death, Chris helped Jeff’s mother Mary put together the posthumously released album, “Sketches for My Sweetheart the Drunk” (key word being sketches, as the songs were never completed prior to Jeff’s passing).

January 25th, 2000
Aimee Mann – “Just Like Anyone” (from “Bachelor No. 2”)
Most likely written well before the release of “Bachelor #2,” Aimee Mann’s “Just Like Anyone” attests to her sporadic friendship with Jeff. Probably her most endearing story was a night that the pair spent in a loud crowded bar, and instead of trying to shout so that they could hear one another, they passed notes on napkins.

June 26th, 2000
Badly Drawn Boy – “You Were Right” (from “Have You Fed The Fish?”)
More of just a reference, Badly Drawn Boy’s “You Were Right” places Jeff in the company of Sinatra, Cobain and Lennon.

September 12th, 2000
Amy Correia – “Blind River Boy” (from “Carnival Love”)
Amy had seen Jeff perform back at Sin-e. Her experience was similar to Heather Nova’s…one which she relayed in a touching blog post for Purpleclover. On her debut album, “Carnival Love,” she included “Blind River Boy,” a detailed recounting of Jeff’s final moments, even including his singing of “Whole Lotta Love.”

November 14th, 2000
Elysian Fields – “Tides of the Moon” and “Cities Will Fall” (from “Queen of the Meadow”)
A band with many rotating members, several had performed and/or knew Jeff; it’s been suggested that “Tides of the Moon” and “Cities Will Fall” are in tribute to him.

January 9th, 2001
P.J. Harvey – “Memphis” (B-Side of “Good Fortune” single)
Polly Jean Harvey and Jeff had been friends. This obscure B-side track should’ve been included on her successful album, “Stories from the City, Stories from the Sea.” It’s Harvey at her haunting best.

May 22nd, 2001
Mark Eitzel – “To the Sea” (from “The Invisible Man”)
Another friend of Jeff’s, here’s Mark Eitzel and his contribution to the Buckley tributes. “To the Sea” has a similarity to Rufus Wainwright’s complicated feelings regarding Jeff (see below).

June 28th, 2004
Willie Nile – “On the Road to Calvary” (from “Beautiful Wreck of the World”)
Nile, a man with a very storied career (and a significant hiatus), was a friend of Jeff’s. He originally wrote this piece in 1999. Lucinda Williams has called it one of the most beautiful songs ever written.

November 16th, 2004
Rufus Wainwright – “Memphis Skyline” (from “Want Two”)
For years, Rufus had watched Jeff from the sidelines, seething with jealousy. About a month before Jeff’s passing, he ended up at one of Rufus’s shows. When Rufus started experiencing some tech issues, Jeff jumped up on stage to fix the situation. Following the show they shared a few beers. This is Rufus’s tribute to Jeff, with allusion to the Orpheus myth.

November 18th, 2004
Pete Yorn – “Bandstand in the Sky” (from “Live from New Jersey”)
In theory, a song written on the day Buckley died, it originally appeared on “Live from New Jersey.” (A fuller studio version is featured on the 2006 album “Nightcrawler.”) Yorn never knew Buckley, but definitely understood the power of his music.

May 3rd, 2005
Mike Doughty – “Grey Ghost” (from “Haughty Melodic”)
It was Jim Morrison who said “death makes angels of us all and gives us wings.” Many of these songs speak to Jeff’s beauty and angelic nature. But Mike Doughty saw a different, darker side — the side of Jeff that would sniff heroin (yes, SNIFF it). “Grey Ghost” is Doughty’s ode to Buckley.

July 18th, 2006
Lisa Germano – “Except for the Ghosts” (from “In the Maybe World”)
While this song was supposedly written closer to Jeff’s passing, it took the death of her cat and some heavy times leading up to her 2006 album to put it down in the studio. While the two didn’t know each other well, she did serve as his opening act.

July 12th, 2007
Joan As Policewoman – “Eternal Flame” (from “Real Life”)
Joan Wasser was another of Jeff’s former flames. Apparently, she was the inspiration behind “Everybody Here Wants You.” Her former band, Those Bastard Souls, also wrote a tribute to Jeff, “The Last Thing I Ever Wanted Was To Show Up And Blow Your Mind,” from 1999’s “Debt and Departure” album.

Here’s the video for “Eternal Flame:”

Buckley helped expose a whole new audience to Pakistani musician Nusrat Fateh Ali Khan; he, in turn, dedicated his entire album, “The Supreme Collection Volume 1,” to Jeff’s memory. Although the album’s material was not inspired by Buckley, it could be considered the very first “official” tribute to him. It was released on August 26th, 1997.

The Cocteau Twins’ “Rilkean Heart” and “Half Gifts,” from the album “Milk and Kisses,” are often cited on lists of tribute songs, even though they have more to do with Elizabeth Fraser’s complicated relationship with Jeff (see above). The album was released in March 1996, more than a year before Jeff’s passing.

There are many other Jeff Buckley tribute songs out there, but these are the most easy to locate. For more songs and details on the above tributes, here are some other helpful resources:

“A Pure Drop: The Life of Jeff Buckley” by A. Jeff Apter is a very informative and well-written biography on Buckley.

Heather Browne’s blog, I am Fuel, You are Friends, is incredibly well written and helpful. Click here to read one of her posts about Jeff.

Here are some other posts that contain info on Buckley tribute songs:
Mojopin
Jeff Buckley official website

Finally, here’s Jeff himself, singing “I Want Someone Badly.” It truly exemplifies the beauty of his voice and vocal style.

© Adam Kukic, May 28, 2014
Host & Producer, The Coffeehouse on WYEP 91.3fm
Sundays, 8 to 11 am EST
Streaming worldwide at www.wyep.org

Hey Adam,

My name’s Becca (Full disclosure: I’m a touring indie folk singer/songwriter from Atlanta). I was driving through Pittsburgh last week, flipping through the low end of the dial looking for NPR and stumbled upon WYEP. Your show was playing and it was WONDERFUL. You played song after song of music that I really love, so much so that I couldn’t believe it was actually the radio. I listened until the signal was 90% static, and then I considered turning the car around.

Hope you are having a wonderful day! Thanks so much for doing what you do!!

hugs,
~becca

Thanks for what I do?! I was incredibly humbled by this email. All I do is play music from talented artists. I do not create the music…I do not even know how to create music! But here was an email from a real artist. I had to learn more…who was Rebecca Loebe? After following in love with her songs on her MySpace page, I was fortunate enough to see her perform live just a couple of weeks later. If you go to Rebecca’s official website, under the Press Quotes tab, you’ll see the following comment I posted, which was my impression of her after seeing her perform live at Howler’s on February 27th, 2009, in Pittsburgh:

“The wit of Dar, the bite of Ani, and the beauty of Norah – it was a treat seeing you perform last night!”
– ADAM KUKIC (WYEP Pittsburgh)

Things to know about Rebecca: she is a non-stop touring machine, she has an amazing voice, she’s great at reinterpreting songs (as with Nirvana’s “Come As You Are,” Smokey Robinson’s “You’ve Really Got a Hold on Me” and Kanye West’s “Stronger”), she’s an amazing storyteller, and she’s one of the nicest people that you’ll ever meet.

It was the combination of Becca’s voice and her determination that landed her on the first season of The Voice (known as the singer who was living out of her 1992 Toyota Camry). Both Adam Levine and Christina Aguilera “turned around” for Becca’s phenomenal reinterpretation of Nirvana’s “Come As You Are.” She’s still riding the fame brought to her courtesy of participating in the inaugural season of The Voice — recently getting to tour in Japan and The Netherlands due to her appearance. Her recorded version of “Come As You Are” was one of the best-selling songs from the first season (and included on the album, “The Voice: Season 1 Highlights”- even though she was eliminated in just the second round).

But The Voice was not the beginning nor the end of Becca’s story. Hailing from Atlanta, Becca went to school in Boston at Berklee College of Music — whose grads include Paula Cole, Melissa Etheridge, Esperanza Spalding, Susan Tedeschi, Diana Krall, Gillian Welch, Aimee Mann, Natalie Maines, and Elizabeth Ziman. Berklee was a good fit for Becca, and while there she was able to work at various recording studios which afforded her the ability to produce her initial releases. To date, the early demos for what would become her album “Mystery Prize” most effectively capture the power of her live performances.

Rebecca has issued five official releases – 3 LPs and 2 EPs. Additionally, she broadcasts live monthly performances. In keeping with the strength of her live performances, Becca will be releasing a live album this summer on Goose Creek Records and performing at the Philadelphia Folk Festival, August 15- 17.

Since 2009, I’ve been fortunate enough to see her live three times — and have taken her out to dinner two of those three times, including a great meal at Pittsburgh’s India Garden restaurant with fellow folkie Brad Yoder. We’ve exchanged text messages when Berklee alum make it through town (such as members of Elizabeth & The Catapult and the band Lucius), and I’ve texted congratulatory messages to her when I saw her on The Voice.

To introduce yourself to Rebecca Loebe, I encourage you to do the following:

1) See her live. She tours constantly. She’ll eventually make it to your town. She’ll even do a house concert for you. Seriously, SEE. HER. LIVE.

2) If you want an introduction, I’d suggest trying to track down the demos for “Mystery Prize.” If you can’t, I encourage you to purchase “Mystery Prize.” I feel it is her most fully realized album to date.

3) Watch her video for “The Bees.” First off, it’s adorable. She’s adorable, the children are adorable, the storyline is adorable (and let’s be honest, Zombies are all the rage). Secondly, it’s a great example of her wit and range. Good song, fun video…what’s not to love?

4) As a self-proclaimed Rebecca Loebe aficionado, here are my top 20 Rebecca Loebe songs:

1.   “Her In That Dress” – from “Mystery Prize”
2.   “Meridian” – from “Mystery Prize”
3.   “Married Man” – from “Mystery Prize”
4.   “Redneck Karaoke Bar” – from “Mystery Prize”
5.   “Marguerita – from “Mystery Prize”
6.   “Mystery Prize” – from “Mystery Prize”
7.   “The Bees” –  from “Bees & Zombies”
8.   “Call Me Baby” – from “The Brooklyn Series”
9.   “High And Lonesome” – from “Circus Heart”
10. “Land And Sea” – from “Mystery Prize”
11. “Trenches Dear” – from “Mystery Prize”
12. “Circus Heart” – – from “Circus Heart”
13. “Darlin’” – from “Circus Heart”
14. “Swallowed By The Sea” – from “Circus Heart”
15. “Lie” (single from Rebecca Loebe & The New Ordeals)

Top Cover Songs:
1. “Stronger” – can be found as a single
2. “River” – YouTube and performed live
3.. “Come As You Are” – from “The Voice, Season 1 Highlights”
4. “Bad Reputation” – from “Circus Heart”
5. “You’ve Really Got a Hold On Me” – from “The Brooklyn Series”

Here’s Rebecca’s cool video for “The Bees,” zombies and all!

Check out Rebecca’s totally original and ethereal version of Nirvana’s “Come as You Are:”

For more on Rebecca, visit her website.

© Adam Kukic, May 1, 2014
Host & Producer, The Coffeehouse on WYEP 91.3fm
Sundays, 8 to 11 am EST
Streaming worldwide at www.wyep.org

While we often need to be energized and in a rush, it seems as if Sunday mornings are still an opportunity for many of us to recharge. With that in mind, I often sprinkle “indie folk” into the mix of music I play, as it is the perfect complement to early Sunday mornings. By “indie artists,” I mean those who generally produce non-mainstream music, independent of major record labels.

Indie folk’s entry onto the musical landscape as a genre dates back to the 1990s and the rise of independent labels. Suddenly, it wasn’t just the major labels making an impact, but indie labels and artists that found success through constant touring, coinciding with the rise of the Internet. No longer did musicians need to have the corporate music machine behind them, as accessibility to music grew exponentially.

A prime example of the classic indie folk artist is Ani DiFranco. A singer/songwriter with grit, Ani is a poet, advocate and a CEO. Starting out in her teens, Ani sold dubbed cassette tapes from the trunk of her car following shows. Eventually, she formed her own label, Righteous Babe Records (this is one of the most amazing success stories in the independent music cannon). Beck was another artist who began in the indie-folk scene, but has since become a major part of the established musical landscape. Despite the fact that he’s now supported in full by a major label, his music maintains that “indie” folk sound, as displayed on his most recent release, “Morning Phase” (2014).

Interestingly enough, TV shows, movies and commercials have given indie music its greatest exposure over the past two decades. The Lumineers may have never found the mass audience they now enjoy without having been featured on the Bing commercial. An overwhelming number of artists were first exposed to the masses by “Grey’s Anatomy.” How many artists have iPod commercials to thank for their mass appeal?

So, why do advertisers often choose independent players over established acts? The independent artists are less concerned about “commercializing” their work, instead preferring exposure to as wide an audience as possible. And often these artists charge significantly less for the rights to their songs.

Not all indie folk artists produce relaxing, mellow songs; some make music that’s quite gritty and energizing. But for the purposes of The Coffeehouse playlists, I’m going to focus on three artists that epitomize the gentler side of indie folk. They share many of the same qualities as three indie pioneers: Nick Drake, Jeff Buckley and Elliott Smith (sadly, none of whom are still with us). The music of these newer artists embodies the quietness and introspective vibe of Drake, the often dramatic appeal of Buckley, and the grit and juxtaposition of Smith’s lyrics versus his melodies.

William Fitzsimmons hails from the Pittsburgh region, and makes his days now in the Windy City. Much of Fitzsimmons’ work is largely biographical in nature. He produced his first two albums in his home studio and has since produced four studio albums, including the 2011 release “Gold in the Shadows,” which features Julia Stone’s vocals on “Let You Break.” (Leigh Nash of Sixpence None The Richer sings on an alternate version of the song.)  While not overtly religious, Fitzsimmons is a graduate of the Christian school Geneva College, and (like Iron & Wine), he sprinkles religious allusions throughout his music. You may be familiar with his songs, courtesy of TV exposure; they’ve been featured on “Grey’s Anatomy,” MTV’s “Teen Wolf” and “Brothers and Sisters,” to name a few. His latest album, 2014’s “Lions,” was produced by Chris Walla of the band Death Cab for Cutie. It features “Hold On” and “Fortune.”

Here’s a great introduction to William Fitzsimmons and his album “Lions”:

James Vincent McMorrow is an Irish singer/songwriter who has just released “Post Tropical” (2014), the much anticipated follow up to his 2010 debut, “Early in the Morning.” Through McMorrow’s own admission, “Post Tropical” requires attention and engagement … perfect for early Sunday mornings (as was his debut album). Maybe that’s what first strikes you about indie folk artists: they appear to produce beautiful background music. BUT, when you are able to focus and truly listen, you find they provide much more meaning and depth, in an unobtrusive way. “Post Tropical” is a similar expansion of sound, along the lines of Iron & Wine’s career progression. Also, an easy way to be introduced to new artists is via cover songs. McMorrow’s version of Steve Winwood’s “Higher Love” is a wonderful cover, as it features his unique sounds, yet it’s also familiar enough for those who are fans of the original (though not on “Post Tropical”).

Here’s “Cavalier,” the first single from “Post Tropical.”

City and Colour is primarily Canadian singer/songwriter Dallas Green (much like Iron & Wine is Samuel Beam). What began as a side venture during his days with Alexisonfire (since defunct), City and Colour is now Green’s sole project. His fourth studio release was 2013’s “The Hurry and the Harm.” While similar in vocal pitch to McMorrow and Fitzsimmons, City and Colour exhibits a more rootsy and hooky sound. Imagine this is Sunday morning after your coffee has kicked in a bit — that’s how Dallas Green’s music might perk you up. While his most recent album is a solid effort, “Bring Me Your Love” (2008) and “Little Hell” (2011) are essential albums in his catalog.

Check out “The Girl” from the “Little Hell” album:

These are three artists I value; they are a constant on my personal playlist. But they represent just a small slice of the indie folk music scene (see my more comprehensive list below). Each and every Sunday I have the privilege of helping new artists find an audience and exposing listeners to deeper album cuts of classic or more commercially-oriented albums. Being the host of The Coffeehouse allows me three solid hours with just my coffee, my listeners, and the music that matters.

Establish indie folk artists:
Band of Horses
Devendra Banhart
Beirut
Andrew Bird
Bon Iver / Justin Vernon
Bright Eyes / Connor Oberst
The Decemberists
DeVotchKa
Dr. Dog
Edward Sharpe & The Magnetic Zeroes
Feist
Fleet Foxes / Father John Misty
Jose Gonzalez / Juniper
Grizzly Bear
The Head and the Heart
Iron & Wine
Jenny Lewis / Rilo Kiley
Damien Jurado
The Lumineers
The Mountain Goats
Mumford & Sons
Alexi Murdoch
Of Monsters & Men
Sufjan Stevens
M. Ward

Up-and-coming indie folk artists:
BOY
Boy & Bear
Basia Bulat
Cold Specks
Deer Tick
Johnny Flynn
Horse Feathers
Gregory Alan Isakov
Jaymay
Kings of Convenience
Lissie
Rebecca Loebe
Lost in the Trees
The Low Anthem
Laura Marling
The Mynabirds
Okkervil River
The Staves
Angus & Julia Stone
The Tallest Man on Earth
Thao with the Get Down Stay Down
Sharon Van Etten
Vetiver
Villagers
The Watson Twins
Wye Oak

© Adam Kukic, March 25, 2014
Host & Producer, The Coffeehouse on WYEP 91.3fm
Sundays, 8 to 11 am EST
Streaming worldwide at www.wyep.org

Following the performance, my future wife Allison and I, plus Hayden, Skinny, and members of Cuff the Duke (the opening band that Hayden had signed to his Hardwood Records) all went to Ritter’s Diner, a 24-hour greasy-spoon Pittsburgh landmark. The scene conjured up images of Hayden’s diner-themed song, “We Don’t Mind.” A highlight from that late night includes a slightly overweight middle-aged waitress apologizing to Hayden when attempting to pour him coffee: “Sorry babe, didn’t mean to shove my tits in your face.” But my wife’s favorite memory of the evening is her keepsake from the outing — a vinyl press of Hayden’s third album, “Skyscraper National Park,” which he signed for her: “We shared white toast on September 10 / 2004.”

I have a long history with Hayden’s work, right up through his February 2013 release,  which I’ll be reviewing in detail. But to fully appreciate the significance of his latest gem, allow me to shed a little light on the earlier pieces that all come together to form the total picture of Hayden’s recording career to date.

Everything I Long For (1996)
I clearly recall enjoying a few tracks of this album when I first heard it (especially the lead single “Bad As They Seem”). Yes, in the Fall of ’96 I was a freshman in college and this initial Hayden offering featured several songs of his “bedroom lore” (which he later references on 2013’s “Us Alone”). And while I longed to collect boudoir tales of my own, for the time being I’d just have to be satisfied playing “We Don’t Mind” in repeat mode. However, it was the “hidden track” that I found myself playing the most. One day I was sitting around with my friends in an off-campus hippie haven  down on Rose Lane. I put “Everything I Long For” on the CD player, and when it ended, no one bothered to change the disc…and that was the first time we all heard the hidden track – “Kraft Dinner & Poledo’s Club Sandwich” – which features Hayden instructing us on how to make Kraft macaroni and cheese and BLTs. Thanks to this album, we had both a soundtrack and two staples for our freshmen year culinary endeavors.

The Closer I Get (1998)
By the time Hayden’s “The Closer I Get” came out, I had finally collected some “bedroom lore” of my own. Having had several “real” relationships by this point, I felt I understood Hayden’s stories much more than I had initially, and ended up revisiting “Everything I Long For” in conjunction with “The Closer I Get”. The standout track for me was “Between Us To Hold” — a tale of two under-the-weather lovers learning to play guitar together with the radiator serving as the percussionist (the song seemed like a natural extension of “We Don’t Mind” from his first release). While not a true sophomore slump, “The Closer I Get” waned a bit in comparison to Hayden’s first album; this first fully-produced Outpost disc (from-start-to-finish) left critics and fans a bit underwhelmed.

1999-2004
Then Hayden went silent. Records didn’t sell like they should have. Outpost Records went under (some attribute it in part to Hayden’s $1 million contract). While he no longer had a label behind him, he hadn’t spent his money frivolously, so he continued to make music his way. A few small pressings were released; distribution seemed limited to his immediate geographic radius. But I didn’t hear them.

I graduated college, suffered my first true heartbreak, interned for a local radio station, and then moved to Europe for two years, fancying myself a worldly expatriate. Hayden released “Skyscraper National Park” in 2001 via his own label, Hardwood (which pre-dated his deal with Outpost), but due to its limited release, I’d never had a chance to hear it — at least not before he gave Allison her autographed copy!  Later, I discovered “Bass Song,” and deemed it the highlight of the album — an almost comedic tale about a musician who uses his bass guitar to fend off would-be robbers who break into his house. Another standout track on the album, “Dynamite Walls,” is a depressing tale of meandering travels: Miles away or just up ahead / it doesn’t matter what any of us are looking for / we’ll never find it, because it’s not there.

Elk-Lake Serenade (2004)
Upon my return to Pittsburgh, I found myself back with the local radio station. I forget which artist was doing an in-studio session, but someone from the band or crew passed along a demo of Hayden’s 2004 “Elk Lake Serenade”!  This record was more cohesive than his previous releases. With songs that flowed and a consistent mood throughout, the stories revealed where Hayden had been for the past few years — at home or begrudgingly on the road. Many songs seemed to address a longing, but this time it was a longing for the comforts of home.

“Home By Saturday” laments having to travel and tour, as well as revealing the temptations that one faces on the road. Even “Woody,” a song about Hayden’s feline companion’s springtime shenanigans, could easily be viewed as a parallel to the vagabond life of a musician. But it’s “Don’t Get Down” that is most foretelling of what’s to come on Hayden’s future recording, “Us Alone.” Addressing the demands of the music scene (recording, touring, having to associate with phonies, etc.), it could well have been the perfect exit song to Hayden’s recording career.

In Field & Town (2008)
For someone who lamented songwriting, touring and the music industry at large, Hayden was really finding his sound on “In Field & Town,” with tracks like “More Than Alive” and “Damn This Feeling.”  There’s the quirky “Lonely Security Guard,” which conjured up images of a character that Paul Giamatti would play in a film. But, the most charming moment is “The Van Song” — another tale of fledgling love — but this time told in reverse. As with “Elk-Lake Serenade,” “In Field & Town” is another strong release that creates a definite and consistent mood.

The Place Where We Lived (2009- 2012)
Sadly, I must confess that I didn’t even know that “The Place Where We Lived” was released until “Us Alone” debuted in 2013 (the irony is not lost on me). Apparently, this 2009 album from Hayden had no press nor tour to support it, and begs the old adage, if a tree falls in the forest and no one is around, does it make a sound? By Hayden’s own admission, not actively promoting the album was a disservice to the release. A solid record produced by the talented Howie Beck, this one has a bit more of a country-tinged vibe spread across the songs. Beck’s excellent production and playing helped to smooth out the rough edges that often sneaked onto Hayden’s past releases, making this possibly the most radio-friendly of his albums to date. But sadly, NO ONE heard it! Highlights include the title-track, as well as “When The Night Came And Took Us” and “Let’s Break Up.” The closing track, “Let It Last,” attests to that picturesque moment when sunlight falls just right and imprints an unforgettable memory (Australian artist Holly Throsby’s guest vocals also help to enchant the listener). But many fans never heard the album, and even the ones who did were left to wonder where Hayden went. Rumors even circulated that he’d died!

Us Alone (2013)
Nearly 20 years after Hayden’s first album, “Us Alone” is equal parts a love letter to his daughter, as well as a nostalgic look back at a career lived, for the most part, his own way. It is important to note that this is his first album in 12 years that was not released by his own label, but by Arts & Crafts, a small independent Canadian label with an impressive line-up of artists: Broken Social Scene, Feist, Cold Specks, to name a few. How does Hayden fit into that mix? Well, maybe as a legend of the Canadian music scene. Did he ever attain the sales and the following amassed by Feist or Broken Social Scene?  Well, probably not in the sales category. But as for fans, he definitely has a cult following…as well as the respect of fellow musicians and the Canadian music industry. In fact, “Us Alone” was was nominated for a Juno Award (Canada’s equivalent of the Grammys) for Adult Alternative Album of the Year in 2013.

At its heart, “Us Alone” is that Kodachrome experience we’ve grown to expect (and love) from Hayden. It’s being touted as his most autobiographical release to date. I’m not sure if this is entirely true, as he’s sung about similar themes and topics in the past. Yet, no doubt these songs have more meaning as his life has become a lot more than just a collection of bedroom conquests.

“Us Alone” begins with “Motel”: I agree, we should leave in an hour, or better right now / or we’ll never lift this anchor. But, in what would appear to be the start of another tale of  bedroom lore, we realize something quite different, as Hayden confesses:  I can’t go on, pretending this song is about young lovers born to run / when it’s so clearly about you and me / and I agree, we’ll get no sleep until we strap her into that seat, and stop this terrible sound by driving her around / ‘til we pass that motel. And just like that we realize that Hayden’s all grown up (as are we), weaving his daughter’s sleeplessness into a song.

The next track, “Just Give Me A Name” is rather dark and foreboding, contrary to the instrumentation. It is the tale of a cuckolded lover, indifferent to his cheating partner (or at least not wanting to know the how and why of her indiscretions). He repeatedly requests: Just give me a name, like the name of his street, where he likes to eat, and what time he gets home from work.

Next up is the album’s second single, “Blurry Nights” — a song of desperation and despair about lovers, possibly past their expiration date. A rare treat is that this is a duet between Hayden and Lou Cannon, an artist he had signed to his Hardwood label. The duet allows a his-her view on the same stale relationship. Hey, out of my blurry night, ours was the one I liked most of all / it’s ok that we had nothing to say, and that didn’t get in the way if I recall. While the female protagonist seems to be a bit more into the relationship, they both agree that nothing good can ever come from this in the long run / but let’s not dismiss all the fun we can have tonight, if we forget how we might feel in the morning light. It’s as if the characters that almost came to fruition in “Motel” found their home in “Blurry Nights”…although a crying baby is clearly NOT the cause of their sleepless night in this song.

Pulling the family guy/parent card, Hayden receives the “ahhh” from countless fans for this one: Clearly an ode to his daughter, “Old Dreams” addresses Hayden’s new-found priorities: I don’t want my old dreams / now my dreams are your dreams / all I want is you to be happy.  What is slightly ironic is that I’m not sure the “Hayden” that Hayden Desser is singing about was ever the Hayden that we knew: I don’t want the bright lights / I don’t need more invites / I don’t need more reviews / not unless they’re from you. To this fan, it never seemed as if Hayden was ever concerned or interested in these things. However, this tune is the perfect segue to the following track.

“Almost Everything” seems to continue the autobiographic theme. From his teen years to his “stardom” (even referencing the labels’ bidding wars to sign him back in ’96, which included Neil Young trying to sway him to sign with Vapor Records) to Hayden the family man, “Almost Everything” could stand as his perfect bio. So I recorded and I sang, about the things that I knew of back then / and some kids who heard, saw me in them / at a time in their lives when music was everything, it was everything. And, Hayden continues to write of the things he knows now, telling tales of parenthood and a domestic lifestyle. He’s grown and matured — and so have we fans who can still find ourselves in his songs. Fortunately, Hayden did not hang up his guitar and strap: But I’m recording once again, while my kid is upstairs in bed / and I’ll admit that now and then, some nights when I’m strumming, or maybe just dreaming / music’s still everything / well, almost everything.

Out of obligation to my wife, I must offer up her observation that “Oh Memory” starts with an allusion to “The Nutcracker,” whether intentional or not. Well, maybe this “Nutcracker” reference is to help spur memories of our youth. “Oh Memory” seems to be about a deceased parent who is visually fading from the singer’s memory. No matter how hard I tried, I couldn’t find the image of your face in my mind / oh memory, you’re so unkind.  However, he finds solace in legacy: You’re in my favorite things about me / you’re how I hope to one day be / and sometimes I can really see you there / inside of that little stare.

“Rainy Saturday” could be a continuation of “We Don’t Mind” from his debut album. We find those familiar characters still together after almost two decades. The isolation of the lovers this time doesn’t appear to be lust, but more from the nesting that comes after decades of being together. After the thrill and excitement of new love fades, you’re faced with the choice: do you fight through the ennui of relationship, or do you cut and run? I don’t know how we did it, but we made it through the winter just in time / you know we really had it tough there baby / we really couldn’t catch a break / we both were just lying there waiting / like every day was a cold and rainy Saturday. Seems like Hayden would encourage sticking around until the storm passes.

The official “final” song on the album, “Instructions,” is rather dark, even for Hayden. If you were hoping for him to provide instructions on how to live a happy life, you’ll have to look elsewhere, as this song addresses the issue of what to do with his body and notebooks of songs after he’s died — ashes to ashes.

Fortunately, the album does not end on such a bleak note. It fades off into the ether with a hidden track that this time does NOT provide instructions on how to make BLTs or mac & cheese. Rather, ”Us Alone” is a fully realized song that appears to be a continuation of “Motel” — indicating where the car ride has taken them, and conveying that even though life is heavy, sometimes unfair, it’s good to know that the power of music helped them overcome.

On November 11, 2013, I found out that Hayden was again coming to Pittsburgh. This time, the performance was in a run-down venue known more for the quality of performers than the atmosphere. The stop was a late addition to the tour — just a convenient place to play, sandwiched between two other cities. It was a cold weeknight and the turnout was poor. The peeling walls of this old storefront and cobwebs in the corners of the high ceilings set the tone. Hayden and his band sat on sofas that looked as if they’d been discarded from front porches in a college-town. Something about this venue and scene served as a perfect complement to “Us Alone”… but also served as a reminder of how limited Hayden’s commercial success has been. I chatted with him a bit before the show — small chit chat. I mentioned neither the waitress nor the toast from 2004. I just wanted to be sure to thank him for coming back to Pittsburgh, and for continuing to make music. For some of us, music is still – to borrow Hayden’s words – everything…well, almost everything.

Click here to visit Hayden’s official website.

Here’s he is, singing “Blurry Nights,” featuring Lou Cannon.

© Adam Kukic, Feb 28, 2014
Host & Producer, The Coffeehouse on WYEP 91.3fm
Sundays, 8 to 11 am EST
Streaming worldwide at www.wyep.org

[Photo of Ritter’s Diner by Ruth E. Hendricks.]