01	Nightmares By The Sea						03:50
	02	New Year's Prayer						04:11
	03	Haven't You Heard						04:08
	04	I Know We Could Be So Happy Baby (If We Wanted To Be)						04:27
	05	Murder Suicide Meteor Slave						05:55
	06	Back In N.Y.C.						07:37
	07	Demon John						05:14
	08	Your Flesh Is So Nice						03:38
	09	Jewel Box						03:37
	10	Satisfied Mind						05:58

Jeff Buckley's first album, Grace, was finished at the start of 1993. In the four and a half years between then and Jeff's death, on May 29th, 1997, he wrote a lot and recorded often while maintaining a seemingly endless schedule of world tours. There were studio sessions, as well as home demos, live performance recordings, and radio shows. If the music business ran in the nineties as it did in the sixties, Jeff would have had five albums out in that amount of time. But Jeff loved searching more than arriving. As an artist, Jeff was tough to tie down. He might be cruising down one path and suddenly see a light in the distance and, bang, he was off -- following it.

As the executor of Jeff's estate, it fell to his mother, Mary Guibert, to assist Columbia in deciding what to do next. Shortly after Jeff's memorial services in New York City, Mary met with Sony execs to discuss the preservation of Jeff's musical legacy. Several things were decided at that time.

First, there would be no posthumous overdubbing. The songs would stay where Jeff left them, even if a part was missing. Second, the album would not be an overview of Jeff Buckley music. There were good outtakes from Grace and the Live at Sin-e EP. There were b-sides and pre-Columbia recordings Some of those might come out someday, but not now. The last new Jeff Buckley album would be the songs he was working on when he died, the songs he and his band intended to record in June of 1997.

There were two major sources for recordings of those songs. Jeff and his band had done three sets of official studio demos with Tom Verlaine producing. Two in New York City and one in Memphis. There was a fourth unofficial session, with Verlaine, recorded with Jeff's longtime friend Michael Clouse acting as engineer. The results were, to judge by what we have here, pretty spectacular.

Verlaine said, ""I told Jeff when I left Memphis, 'I know you probably want to change everything' - we were laughing about it - 'but as it is, this stuff sounds really good to me. If you feel dissatisfied maybe you want to take it a little easier on yourself, because there's nothing wrong with this'.""

Verlaine and the band went back to New York at the end of February. Jeff stayed in Tennessee, in a little house he rented, and continued to work on his songs on a four-track recorder. New songs were written. He sent tapes of his work to the bandmembers, so they would be up to speed with him. He made a decision to take control of the project himself. Toward the end of April, Jeff started making preparations to bring the band and Grace producer Andy Wallace together in Memphis to record the album he wanted to call My Sweetheart The Drunk. Andy would fly down in late-June. The band would be there to begin rehearsals on May 29th. Their flight was barely airborne when Jeff and a friend set out to grab a bite to eat. They drove around, ending up at the Wolf River Marina to watch the sunset. The band's plane was in mid-flight when Jeff stepped into the deceptively placid water to cool off with a swim. By the time the plane landed, the Coast Guard and Memphis Police had begun a futile search and rescue mission.

Over the summer of 1997, Andy Wallace and Steve Berkowitz, Jeff's A&R man, mixed the Verlaine sessions for what could have been a single CD release in the autumn of 1997. But Mary didn't want to rush out the album. Jeff's band had reservations about putting out anything at all -- they needed time to recover from the shock of Jeff's death, and so did his mother. She asked for more time and got it. There would be no hard decisions to make until early 1998.

In the intervening months, Michael Clouse assisted Mary in the time-consuming task of listening to and preserving the many hours of four-track recordings. They were raw and unfinished, with Jeff performing all the parts; tapping the microphone with his fingertips for a kick drum sound, toying with weird effects, simulating various instruments. U