Jeff Buckley's 'Grace' was many things to many people. 'Grace' marked the return of the troubadour, someone to take over from the ever fading Leonard Cohen (Jeff's near superior version of Cohen's 'Hallelujah' being the obvious evidence). It was the soundtrack for mid 90s college students who had only just gotten rid of the haunting spirit of Kurt and could find solace in someone with the same wicked sense of humour that lurked underneath the fagade they presented to the media. The album was a staple for any singer/songwriter doing the rounds in coffee houses from Camden Town to Georgetown. 'Grace' was also a reminder to folk fans of the 60s and 70s that lightning could strike twice with a voice so angelic in the Buckley family.

But above all the myth and family connections, 'Grace' was, and still is, a great album. In fact as far as debuts go, it ranks right up there with the best. Quite a bizarre notion if you consider the following: His main fan base didn't come from the U.S. but from France and Australia. For a talented singer/songwriter he did the ballsy thing of putting three cover songs on his debut album. And incredibly, the one track Columbia executives were convinced would make him a household name was left off the album at Jeff's insistence (The song in question, 'Forget Her', was belatedly released to the public via the 10th anniversary edition of 'Grace' this year).

So it comes down to the ten songs on the album to prove their weight in gold. Opener 'Mojo Pin' drifts in like an uncomfortable dream. You can visualise the narrator tossing and turning in bed. When the nightmare comes to life courtesy of Buckley's howls and Matt Johnson's primal drumming at about the four minute mark then descend into quiet only to come back in the finale you know this isn't any normal album. Admittedly it is a difficult and brave first track for any artist and not one that on first listen necessarily invites you into Buckley's world.

But once you're in, you don't want to leave. Buckley proclaims in the title track, "I believe my time has come." How could you not go along with an artist who is that sure of himself? To think that same year his label mate Liam Gallagher made a similar statement on his band's debut album.

What the Columbia top brass missed out on with 'Forget Her' they surely made up for in the 'Last Goodbye'. Almost perfect in every way, 'Goodbye' is the ultimate parting song that unfortunately will be used for every cent it is worth and them some by Sony's compilation department until the end of time.

In knowing that information, one can feel a little guilty and self indulgent in saying 'Lover, You Should've Come Over' is of its equal, if not better. 'Lover' is a bittersweet song about two people near the breakdown of their relationship sung in the metaphor of an elegy. By the end, the narrator pleads for her one last time: "It's never over, all my blood for the sweetness of her laughter."

Written at the last minute (and in the end what bumped 'Forget Her') with new guitarist Michael Tighe, 'So Real' is a bruising encounter with its chainsaw guitar effects and high pitched wailing that hints to Buckley's Led Zeppelin fascination. As does 'Eternal Life', the one and only true rock song in the set.

It is then left to the final track for Jeff to let out his frustrations with the memory of his father Tim. 'Dream Brother' is a tour de force conclusion that sees Jeff continually dispense the advice, "Don't be like the one that made me so old. Don't be like the one who left behind his name."

'Grace' could've been entirely about Tim and sure the more you dig into the lyrics the more hidden messages may appear. But thankfully Jeff didn't choose that path and what we are left with is an album of majestic beauty that has since become the blueprint for many of the big acts today.

Quite simply put: Without 'Grace' there would be no Radiohead, no Starsailor and no Coldplay.

The list goes on.