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Lubię sobie posłuchać trip-hopu przy blanciku, szkoda że nie mam wibrujących słuchawek, tylko jakieś zjebane stereo:ashamed:
 

From Jeff's manager Dave Lory's new book "Jeff Buckley: from Hallelujah to Last Goodbye" regarding this performance: 'We had a small shopping list of stuff Jeff had asked us to pick up: peppermint tea, black hair dye, and a CD of “Dido’s Lament.” The week after Glastonbury, Jeff had been booked to appear at Meltdown, another prestigious annual event, held in London at the Royal Festival Hall. Each year an artist known for being eclectic was made guest curator of a week of genre-crossing concerts, and that year’s curator was Elvis Costello, who had invited Jeff to sing with an orchestra. After discussing singing some Mahler in the original German, Jeff decided he wanted to try “Dido’s Lament.” Sam had located a music shop in Bath where we could pick up the CD. It was a tiny place up a steep hill, so small that six skinny people would fill it. There were no racks; you just asked at the counter for what you wanted. An old guy was serving, and when I asked for a copy of “Dido’s Lament” for one of my male artists, he laughed and told me no man could sing it. The only other person in the store was a young dude, around eighteen years old, who asked which artist it was for. “Jeff Buckley,” I said. He turned to the shopkeeper and said, “Jeff Buckley can sing it.” I laughed, tickled that word about Jeff had reached out here ... The show was a few days later and, although not quite a black-tie event, the atmosphere was very formal—the crowd was seemingly classical music fans having a daring night out. There were some priceless looks on their faces when this rumpled dude came out and started singing. It was so much fun watching their reaction that I hardly watched Jeff. But he sounded incredible. That kid in the Bath music store knew what he was talking about. I got chills. Elvis Costello: “When he started singing ‘Dido’s Lament,’ there were all these classical musicians who could not believe it. Here’s a guy shuffling up onstage and singing a piece of music normally thought to be the property of certain types of a specifically developed voice, and he’s just singing, not doing it like a party piece but doing something with it.” “That’s an understatement,” says cellist Philip Sheppard, who was in the orchestra. “I remember the silhouette of his frame as he bent almost double to wrench every ounce of meaning from a song written three hundred years ago. Better than any classical musician I’ve ever heard. It’s probably the greatest musical experience of my life; it turned my world inside out…made me realize I was a musician who played through study rather than played through feel, an incredibly pivotal moment for me. I think about him nearly every day, which is quite strange really, because I only met him for about half an hour.” I wish Jeff could have done more of that kind of thing. When you saw how he shone in those unique environments, there was definitely a conversation to be had about whether alternative rock was a big enough playground for him.'
 

The story behind this show is that Top Of The Pops would insist on the bands miming to the record. Nirvana didn't want to but they insisted as they do with everyone that has been on the show, but they came to a compromise that the music would be mimed but the microphone would be live. So they decided to make fun of the whole thing. And also for fun and partly because it was in England, Kurt decided he would sing the song in the style of Morrissey.
 
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