Elliot Smith - if you have never had the pleasure of an introduction - was one of the most talented singer songwriters of the 1990s/early 2000s. Back when Indie was still independent and underground, Smith used a his multi instrumental talents, a 4 track recorder and the bedrooms, bathrooms, basements and living rooms of various houses to create some of the most poignant songs you could ever wish to hear. Taking some strange form of inspiration from a childhood of broken marriage, abuse and a lifetime of battling drug and alcohol addiction, Smiths lyrics cover a range of topics that paint a picture of a man fighting with the world, sometimes coming up roses, but other times not.
Signed to the aptly named Kill Rock Stars label, he had released 3 albums before having a few tracks included on the soundtrack for the film Good Will Hunting. This would lead to an academy award nomination for best song and widespread acclaim and exposure. He signed a deal with multi-national giant Dreamworks. The 'stardom' that followed led to increased drug and alcohol use, suicide attempts and a downward spiral that ended in his premature death from two stab wounds to the chest that were possibly self inflicted, his death was never ruled a suicide.
Elliot Smith was the antithesis of grunge, a lo-fi / folk indie singer-songwriter, who despite his musical differences was very much like the poster boy for grunge music Kurt Cobain. Both were extremely talented, they shied away from the limelight and struggled with fame, battled addiction and ultimately died by their own hand - well before their time. Just amazing lyricists and musicians. Sometimes i think there is a certain kind of fatalistic relationship that was pertinent to the success and ultimately the death of the likes of Kurt Cobain, Elliot Smith, Jim Morrison and Ian Curtis. The lyrical content of the songs is very personal and emotional at times, about abuse, drugs, depression and 'non mainstream' topics. The inability to deal with fame and fortune that follows hastens what was possibly inevitable from the outset. Would the cohort of songwriters who are tormented by their childhoods, suffer depression, have alcohol & drug abuse problems and use this as their inspiration be able to succeed as artists with out it? Anyway, I am thinking out loud - that's a question for someone else.
Elliott Smiths 1997 album 'Either/Or' takes its name from Danish philosopher Søren Kierkegaard's book of the same name. Smith stated in a few interviews that the album follows Kierkegaard's philosophy in relation to the absurdist struggle between choosing an aesthetic life and an ethical life. Quite clearly the battles that Smith had with himself are evident here. In the first paragraph of that book, Kierkegaard speaks of a poet as being a person whose lips are shaped in such a way that their sighs of sorrow sound to us, the audience, like beautiful music. Elliott Smith's music is some of saddest and also the most beautiful, that I have ever heard.
With a few simple chords, some delicate finger plucking, and a flicker of his thin voice, Elliott Smith created haunting, beautiful and intimate songs. It's quite an accomplishment that he was able to craft one of the best albums of the 1990's with virtually no more than his voice and an acoustic guitar. His songwriting would make this an enthralling album even if the lyrics were spoken in a slow monotone.
Elliott Smiths 1997 album 'Either/Or' takes its name from Danish philosopher Søren Kierkegaard's book of the same name. Smith stated in a few interviews that the album follows Kierkegaard's philosophy in relation to the absurdist struggle between choosing an aesthetic life and an ethical life. Quite clearly the battles that Smith had with himself are evident here. In the first paragraph of that book, Kierkegaard speaks of a poet as being a person whose lips are shaped in such a way that their sighs of sorrow sound to us, the audience, like beautiful music. Elliott Smith's music is some of saddest and also the most beautiful, that I have ever heard.
With a few simple chords, some delicate finger plucking, and a flicker of his thin voice, Elliott Smith created haunting, beautiful and intimate songs. It's quite an accomplishment that he was able to craft one of the best albums of the 1990's with virtually no more than his voice and an acoustic guitar. His songwriting would make this an enthralling album even if the lyrics were spoken in a slow monotone.
Either/Or opens with 'Speed Trials' - possibly about drugs but not blatantly obvious. Smith sets the template for what is to follow throughout the album; an absolutely beautiful voice accompanied by an acoustic guitar, with the occasional drum beat thrown in the mix. But it is the introspective lyrics that always make me think when i hear this. You can imagine him late at night, huddled over his small home recorder feeling guilty about his addiction.....
"You little child, what makes you think you're tough?'Alameda' follows with a beautiful melody, simple drums (as does most of the album) and an almost ethereal lyrical delivery, but it belies the bittersweet content. The lyrics are directed towards someone, maybe even himself.
When all the people you think you're above
They all know what's the matter
You're such a pinball, yeah, you know it's true
There's always something you come back running to
To follow the path of no resistance
It's just a brief smile crossing your face
Running speed trials standing in place"
"Nobody broke your heart, You broke your own because you can't finish what you start. If you're alone it must be you that wants to be apart"
'Ballad of Big' nothing continues along a similar path, incisive lyrics that lead to the haunting 'Between the Bars' which consists of nothing but Elliott and a guitar and his alcoholism. This was one of the songs off of Either/Or that would be selected for "Good Will Hunting" and is one of the most moving and endearing songs Smith ever recorded. 'Pictures of me' changes pace slightly, more up beat dealing with the fame, the media and the fact he is not what he appears.
No Name No.5 (he had 6 songs on his albums called No Name #...., four appear on the Roman Candle Album) has a fantastic guitar riff, just a simple but great chord progression that builds through the song. His quiet voice is able to create a wonderful melody for a song that i truly love. The observational 'Rose Parade' and melancholy Punch and Judy "I think I'm going to make the same mistake twice" lead to "Angeles", a fantastic song with brilliant guitar about the bright lights and offers from LA, the money and the promises.
"I could make you satisfied in everything you doThe most rocking track on the album 'Cupids Trick' is the only one featuring electric guitar, it's louder and faster than the rest of the album. Elliott Smith was quoted in Spin Magazine saying, "I've written a lot of stuff being on something. Drinking or doing drugs doesn't make it any easier, but it's different, you know?... that song, 'Cupids Trick' on Either/Or- the rock song? I made that up while in a state, and I have no idea what I was talking about. It made perfect sense to me at the time, but now it's just a bunch of words."
All your secret wishes could right now be coming true
And be forever with my poison arms around you"
My favourite Smith song is '2:45 am'. It leaves me speechless and numb, yet impassioned. Quite amazing for a song that is just a quiet acoustic guitar and voice until three quarters of the way through when the drums and a fuzzy bass kick in. Again the lyrics leave a lot to be thought about when you consider his background.
Somehow 'Say Yes' manages to finish the album on a rather uncharacteristically positive note, but continues the stripped down feel. Just vocals and an acoustic guitar again - but of course the 'love' song has that special edge to it that only Elliott Smiths lyrics can add.
It is impossible to speak of this album in anything less than superlatives. It is one of those few albums that necessitates the first listening be without interruption, from the first to the final track. Elliott's overlayed voice barely rises above a whisper, and many of the songs include only acoustic guitars and bare percussion. But the solitude and concentration of the arrangements, performed by Smith alone, allows more musical depth, in the subtlety of his intonation or the phrasing of his guitar, than a collaborative or more orchestrated effort could possibly achieve. His lyrics are understood only in the context of the music, and walk that fine line between abstraction and articulation so that the listener understands perfectly his message, though perhaps that message is different for every listener.
The simplicity of this album is the very thing that makes me think it is his finest. The 'commercial' label follow ups 'X/O' and 'Figure 8' certainly have their moments, they are more heavily instrumented, more produced and lack nothing lyrically, however for me they do not have the profound affect that the intimacy of 'Either/Or' has on the listener. Each and every one of his albums is a must own in my book, but 'Either/Or' sits on a lofty pedestal because of the astonishing affect it has.
There is no musician to compare to Elliott Smith, not because he is perfectly original, but because he created a perfect balance of poetry and subtle music that complement each other so absolutely - any attempt at comparison would lack dimension. It is pointless.
Essentially, if you have sat in a room and listened to music and just been absorbed by it, if you have that patience and capacity to hear and be moved, then this is an album that you should own. If you like harmonies this is a must own. If you like simple arrangements, this is a must own. If you like songwriting, If you like honest emotions and great lyrics, you need to get this album.
It's the kind of album that people will be listening to twenty years from now. - i know i will.
