Elliott Smith - Elliott Smith
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CD Details
Artist: Elliott SmithEdition: Music CD
CD Release Date: 1995-07-21
Music Label: Kill Rock Stars
Soundtracks:
- Needle in the Hay
- Christian Brothers
- Clementine
- Southern Belle
- Single File
- Coming Up Roses
- Satellite
- Alphabet Town
- St. Ides Heaven
- Good to Go
- The White Lady Loves You More
- The Biggest Lie
Music reviews of Elliott Smith
Music Review: Vintage Elliott Smith
Rating: 5 Stars
Emerging from the shadow of Kurt Cobain in the late 90's, Elliott Smith was perhaps the greatest singer songwriter of his generation. Smith's genius was his unabashedly honest, naked, poetic lyricism that was so beautifully complemented by his unpretentiousness acoustic guitar. Like none that came before him, Smith delivers note after note of haunted, sparkling melancholy. Far from gloomy, his songs radiate with incredible emotional intensity. Combining an unbridled punk rage within the guise of an acoustic folk song, his songs speak for themselves. Reflective and introspective, each song unfolds like a delicately wrapped package, revealing itself slowly. Smith's songs present themselves like late night thoughts that just won't go away. Concerning themselves with drug abuse, depression, and troubled relationships, Smith exorcises his inner demons and releases them in a beautiful, blinding, luminosity, albeit born from dark, painful emotional despair.
Elliott Smith returned with twelve brand new songs on his second self titled album a year after his debut on the Kill Rock Stars label. Sonically, ES is virtually indistinguishable from his debut Roman Candle, although the songwriting was becoming increasingly sophisticated and developed. There is also slightly more raw aggression in both his playing and vocal delivery. Smith has said himself that ES was recorded on his girlfriend's borrowed guitar, and that it was tuned down and he didn't realize it. Fortunately, it works to his favor. What works so well for Smith's sound is the intimacy that comes across, lyrically and instrumentally. Listening to this in a quiet, dark room, you can literally feel Smith breathing down your neck. Complementing his introspective lyrics, the delivery is no less than perfect. Sounding more and more haunting with each verse, Smith brings us deeper and deeper into his dark world of despair and desolation. Confronting drug abuse, depression, and alcoholism, Smith exorcises his demons in a beautiful, emotionally confessional arc of songwriting. The first half of the album leaves the listener breathless, Smith bares his soul, not looking back. Lyrically, there is not a "weak" song on the entire album. There is incredible cohesiveness and an intimacy bordering on uncomfortable. Slowly, it becomes apparent ES is a step forward from Roman Candle, each songs begins to immortalize itself into your consciousness with each repeated listen. His subtle melodic arrangements are so brilliantly crafted that they only begin to reveal themselves upon repeated listen. It is at this time that you realize his lyrics follow the exact same pattern. Again, so perfectly is his songwriting complemented by his paper thin deliver, that you can't imagine it being played by anyone else. On "Coming Up Roses" Smith begins to embellish his songs with drums and harmonica(used in RC). The effect positively gives his songs a more three dimensional feel. Stylistically, ES is perhaps the climax of his first three releases- catching him in his prime, between Roman Candle and Either/Or before he moved on to greater production and a richer more full bodied sound. Track 1 "Needle In The Hay" was featured in Wes Anderson's film The Royal Tenenbaums. Elliott Smith is perhaps the definitive work of arguably the greatest singer/ songwriter of his generation.
Description of Elliott Smith
Recorded mildly better than his debut (Roman Candle on Cavity Search), the self-titled second solo album is one of the most understated and incredible albums to emerge from the indie-rock scene in the 1990s. With his nimble picking fingers behind him, Smith writes sad, little songs about drugs and romantic codependence that border on the obsessed. "Needle in the Hay" and "The White Lady Loves You More" are exemplary tunes that fuse the Beatles' pop sense with Neil Young's sense of doom. Lying in his own burned out basement, Smith can rough up the gentlest love song with a few salty words of choice. --Rob O'ConnorGeneral CDs
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